Category Archives: Derivative Works

A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Australian Method Series: Voyager – Colours In The Sun

Voyager is a band from the state of Western Australia. The band is made up of vocalist Daniel Estrin, guitarists Simone Dow and Scott Kay, bassist Alex Canion and drummer Ashley Doodkorte.

“Colours In The Sun” was released on 1 November 2019 via the label Season Of Mist. And for all my North American pals, please take note of the proper spelling of colours.

And they’ve been at for a while, since the early 2000’s. On Spotify I can see seven studio albums and I think there are a few EP’s in there as well which are not on the streaming services. I must admit, their band name reminded me of Star Trek, so I had to check em out.

Colours

A synth intro. Upbeat and danceable.

Once the vocals kick in there is a sense of euphoria to em.

And there is a lot of syncopated guitar, bass and bass drum like riffs. Perfect.

Severomance

More synths.

But it’s the drum/bass and guitar work which I like, with a pop like vocal melody.

This one just kept growing on me to become my favourite track.

And I like the guitar solo on this.

Brighstar

The keyboard/synth riff to start it off with the metronomic kick drum reminds me of Toto and I like it.

In the process it quickly become a favourite.

Saccharine Dream

A shimmering effect and a riff made up of single notes starts the song off.

Then a distorted guitar kicks in.

At 2.15, a normal 4/4 drum beat kicks in and from all the frantic beats, it’s amazing to hear just a simple beat. A stock beat.

Who would have thought?

So far a four punch knockout combo.

Entropy

A fast keyboard riff is played, with the guitars providing a djent like rhythm as its foundation.

Einar Solberg from Leprous (which is another favourite progressive metal act I am into) guests.

And I expected more from this song.

Reconnected

The fast alternate picking and double kick lines reminds me of Evergrey and its cabaret like piano line makes it sound unsettling.

It’s more like Power Metal.

Now or Never

It’s like a 90 second intermission, a short song to transition with. It has layers of synths with digital delay and a poppy vocal melody.

Sign Of The Times

The synths again and I like how they give the song a techno Ibiza like feel. But make no mistake, this is a progressive metal band.

And the Chorus can definitely etch out a living on the pop charts.

Water Over The Bridge

Man this song is heavy.

“The Distance” from Evergrey comes to mind during the Intro.

The video clip is hilarious as it shows the guitarists putting on some serious “stink-face” looks as they jam it.

Runaway

The synths again. They feel uplifting.

Then the guitars, bass and drums come in, to support the synth riffs.

And press play for the keyboard solo.

It’s a concise album, coming in less than 45 minutes and by the time it’s done, I’m thinking where did the time go, as it all finished so fast.

So if you’re into progressive music, then Voyager deserves your ear.

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Digital Summer

“Breaking Point” came out in 2012.

It comes on the back of a Kickstarter campaign to fan fund the album and tour. Like many successful fan funded projects, they surpassed their initial goal of $25,000.

And once the deadline passed, the band had received over $50,000.

They used the money to get outside producers to work on the album (and you notice the sound improvement immediately), to pay for a larger marketing campaign to promote the album and to finance a longer tour around the U.S.

Forget You

It features Clint Lowery, the lead guitarist from Sevendust.

It’s a great opener, more heavy rock than the “alternative metal” branding.

Check out the intro riff.

Now that I’m sober
I’m finally making up my mind
I can see who you really are

The great awakening from the haze.

Shut your mouth, I’m done listening to you
It’s over, it’s over, I’ve had enough were through
I’m taking back the person that I used to be
Before these scars, before your lies so FUCK you, forget you, goodbye

There’s no love there. A perfect F U.

And finally we get a lead break spotlight in the Digital Summer catalogue.

Breaking Point

A Disturbed like riff starts off the title track.

Stand up, just look at me
And tell me what you see
Besides a man on the brink of insanity

Growing up on the 80’s themes of standing up for yourself and living on a prayer or the story songs like rat-tailed Jimmy and a Chevy with primered flames, the 90’s changed those themes to be more personal, full of self-doubt, depression and a certain darkness.

And it continued even in movies.

The Michael Douglas pic, “Falling Down”, shows a man on the brink of insanity and what happens when he falls off the brink.

Cut Me Open

I like the way this starts, with the electronics and the clean tone arpeggio riff.

But this time I realize from the bottom there’s no place left to go

There is a saying that when you hit rock bottom the only way is up.

But sometimes, there is no place left to go. And the lyrics definitely bring back memories of “Down In A Hole” from Alice In Chains. Great song but the topic is heavy.

Fight Til I Fall

It reminds me of Seether.

Nothing to lose when you’ve lost it all
To the death I will fight till I fall

This is when a person is most dangerous. When they have nothing to lose.

The QR code would take you straight to the lyrics on their website.

Broken Halo

There is this U2 vibe in the verses which I like and the Arena Rock Chorus would not be out of place on a Shinedown album.

You’re my favourite addiction
The perfect complication
You’re my favourite addiction
My sick and twisted medication

My favourite addiction is music. It’s always music. It doesn’t matter how I feel, music is always there for me, unconditionally loving me.

Come On

It’s an aggressive song, reminding more of Breaking Benjamin than anything else.

In relation to themes, Skid Row had “Piece Of Me” and Digital Summer has “Come On” and “Fight Till I Fall”.

Come on, come on if you survive this round
Step it up or you’ll be going down

It’s very Ivan Moody like who was always looking at taking someone on in his lyrics.

War Against Myself

Why can’t you see that I’m at war against myself
For once could I fight someone else

We are our own worst enemies. We would ponder a simple mistake forever.

Dance In The Fire

I like the Intro as it reminds me of songs that New Order write.

And we dance in the fire
And we laugh at the flames and never learn
With no cares for tomorrow
Cause tonight we just love how it burns

It’s not as bad as “She Goes Down” from the Crue or Jovi’s “Bad Medicine” or how Springsteen is looking for some action while dancing in the dark, but it’s a song about getting laid.

Overdose

An intro similar to “Dance In The Fire” kicks off this song.

You’re like an overdose with no antidote
I’ve fallen victim far too many times

The sins of lust and the damage left behind when the lust and fire ends.

Wanted To Love You

This is a great ballad and the vocal delivery is excellent.

As if they’re paved into the sidewalks
These city streets reflect my thoughts and moments

When you walk the streets of your hometown your whole life, every pavement step and street corner contains a memory.

I’ve wanted to love you, for so long I need to
It’s the only thing left that my heart knows to do

You can hear the pain in the voice, the emotion is very Aaron Lewis like. Musically I like how the piano plays over a foundation of electronic noises and repeating guitar lines.

Broken Halo (Acoustic)

An acoustic version acts as a bonus track.

Instead of 16 songs, we get 10 this time around.

For an unsigned and truly independent band, this is a slick addition to the alternative metal movement.

The tour they had with 12 Stones had a shitty Agent and in some cities, cancellations ensured.

However Digital Summer still arrived at those cities and spread the word to their fans that they are in town to meet and greet.

And they did this by taking time off from their day jobs as firefighters, paramedics, producers and teachers.

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The Record Vault: Digital Summer – Counting The Hours

“Counting the Hours” is the album number 2.

It was released in May 2010.

On this album they amp up the radio rock songs, with bigger Choruses and concise song arrangements. They sound heavier, like Sevendust, more commercial than Three Days Grace and Staind and when they do the slower songs, they definitely know how to set a mood.

The band for the album is Kyle Winterstein on Vocals, Guitar and Producer, Ian Winterstein on Guitar, Johnmark Cenfield on Guitar
Anthony Hernandez on Bass and Ben Anderson on Drums and Assistant Engineer.

Counting The Hours

Dropped D down tuning, syncopated guitars and bass kick and a melodic droning lead kicks off the title track.

There’s nothing like an apocalypse to open your eyes

Great lyric, it reminds me of the lyric in “Life Is Beautiful” from Sixx A.M. when James Michael sings, “there’s nothing like a funeral to make you feel alive.” So don’t wait for those moments, seize the day.

The two guitar attack is very reminiscent of Machine Head during the Supercharger era. One guitar would crank the rhythms while another would play melodic motifs and leads over it during intros and verses and so forth. Korn’s two guitar team is another example of this.

Just Run

It’s basically a hard rock song, but played in a dropped D tuning and the riffs are more syncopated with the drums, which didn’t happen with hard rock bands in the 80’s.

You’ve been running your mouth for quite a while now

These days its more keyboard warriors running their mouths (aka fingertips) on social media.

Check out the Chorus.

Hostage

A fast alternate picked riff is played throughout while the other guitar embellishes with melodic leads.

It’s aggressive and angsty about a “relationship awakening” in which the writer realises they have changed so much that they have become a hostage to the relationship.

I don’t want to be a victim of this pointless game

Playing the Saint

It features guest vocals from Morgan Rose of Sevendust.

Industrial electronics kick it off and then the riffs start.

Kyle is not happy in this one.

I can see right through you and everything you do

The aggressive verses give way to a melodic Chorus about that someone in your life pretending to be someone their not and how they can do no wrong.

A four punch knockout combo so far.

Shallow (Closer than the Angels)

A more rockier bass riff that reminds me of “My Friend Of Misery” starts off the song but the overall feel is like a Five Finger Death Punch song as “The Bleeding” comes to mind.

Press play for the falsetto vocals and then the Arena Rock Chorus.

Anybody Out There

Morgan Rose also appears as a guest drummer, so it’s no surprise that my brain starts to think I’m listening to Sevendust.

And the riffage certainly helps.

SCREAM for help now, is anybody out there
Is anybody listening, does anybody care

There are people who care but they are the first ones we argue with, so let’s hope that are still around and still care in your time of need.

Morphine

Musically, it reminds me of the Limp Bizkit songs which have clean tone riffs and vocally, its melodic.

Not even morphine can kill the pain
Increase the dosage but I feel the same

We live in a drugged up world.

We take tablets for medication and some do it to get high. We take alcohol for various reasons. People still smoke cigarettes when they even know that smoking will kill you and some turn to illegal drugs.

The Thrill

It blasts out of the gate with fast riffing, reminding me of Godsmack.

Never cared for consequences, we take no prisoners
Don’t bother with regrets, we push forward till it hurts

It’s got the spirit of the early 80s.

Rescue Me

This appeared on the “Hollow” EP and was released as a single back then.

So maybe I’m the one that needed saving
Someone to rescue me from myself

Contemplation.

Maybe we are not so perfect after all.

Today

It stars off with a bass groove and drums, while the guitars kick in with shimmering arpeggios and clean tone melodies.

In the Chorus, they blast out the distortion.

The song is a bit derivative of the other songs and if I was John Kalodner, I would be leave this song off.

Inside My Head

The clean tone Intro reminds me of something but I can’t think of what.

It also sounds like part two of “Today”.

Use Me

This appeared on the “Hollow” EP as an acoustic track and here it gets the plugged in treatment.

Morgan Rose from Sevendust appears again as a guest drummer on this track.

The Chorus is melodic and excellent. Press play to hear it.

So Beautiful, So Evil

How good is the intro?

From the moment she laid her eyes on me
I knew how dangerous she could be

It’s like a Coverdale lyric about serpentine women.

Not Even God

Nonpoint and Sevendust come to mind but like “Today” and “Insiee My Head”, I would have done a Kalodner.

Something More

Another song I would have left off the album. Not that it’s a bad song, it’s because it sounds like many others on the album.

While The City Sleeps

One of my favourite songs.

The lyric of cruising the city while it sleeps could be a reference to Kyle’s job as a paramedic. Yes, while doing Digital Summer, he is also a full time paramedic with a generous boss who gives him time off to tour. His brother Ian is also a paramedic.

With the 16 songs, it’s a good album, however if list was cut down to about 10, then it would be a great album.

Either way, if you like heavy rock, crank it.

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1976 – Part 3.3: Deep Purple – Made In Europe

“Made In Europe” came out in 1976 and it features the line-up of Richie Blackmore, David Coverdale, Jon Lord, Ian Paice and Glenn Hughes.

The shows were recorded in 1975 before Blackmore left, however the album was released in 1976 long after Blackmore left and the version of Deep Purple after that had also broken up.

I am very picky when it comes to live albums. I think the problem is that I grew up with two many live albums that weren’t actually live or had some parts live and other parts recut in a studio.

So when I heard an official live album the first time with no studio overdubs I though I was listening to a bootleg. It was bad and I felt like I got ripped. Some of the bootlegs I had sounded better. It took me a while to understand that a revising could never capture the power of a live performance properly and within time I started to enjoy the live albums with no studio overdubs.

Burn

The opening riff is more iconic to me than “Smoke On The Water”. The drumming from Ian Paice is thundering.

But press play to hear the bass playing of Hughes during the solos. It’s monstrous and he carries the rhythm section on his shoulders.

Mistreated

Because of its bluesy nature, it’s a great song to extend when you play it live. And the main riff is written by none other than David Coverdale himself.

But my go to version of this song is the cut that Whitesnake did. Reb Beach goes to town during the solo section.

Lady Double Dealer

It’s a 12 bar blues, bit its fast, like NWOBHM fast.

Check out the bass playing from Hughes on this.

You Fool No One

It has about 2 minutes of doodling, something which was common back then but not these days. These days, its song after song after song, with zero jamming.

After the doodling, there is a riff which is played, fast and almost thrash metal like. It’s something that Blackmore would do with Rainbow.

But the problem I have with this song is that they’ve take an almost 5 minute song and turned it into a 16 plus minutes song.

Maybe just a bit too indulgent.

However the artists ruled back then and no one would have dared to tell Blackmore to solo less.

Stormbringer

Another killer Blackmore riff. The tempo of the live version is a bit faster than the studio version and its perfect for the song.

You can hear the embryo of the NWOBHM right here.

The falsetto highs of Hughes are excellent and his bass playing dominates again.

This version of Deep Purple only lasted for two studio albums, but they are two albums I hold in high regard and rate as favorites.

And you can’t pass up a live album with Coverdale on vocals.

“Here’s a song for ya”.

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The Record Vault: Digital Summer – Hollow

“Hollow” is an EP/DVD released on March 31, 2008, and featured the single “Rescue Me”.

The band for the album is a bit different from the debut with Kyle Winterstein on Vocals and Guitar, Raymond Amparan and Johnmark Cenfield on Guitar, noting the absence of Kyle’s brother, Ian on guitar. Anthony Hernandez on Bass and Chris Carlson on Drums.

The first four tracks are acoustic tracks, but played in a way like “Days Of The New” with bass and drums also prominent.

The acoustic medium suits the band a lot, because it highlights even further what a great vocalist Kyle Winterstein is.

Whatever It Takes

From the debut album and the distorted sounds are replaced by the aggressive strummed sounds of acoustic guitars.

The Chorus catchcry of doing whatever it takes to get someone out of their life sounds even more desperate in this format. And the drumming still keeps the same frantic pace like the studio recording.

Use Me

A new track and the strummed acoustic guitar riff gets me interested. Vocally, I feel like Aaron Lewis is singing this.

“Let me use you and I’ll let you use me” is the hook, to forget memories and promises made.

Suffocate

Also from the debut album and I like the swampy bluesy feel I get when I hear the intro on acoustic.

Then the riff just before the verses is so “American Woman”.

The thing is, the riff I am talking about is basically known as “the Nu-Metal” riff as every band that dabbled in the genre has a riff like it.

And when its stripped back to an acoustic format, this modern riff sounds like it came from a 60’s song. And I like those little connections to thins known before.

Sweet Misery

Another new track that begins with a riff made up of open strings and single notes, begging for a distorted guitar but it doesn’t come.

Instead a piano melody plays over and over the riff, which gives it a haunting sound along with the shimmering ambient noises, which are mixed in low.

Rescue Me

A full plugged in band track.

A sad piano riff starts it all off before a guitar riff kicks into gear in the verses which reminds me of “Come Undone” from Duran Duran.

Worth The Pain

Another new track. The style of this song is why I like the band, as they combine elements of electronica into a commercial sounding hard rock song.

Crank it.

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Australian Method Series: Jimmy Barnes – My Criminal Record

“My Criminal Record” is studio album number 18 for a Jimmy Barnes. When you add his output with Cold Chisel, his career is massive.

Released on 31 May 2019.

With this album, he became the artist with the most chart-topping albums in Australia with 12 number 1 albums, overtaking U2 and Madonna.

The band for the album is his live band, made up of Jimmy Barnes on vocals, Daniel Wayne Spencer and Davey Lane on guitars, son in law Ben Rodgers on bass, Clayton Doley on keyboards, and son Jackie Barnes with Warren Trout on drums and percussion.

Lending a hand in the song writing department is his Cold Chisel bandmate Don Walker, who co-wrote six of the songs, country artist Troy Cassar-Daley chimes in with two songs, Chis Cheney from “The Living End” contributes a song, Mark Lizotte (otherwise known as Diesel) contributes a song, as well as others, plus there is a John Lennon and Bruce Springsteen cover.

Writing for the album began in 2015, but once his books came out, “Working Class Boy” and “Working Class Man”, well his career took a different turn and suddenly he was a bestselling author, doing speaking tours with music in between and creating documentaries based on the books.

My Criminal Record

Written by Jimmy Barnes and Don Walker.

It’s a slower bluesy tune with the piano setting the mood.

Well I came from a broken home

Writing his books has given Jimmy a different opportunity to write differently and approach different subject matters. If you’ve read “Working Class Boy” you’ll know how broken that home was.

The fact that he made it to 12 number one albums in Australia is amazing.

I keep it locked away somewhere, I know
In a cellar that I call my youth
It’s my criminal record
It’s the truth

It was a burden he carried for a long time. The ghosts of his youth growing up in Elizabeth.

Shutting Down Our Town

Written by Troy Cassar-Daley, this is a great country rock song. It could appear on a Springsteen or Petty album and not sound out of place.

This used to be a place where a man could find some work / Put together Holdens or a foundry job at worst

The car making facilities in Australia are all gone, transported overseas because it’s cheaper. And a lot of towns have suffered this kind of fate around the world in the corporations quest for profits and progress.

Its also autobiographical as all the men who worked at the factory went missing from their homes on payday.

I’m In A Bad Mood

Written by Barnes and Walker it’s got another blues noir soul like groove.

I got me a car but I lost my keys
Got me a girl that I can’t please

Sometimes things don’t roll as they should.

Stolen Car (The Road’s on Fire, Pt. 1)

Written by Barnes and Walker, it’s a smoldering blues cut in the verses before it rocks out with a lot of soul in the Pre Chorus and Chorus.

My life is like a stolen car, out of control
I’ve got no destination, I lost my soul

Great metaphor to sum up his life.

My Demon (God Help Me)

Written by Barnes, Cassar-Daley and bassist Ben Rodgers.

A Blues stomp groove crashes in after the steel guitar Intro which reminds me of “Copperhead Road” by Steve Earle but different.

And my demon he was patient
He just waits till I had nowhere else to turn
And he knew my situation
He was laughing as I burned

Great lyrics.

It showcases that our predicaments in life are down to our own choices. For Barnesy, his Demon didn’t have to do anything, as Barnesy was pretty good at doing shit to himself.

Working Class Hero

Written by John Lennon.

Keep you doped with religion, sex, and T.V.
And you think you’re so clever and classless and free
But you’re still fucking peasants as far as I see

The song is political, a criticism on the difference between social classes and how the working class individuals are being processed into the middle classes, into the “machine”.

Belvedere and Cigarettes

Written by Harley Webster, Jade MacRae and Rodgers.

Belvedere and cigarettes, I’m bleeding myself dry

Sometimes that glass of alcohol is always a friend when your down and out.

I Won’t Let You Down

Written by Chris Cheney from “The Living End”.

It’s a great ballad in which the verses deal with alcoholism/partying and the Chorus deals with making a promise to a special someone that they will change and not let them down.

Stargazer

Written by Barnes and Walker.

She’s a stargazer
Always looking at the sky
And she don’t even look up to me
When she’s on her back at night

A simple laid back tune in which the woman in his life is not paying attention to him or their relationship (hence the staring at the stars).

Money and Class

Written by Barnes, Walker and Rodgers.

I could fight, I could drink, I could shout, I could sing
I could light up a party but I didn’t fit in
Every door that was closed was a door that I had to kick in

Drink, bash and smash your way to the top in this country blues rock tune.

Stolen Car (The Road’s on Fire, Pt. 2)

Written by Barnes and Walker.

It’s a faster take but the same attitude and spirit is still there.

If Time Is on My Side

Written by Mark Lizotte, otherwise known as Diesel or Johnny Diesel, this song wouldn’t be out of place on a Springsteen or Petty album.

The Chorus is loud and you singalong to it. It also reminds me of “Ride The Night Away”.

People come and go
Just like dust in wind they’re blown
As long as I am standing here
I’ll never let you go

That’s life in a nutshell, people would come and go but in the end, it’s just you and your partner.

Tougher Than the Rest

A Bruce Springsteen cut and a fitting song to sum up Barnes and his resilience to life and love.

And that’s Jimmy Barnes in 2019, a Blues Rocker with a little bit of Soul and a little bit of Country.

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1976 – Part 3.1: Kiss – Destroyer

I grew up on 80’s Kiss. Albums like “Lick It Up”, “Crazy Nights”, “Hot In The Shade” and “Creatures Of The Night” got a lot of rotation on my turntable, along with “Unmasked”.

Kiss transitioned to a Hair Metal or Pop Metal sound (by the way label reps came up with these stupid terms) because they needed to. It happened in sync with the rise of MTV and how music television got behind promoting acts of similar sounds.

And the Quiet Riot effect was real at the time.

Every artist thought it but no one said it. If Quiet Riot could get a Number 1 album, they could do it as well. So Kiss tried like many others.

So my journey into 70s Kiss started with “Double Platinum” and “Smashes, Thrashes and Hits”. All up five of the”Destroyer” tracks are spread across those albums

When I started to get more cash at my disposal, “Destroyer” was the first album I had on my list because even during the 80s when each new album came out, the reviews kept saying, “a “Destroyer” album this is not”.

Also when they started to record “Revenge” the guys mentioned it has a “Destroyer” feel to it. It was “Destroyer” all around.

In addition, my older brothers had an A4 Postcard of the “Destroyer” album cover pasted into their stamp collection book which I looked at forever and a day, honing my drawing skills trying to replicate it.

The artist Ken Kelly is a rockstar himself. Kiss, Manowar and Rainbow used his talents and even Coheed And Cambria recently used his talents for their “No World For Tomorrow” album.

And after all that exposure to “Destroyer” album, I still hadn’t heard the full album. In my head I imagined perfection.

So when I got the CD I was ready for perfection.

I pressed play, listened to it and came away with the viewpoint that there is no need to hear the other tracks that didn’t appear on the Compilation albums.

The five best songs on the album are “Detroit Rock City”, “God Of Thunder”, “Shout It Out Loud”, “Do You Love Me?” and “Beth”.

“Flaming Youth” I like, it just felt unfinished.

It wouldn’t be an Ezrin produced album unless half the album was accessible and he made sure of that.

One crucial takeaway from listening to the album and reading the credits is that even in the 70s, Paul Stanley was Kiss.

His songwriting contributions to this album are exceptional. He even penned the anthem for Gene Simmons and his “God Of Thunder” anthem.

I know this isn’t a review like I normally do, however if you want to read some killer reviews, then check out the following blogs I follow:

2Loud2OldMusic

MikeLadano

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The Record Vault: Digital Summer – Cause And Effect

Sometimes a band comes across your ears that you just like.

Digital Summer is one such band. They fuse a combination of other styles, but it’s delivered in a way, which is easily assessable and executed with a high degree of technicality.

It was the “Counting The Hours” release in 2010 that got me interested. And I was on board for the fan funding campaign on the “Breaking Point” album and the reason why I got their CDs and other gear all signed.

They are from Phoenix, Arizona, formed in 2006. Up until this day, they have remained independent and unsigned, while still getting radio airplay and building a fan base. They are a great story to read about.

“Cause And Effect” came out in 2007 and the band for the album is Kyle Winterstein on vocals, Ian Winterstein and Johnmark Cenfield on Guitar, Anthony Hernandez on Bass and Chris Carlson on Drums.

I’ve seen em labeled as Post Grunge, Hard Rock, Alternative Metal, Post Rock, Nu-Metal, Modern Rock and Alternative Rock.

To me it’s all Rock And Metal.

Disconnect

A Nu Metal like intro (think Godsmack) gives way to a heavy and melodic verse (think Staind) and an AOR Chorus (think Fuel). And I love it.

There must be a way to cut the cord.

So much harder to do these days as we live in a society which thrives on connection.

I reject this reality

Social media is a one size fits all approach. You either comply with the regulations the providers have or you get booted from the service or your smart enough to have never joined in the first place.

Crash

This one reminds me so much of Staind and I like it.

Press play on this for the Chorus.

When life crashes down around you

What do we do next?

Pick ourselves up and start again or find someone to blame and go one like nothing happened.

Suffocate

Press play for the mood and feeling in the verse.

The Chorus feels like a Seether Chorus with Fuel added in for spice.

What would you do with the whole world / Rolled in your hands? / I’d like to watch it burn

The best way to sum up the darkness when your feeling down and depressed.

Now Or Never

If you like Three Days Grace and Seether, then you’ll like this.

Vocally in the verses, Kyle Winterstein comes across like Aaron Lewis.

Lyrically it’s got that 80s attitude of don’t look back to the past because if you want to change your life, the door is open but you’ll need to act fast as opportunities don’t last forever.

So don’t hesitate because it’s now or never.

Broken

Arpeggios start the song and then distorted guitars kick in.

Its aggressive and Three Days Grace/Fuel definitely cones to mind.

So break my wings and watch me fall / Cause I’m broken

A true way to describe a feeling post relationship break up.

One More Day

A clean tone strummed riff that reminds me of Incubus starts everything off.

But press play for the Chorus and allow the emotion and the mood take you away.

Just tryin to make it one more day

You can tattoo this as a slogan.

Like how Art Of Dying had the Chorus hook of “if I can get through this, I can get through anything”.

That’s life in a nutshell. Trying to make it one more day.

Chasing Tomorrow

Press play for the Chorus which brings memories of Hoobastank’s debut album which I’m a big fan of.

I cut myself / Made a brand new scar today

The scar is a reminder of a time and a place so you don’t make the same mistakes again.

Sick Inside

It feels like a Heavy Rock cut with a bit of Tool like grooves in the Intro.

And check out the super melodic Chorus which Staind would be proud off.

YOU! / Everything you do / MAKES ME SO SICK INSIDE

A lot of rage as the writer wishes they never met their partner.

This Time

A piano melody plays briefly before the guitars crash in. This song is a favorite as well as it reminds me of Breaking Benjamin.

I don’t care what it takes this time / I’ll do anything to make things right / The hardest day of my whole damn life / Was the day that I said goodbye

From the rage in the previous song to the emotion of loss in this one.

Whatever It Takes

It sounds like a Bush cut and I like it.

And this one is back to theme of doing whatever it takes to get someone out of their life.

Love And Tragedy

The song begins with a feed backing guitar with the use of an eBow to keep the notes sustaining.

Then a digital delay The Edge like progression kicks in and I’m all in.

Press play on this especially for the Chorus.

Violent cries of love and tragedy

There is a target to Kyle’s anger and you hear it.

Sxxxoxxxe

The album closer is like a soundtrack song, with a haunting piano, sampled voices and drums and a vocal line processed through a tremolo effect.

Throughout it, you hear guitars feed backing.

And then a vocal melody kicks in without any effects, repeating “just to suffocate with me”.

If you haven’t heard em, get cranking.

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1986 – Part 3.7: Fastway – Trick Or Treat

“Trick or Treat” is album number 4 but for me it will always be known as the soundtrack for the “Trick or Treat” movie and my first exposure to Fastway.

It was released in November 1986, a month after the movie and it would be the final album to feature Dave King on vocals. While the previous album “Waiting On The Roar” did not have a guitar riff written by Fast Eddie Clarke, this album is credited as all songs written by Fastway and there are riffs to be heard.

Fastway is Dave King on lead vocals, “Fast” Eddie Clarke on rhythm guitar/lead guitar, Shane Carroll on second guitar, Paul Reid on bass guitar and Alan Connor on drums.

These guys appear on tracks 1 to 7. The song “Heft”(track 8) is from the debut album and bass is played by Mick Feat and drums by Jerry Shirley. “If You Could See” (track 9) is from the “All Fired Up” album, with bass being played by Charlie McCraken and drums by Jerry Shirley.

The flick had WC wry controversial story in it that was related to blues, rock and metal and it fed on the Satanic Panic sweep wing across the Bible Belt of the U.S.

Spoilers alert.

There is a rock star by the name of Sammi Curr, who sold his soul to the devil to rock and roll ala Robert Johnson.

Curr dies in a hotel fire, but is resurrected by a fan of his playing the last vinyl recording of Curr’s music backwards. The vinyl record was given to him by a DJ called Nuke, played by Gene Simmons.

The fan has been bullied at school and suddenly he is no longer bullied as the reincarnated Curr has some “Final Destination” punishment in mind for the bullies. But like all things, when it comes to your heroes and power, power corrupts and by the end of the movie, the Curr has turned against his fans and it allowed the script writers to come up with these kind of sentences.

Hysterical Survivor: [crying] Oh, God, it was–it was awful! I mean, this guy was shooting stuff out of his guitar and it was–and people were running and I don’t–and my very best friend she was…

Cop #1: All right, all right. What did the suspect look like?

Hysterical Survivor: I told you. It was Sammi.

Cop #1: Who is Sammi?

Cop #2: Sammi Curr? The rock singer?

Hysterical Survivor: [still crying] Yes. Yes.

Cop #2: Sammi Curr died last week.

Cop #1: [both cops turn away from the still-sobbing girl] Looks like we better check out the party punch.

And of course the punching bag for all of the evangelists at the time, Ozzy Osbourne makes a guest appearance as Reverend Aaron Gilstom. This would have infuriated all of those people taking him to court, for supposably having backward messages of “shoot” in “Suicide Solution” and the script was written for Ozzy to smacks down those evangelists.

Reverend Aaron Gilstom: (in response to Heavy Metal music)

Demonic beasts.

Whatever happened to the good old simple love song?

“I love you.”

There good words to use. Nowadays they have to write some sickness. It’s just absolutely sick and bizarre, and I’m going to do my upmost best to try and stop it now.

Go get em Reverend. And now to the album.

“Trick or Treat”

Three chords and tom hits like a metronome. I was immediately invested. It’s a perfect amalgamation of NWOBHM and Hard Rock.

I really like the section, in the verse, as it moves between Em and D for a few bars, and then moves to a C chord and a D chord which acts as a Pre Chorus.

Those intro chords come back in, just before “Fast” Eddie breaks out some licks.

“After Midnight”

It’s like Angus and Malcolm Young joined the band and wrote a derivative version of “You Shook Me All Night Long”.

And I like it.

“Don’t Stop the Fight”

This was my favourite cut when it came out.

The palm muted intro and build up always got me pumped. It still does today.

It reminds me of “Wild Child” from WASP, which is bizarre as Blackie Lawless did get offered the part to play Sammi Curr, but rejected it when he was told he couldn’t write the soundtrack music as Fastway was already contracted to do so.

“Stand Up”

Another head banging intro with a killer vocal melody.

How can you not like it?

Press play to hear the bass groove and lead break. The sound of the toms before it comes out of the solo, always makes me laugh. Corny, but a product of the times and I wouldn’t have it any other way.

Lyrically, it’s an anthem, with the message to stand up and be counted.

“Tear Down the Walls”

After sound effects, it goes into a brief song, with the gang chants to “tear down the walls”. It fitted the movie scene nicely.

“Get Tough”

It kicks off side 2.

After some heavily flanged and distorted guitars, that sounded spooky, for lack of a better word, the song kicks in and the message is all about standing up for yourself, because you’ve had enough of the crap that’s been thrown at you.

“Hold on to the Night”

A “Radar Love” like drum groove starts it off and it continues throughout the whole song, while the riffs and melodies change.

“Heft”

Originally released on the album “Fastway”.

I like the heaviness of the intro/verse riff.

From a modern sound, its something that Tool would do, however it also reminds me of tracks like “Mississippi Queen” and “Evie” and it fits the theme of the album perfectly.

“If You Could See”

Originally released on the album “All Fired Up” and how catchy is that acoustic guitar in the Intro?

The album did okay business in Australian and the movie was popular as well. It was hard to get a rental copy of it from the local video shops. As soon as I rented it, I had my neighbours video over and the dubbing began.

For me, there is no filler on this. It’s all killer. Classic NWOBHM with hard rock polish added to it.

Crank it, play it backwards whatever.

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Australian Method Series and 1986 – Part 3.5: AC/DC – Who Made Who

“Who Made Who” is like a Greatest Hits album released as a soundtrack album in 1986, for the Stephen King film “Maximum Overdrive”. A forgettable movie.

The funny thing is that the next Greatest Hits slab would come out with another movie, this one a lot better and having a larger social and cultural impact.

Yep, the multi- billion franchise known as “Iron Man” sent AC/DC into the stratosphere. Not that they needed it.

Both album packages are excellent entry points for people who didn’t own or know about AC/DC.

If this was your first exposure, there would be a high chance that you would go out and buy/access some of the back catalogue.

And the song “Who Made Who” introduced Angus Young the shredder. His guitar work here is at a Shrapnel level.

Who Made Who

Drums and bass from Simon Phillips and Cliff Williams in a stock 4/4 time. I’m already invested.

Malcolm kicks in with some power chords outlining a blues chord progression as Brian Johnson fires in with his throaty vocal melody.

Angus then fired in with some fast palm muted licks which sounds like open string licks, something he’ll use to even greater success with “Thunderstruck”. But it’s all picked.

Check out the lead break. Angus breaks out some EVH like tapping.

Lyrically, it’s based around the themes from the “Maximum Overdrive” movie, where the machines come alive and begin killing people.

Like the “Terminator” movie, the tools that humans create, rise up to obliterate the humans.

You Shook Me All Night Long

From “Back In Black”.

It was re-released as a single after the massive success of “Who Made Who” which gave this song a second coming, not that it needed one.

D.T

It’s an instrumental jam which became soundtrack music.

It moves between distortion and clean tone so it could be used in multiple scenes.

Sink The Pink

From the “Fly On The Wall” album.

This song doesn’t get the love it should but goddamn it’s a great song.

The Intro reminds me of “Rock N Roll Ain’t Noise Pollution” and it has a Chorus chord progression which could be interchanged with almost every AC/DC chorus, and I like it.

At 2.50, the Intro kicks back in, with drums and bass before Angus kicks in with his bluesy lead.

Ride On

From the “Dirty Deeds Done Dirt Cheap” album and Bon Scott gets a spot with this slow blues dirge.

Hells Bells

From the “Back In Black” album.

As soon as the bells chime and the dirty arpeggio riff in Am kicks in, everything starts tingling. It doesn’t matter that I’ve heard it a lot of times. It still gets me.

Shake Your Foundations

Also from “Fly On The Wall”.

Another underrated song from an album that is seen as a disappointment.

You can’t tell me that the Intro/Verse riff isn’t classic AC/DC and a Chorus that almost mimics “You Shook Me All Night Long”.

Chase the Ace

Another instrumental jam session but a bit more aggressive than “D.T”.

Check out the drum groove in the Intro. Something that Lars Ulrich would use to great effect in “Enter Sandman”, which is also based on the “Dirty Deeds” Intro/Verse drum pattern.

For Those About to Rock (We Salute You)

From the album with the same title which came after the “Back In Black” monster.

I was hooked from the opening riff and the way Malcolm and Phil Rudd build it.

Once the slow groove kicks in, it feels that heavy that it’ll destroy everything in its path. And it did.

In Australia and the U.S, it’s 5× Platinum.

And it kept AC/DC relevant in a friendly MTV world which was starting to promote artists who looked great over the music they created.

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