Category Archives: Derivative Works

Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Dokken – Breaking The Chains

I didn’t get this album in 1983. I got it much later.

Dokken was introduced to me in 1986 via a dubbed VHS copy of their “Unchain the Night” video and it was a great introduction.

“Into the Fire”, “Alone Again” and “Just Got Lucky” from the “Tooth and Nail” album appeared.

“Breaking the Chains” appeared.

“The Hunter”, “In My Dreams” and “It’s Not Love” from the “Under Lock and Key” also appeared.

I was an instant fan.

At the same time, I started to buy various Guitar magazines and George Lynch was appearing.

Also in 86, a badly dubbed copy of “Heavy Metal Parking Lot” came my way and in that video, the filmmakers interviewed people before a Dokken and Judas Priest concert.

Then “Dream Warriors” came out via the “Nightmare on Elm Street 3” movie and suddenly Dokken was on my radar of bands I needed to purchase.

So my first actual purchase was the “Back For The Attack” album.

An accumulation of events via word of mouth and pirated video tapes led me to Dokken fandom.

I purchased the LP first via a used record and book store.

Breaking The Chains

Written by Lynch and Dokken.

The riff is excellent and far removed from the L.A sound that was happening at the time. But what I remember most about this song is the tacky camera angles on the chain like strings on Lynch’s guitar in the film clip, plus Don’s terrible lyrics.

“Breaking The Chains” had the title for another teen angst anthem however Don delivered very confused lyrics loosely based on heartbreak.

How can you take these lines seriously!!

Got this letter
Came today
From my baby
Who left me yesterday
Said she loves me
She’ll come back
She wants to try

But it was the 80’s and it was cool to be this tacky once upon a time.

In The Middle

Written by Lynch and Dokken.

This is more in the vein of the L.A sound. The groove of the song would feature prominently when RATT did “Lay It Down”.

In the middle
Of love

I dig the music, the vocal melodies, but not the choice of words.

Felony

Written by Lynch and Dokken.

Check out the swingy lead break.

Live To Rock (Rock To Live)

Another speed metal song. This one is written by Lynch, Croucier and Dokken.

Run out of breath
And I feel I’m moving too slow
Backwards and forwards
I don’t know which way I should go

You know the feeling. You worked hard all week and you spent so much time away from loved ones and things that you like. You get paid and nothings really paid off. Outstanding bills still remain and to top it off, your car broke down. And you ask yourself the question, “Did you live up to your promise?”

Live to rock
Rock to live
It’s all you got when
You’re down on the skids
Live to rock
Rock to live
One way or another
Survive until the end

When we purchased an album, we stayed up all night listening to it. Even though it had one good song on it. Our view was, if we gave our money, we had to get a return on our investment because we knew we didn’t have any more funds to purchase new music for at least another fortnight (if we were lucky), so we had to listen to it.

Feeling it flow through my veins
Rock will never get old

Damn right. It’s always been there in the undertow. And in some era’s it’s the raging river.

Nightrider

Musically it’s excellent, but the lyrics are stupid.

In the car, slam the door, turn the key and I’ll be free
On that highway tonight

See what I mean.

Paris Is Burning

The original studio version didn’t cut it, so a “live version” was used instead. Live is not really live, as all of the tracks get re-recorded in a studio, along with the vocals. So after some doodling by Lynch that made me want to go back in time and unplug his guitar cable, good ol’ Mick Brown blasts the song off.

I don’t get the lyrics but I love the music and the vocal melodies. I just wished they used better words for the melodies.

The first two lines in the opening verse deal with getting out of his town, sort of like “We Gotta Get Out Of This Place” and then the verse finishes off with two lines about a woman who became so hard and cold. Check it out for yourself.

This town I’m in can’t take no more
Decadence and sin
You were my woman
Why’d you have to be so hard and cold

And then we are into a Chorus that again doesn’t make sense or have any logical flow.

Paris is burning
Want to see it from afar
Paris is burning
Want to get to where you are

But that was the 80’s and it was allowed.

And there are two versions available. A 1981 version with a different bass player to the 83 version and the Elektra 1983 version.

And according to Lynch, 500 copies of exist that has Don Dokken as the band name.

Then sometime in the 2000s circa 2009, I purchased the CD via a box set.

It’s a carbon copy of the vinyl album.
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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

2001 – Part 2.3: W.A.S.P – Unholy Terror

I felt like I was the only W.A.S.P fan around during this period. Most of my metal head friends had jumped off the W.A.S.P train after “The Headless Children” or “The Crimson Idol”. But I kept going. Actually my cousin Mega and I kept going.

“Unholy Terror” is album number nine, released in 2001 and produced by Blackie Lawless, which from reading some of the reviews online recently, people hated, as they found the production flat. But I never did have a problem with it, as most productions circa 2001 sounded like this.

The band at this time is Blackie on vocals and guitar, Chris Holmes on lead guitar, Mike Duda on bass and Stet Howland on drums. But, the album was started in February 1999 and finished at the start of 2001. So during that two year period, the band was a bit different. Which means, you get some other players.

The late Frankie Banali plays drums on “Hate To Love Me”, “Loco-Motive Man”, “Charisma”, “Raven Heart” and “Wasted White Boys”. Basically, my favourite tracks. And Roy Z plays lead guitar on “Who Slayed Baby Jane?” and “Wasted White Boys”.

But.

Chris Holmes left the band during the recording process for this album. And even though he is credited, Holmes has said in interviews he didn’t play a note on it.

Coming into this album, I didn’t like “K.F.D” and “Helldorado”.

So, I was skeptical.

In the CD booklet, Blackie writes that “this album is similar to “Headless” in some ways with the social and political references but “Unholy Terror” brings my religious upbringing into the picture”.

“Let It Roar”

It’s got that “Love Machine” vibe merged with “The Headless Children” solo section.

Come on and stand for what you believe
Oh you gotta get up on your feet
Or die on your knees
Let it Roar, cause I wanna be oh yeah

Before Kate Perry was telling people to roar, Blackie was doing it from way back.

“Hate To Love Me”

Blackie is channelling his Who and Jethro Tull influences.

“Loco-Motive Man”

It’s got that main theme from “The Crimson Idol” as its centrepiece. Think “Chainsaw Charlie” meets “Black Forever” from the “Still Not Black Enough” album. Its familiar, its flawless and I like it.

Oh God I’m coming
Read my words I’m coming
I got a gun I’m coming
You won’t hear me coming

Inspired by the recent rash of school shootings in America. Then again, it’s still relevant today. Nothing has really changed in that regard. If anything, they have gotten worse and worse.

“Unholy Terror”

Crowned messiah, I crucified him
And still ya don’t believe
I am Kings – I am queens
Unholy terrors me

It’s like a Tool song, with a repeating and percolating clean tone riff, sounding sinister as soon as Blackie’s whispered vocal line starts. As the vocal line builds in intensity, so does the guitar. And it bleeds into “Charisma” because “Unholy Terror/Charisma” is one song divided into two tracks.

“When I was writing the lyrics for “Charisma” and “Unholy Terror”, I was talking about the preconceived idea that most of us have about world figures such as entertainers, politicians or athletes that we admire.”
Blackie Lawless in the CD booklet to “Unholy Terror”.

“Charisma”

I’m hooked as soon as the John Bonham drum groove and Zeppelin like guitar groove (which reminds me of “When The Levee Breaks” merged with “Kashmir”) kick in. It’s probably one of Blackie’s best songs of the 2000’s era.

I wrap myself in the American Flag
And tell people I’m for which it stands
I’m coming back till you know I’m God
Till you believe, till you know my charisma

In the CD booklet, the first line is attributed to “Ronald Reagan” and the second line to “Richard Nixon and Al Gore”. Typical of politicians to proclaim themselves as Gods.

I’m a fear from a shadow land
I seduce you all
Here I come new messiah man
To bow to me, make me your God

In the CD booklet, these four lines are about “The Anti-Christ”.

I got them all marching to the rhythm
Believing me, oh yeah, their new religion
I’m a racist with a waving flag
Of domination with a fascist plan

These four lines are about “Adolf Hitler” which is bizarre, because if you didn’t have the CD booklet pointing that out and you heard this song for the first time in the last few years, you would attribute these to an ex U.S President that just got booted.

“Who Slayed Baby Jane?”

TELL ME NOW who slayed oh my Little Baby Jane
Rolling down the stairs
Her Little head has rolled away
Put it in my hands

This is the stuff that Alice Cooper writes. And it works in Blackie’s world as well.

“Euphoria”

It’s an instrumental.

It has this “Hold On To My Heart” feel merged with “Albatross” from Peter Green/Fleetwood Mac and “Planet Caravan” from Black Sabbath.

In the CD booklet, Blackie wrote that its “one of the greatest little tunes I’ve ever done. I love it. It’s music to get high by. Enjoy!”

“Raven Heart”

From the intro riff, which reminded me of “Schools Out”, I was hooked.

“Evermore”

It’s interchangeable with “Forever Free”. It’s actually an demo that goes back to “The Headless Children” album. The CD Booklet mentions that the song was originally titled “Circle Of Legend” and it was meant to act as a reprise to “Forever Free”.

Do the shadows of my memory
From a long ago time
Lead a path to the other lives of me
Souls of past great divides

The song is inspired by Native American Indian stories and mythology.

Who knows what kind of spirit world exists and if it does, how it all interconnects.

“Wasted White Boys”

Man, the whole W.A.S.P catalogue is in this song.

Throughout its six minutes, the song sounds like a derivative version of “Blind In Texas”, “On Your Knees”, “Dirty Balls”, “Mean Man”, “Arena Of Pleasure” and “I Am One”.

Wasted boys feeling no pain
Howl at the moon in the night
Just give me shooters and that demon cocaine
I’m the devil alright

And the outro is like “Free Bird”, with “Wild Child Holmes” allowed to spread his wings and fly on this one. Or was it Blackie wailing away or Roy Z. I guess we will never know the true story because those wasted white boys are keeping secrets.

Now if you haven’t heard W.A.S.P previously, go and checkout, “The Headless Children” and “The Crimson Idol” first. If you are a fan and liked those albums, you will like this album as well. It’s W.A.S.P or Blackie doing what they do best. Rocking out.

“The message here in this album is think for yourself, seek out answers for yourself and not be manipulated (as I was) by some guy, selling you “prepacked” beliefs whether they are religious or political (which often times go together)”.
Black Lawless in the CD Booklet to “Unholy Terror”

Crank it.

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Australian Method Series: Lord – Undercovers, Vol 1

I dig Lord.

The band is a natural evolution from the band Dungeon, who sounded more in the power and thrash metal style. Lord is like the classic metal and rock sound I grew up with, and I wouldn’t have it any other way.

We did a some shows with em back in 2010 while they were out supporting their “Set In Stone” album in our hometown of Wollongong. Otherwise known as “The Gong”.

I’ve also seen Lord live a few times opening for overseas acts and on their own run of shows.

The band is currently made up of Lord Tim on lead vocals, guitar and keyboards, Andy Dowling on bass and Mark Furtner on guitar.

“Undercovers” is a 2021 release.

This review is based on the Spotify release. To get the full version (23 songs deluxe), you need to go to Bandcamp.

To The Moon And Back

From Savage Garden.

It’s an Aussie Pop classic. Darren Hayes co-write the song and on Twitter he mentioned how there is a section of fans who like heavy metal and Savage Garden and Lord has given em, an awesome Metal version of the song.

Judas Be My Guide

From Iron Maiden.

That’s how quickly Tim can change vocal styles. From pop rock to Bruce Dickinson.

“Fear Of The Dark” album was maligned for sounding too hard rock but I disagree. To me, it sounded like Iron Maiden.

Send Me An Angel

From Real Life.

There is an 80s like synth as the main riff that makes me think of “Sweet Dreams” from Eurythmics.

I remember this from the “Rad” soundtrack.

Shattered

From Pantera.

This song was Pantera doing Judas Priest on their major label debut. Even Anslemo’s vocals mirrored Rob Halford.

Well Lord Tim is an unbelievable vocalist, so his Halford vocal style was all on show to be heard.

Hard To Love

Readers of this blog know that I have a lot of time for Harem Scarem and their underrated and excellent guitarist Pete Lesperance.

This song is from their debut and Lord don’t mess with perfection much, nailing every part of the song musically and vocally.

(I Just) Died In Your Arms Tonight

Lord Tim passes the vocal duties to bass player, Andy Dowling.

This song is from Cutting Crew.

I always liked the melodic rock overtones of this song and I still like it to this day.

Reckless

From Judas Priest and the much maligned “Turbo” album.

But.

I like the “Turbo” album. And this version is as powerful as the original with a modern mix. If you like Judas Priest you would want to hear this.

I Want Out (Live)

From Helloween.

It’s faster and energetic. They always delivered in the live arena.

Touch The Fire

From Icehouse.

It’s an Aussie classic and Lord make it a melodic rock classic.

Break The Ice

From John Farnham.

This is an excellent cover of Farnham’s melodic rock era when he was cashing in and singing songs for 80s movies. Before “You’re The Voice” took over the charts around the world.

This song is also from the “Rad” soundtrack.

On A Night Like This

From Kylie Minogue.

Check out the hilarious piss take video clip on YouTube.

Bassist Andy Dowling also has a podcast running called “Nod to the Old School”. Here is the Spotify link.

Finally if you like your 80s hard rock and heavy metal than Lord’s music is waiting for you to invest some time.

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1976 – Part 1.6: Bob Seger – Night Moves

I always have time for a little bit of Bob Seger. “Old Time Rock N Roll” was the song that got his name into my consciousness. “Turn The Page” was another, but I heard the Metallica version first. Actually, that whole “Garage Inc.” album from Metallica, got me excited to check out bands that I wasn’t sure I should check out.

So “Night Moves” is album number 9. For a person who lived on the road, the cover is perfect, with his image and the spotlight in the background.

At the age of 30, Seger did good live business in middle America, but couldn’t break through nationally.

Then he dropped the “Night Moves” album, a road trip of nostalgia and a soundtrack for many growing up in the 70’s. I didn’t hear this album until the 90’s. Such a long time after its release but if I heard this in the 80’s I wouldn’t have liked it, as I was head over heels in love with hard rock and heavy metal.

“Rock and Roll Never Forgets”

It’s a 12 bar blues romp.

The catchcry of “come back baby, rock and roll never forgets” is truth. As fans of the music and its lifestyle, we can dabble our tastes in other styles but we always come back to our rock and roll roots like we never left.

“Oh the bands still playing it loud and lean / Listen to the guitar player making it scream”

“Night Moves”

When I was doing some reading on Bob Seger, a lot of reviews when the album came out, kept mentioning how his songs sound like other songs that came before. And I’m thinking, perfect, that’s just the way I like it.

“I used her, she used me / But neither one cared / We were gettin’ our share / Workin’ on our night moves”

The strummed acoustic guitar kicks it off, but it’s Seger’s phrasing and vocal delivery, almost “American Pie” like.

The narrative of the secret getaways of teenage lovers takes its cues from Van Morrison and his “Brown Eyed Girl” and the movie “American Graffiti”. Bruce Springsteen’s “Jungleland” from “Born To Run” can also be heard, a coincidence or a fact that both artists have the same influences.

“The Fire Down Below”

It feels like a song from The Eagles “Hotel California” album which came a few years after. Reading comments on the YouTube video of the song, led me to a 60’s R&B singer called Johnny Taylor, and his songs “Who’s Makin’ Love” and “Take Care of Your Homework”. And one comment even mentioned that the Silver Bullet Band is tight in the “Brown Sugar” style of the Rolling Stones.

All I can say is, take what has come before and make it better.

“Sunburst”

“Sunburst” has inspirations from the Beatles “Dear Prudence” and Rod Stewart’s “Handbags And Gladrags”.

Stick around for the change at the 2.10 minute mark when it gets a bit metal like.

“Gaze on the sunburst / His weapon at his side / He flashes it with pride / Before his legions”

What’s this. Lyrics about the wood finish on a guitar. Before the term “Guitar Hero” even existed.

“Sunspot Baby”

Another 12 bar blues romp, that he would really nail with “Old Time Rock’N’Roll”.

“She packed up her bags and she took off down the road / Left me here stranded with the bills she owed / She gave me a false address / Took off with my American Express”

Story telling at its best about a lover who did a number on him as she charged up a fortune on his credit card.

“Mainstreet”

It could be about any town in any part of the world, as we all have the same main streets and a story or two of someone who tried to make it out.

The guitar melodies and leads on this one are excellent.

“And sometimes even now, when I’m feeling lonely and beat / I drift back in time and I find my feet / Down on Mainstreet”

That’s right, you can never escape your hometown. You know every corner, every crack on the road, every curb and every smell. It’s in your DNA.

“Come to Poppa”

It smoulders along with its “Cocaine” groove.

“If you need a pacifier / Call me anytime”

This is more crude than any lyric that the PMRC found offensive in a decades time for their “Filthy 15” list.

“Suck on that”, I say.

“Ship of Fools”

The Eagles influence is present again with “Lyin’ Eyes” and “Take It Easy” combining to become “Ship Of Fools”.

“Mary Lou”

It’s a cover and it sounds like Seals and Crofts “Your Mama Don’t Dance” or “Jailhouse Rock” or “Smokin In The Boys Room”.

You know the riff I’m talking about.

In the U.S, six million copies were shipped, for a 6× Platinum certification. And “Night Moves” is the anchor to Seger’s most successful period which includes “Stranger In Town” in 1978 and “Against the Wind” in 1980.

How many artists can say that their ninth album broke em him to the masses?

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Australian Method Series: AC/DC – Powerage

I’ve already reviewed “TNT” and in The Record Vault post I had “High Voltage”, “Blow Up Your Video”, “For Those About To Rock”, “Let There Be Rock”, “Flick Of The Switch” and “Family Jewels” reviewed.

But.

No AC/DC discussion can be had without mentioning “Powerage”.

Released in 1978. A lot of discussions are had in Australia and around the world, if this is the “album”. It’s not their most famous work and it didn’t chart well but it is seen as their definitive work, like “Sgt Peppers” and “Exile On Main Street”.

Keith Richards and Slash call this their favorite album.

The personnel for the album is Bon Scott on vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar, Cliff Williams on bass guitar and Phil Rudd on drums.

The label wanted Bon gone as they believed his voice was the reason the band couldn’t get radio play but the Young brothers wouldn’t hear it.

“Let There Be Rock” didn’t do great numbers commercially and bassist Mark Evans was replaced by Cliff Williams, but he couldn’t get a Visa to enter Australia. So because of this, it’s believed that most of the bass tracks are played by George Young.

“Rock N Roll Damnation”

The riff that spawned a thousand copy cat bands.

“Take a chance while you still got the choice”

What a lyric line from a boozer, lover and party animal. AC/DC lost this art when Bon died. Johnson had it in him but the Young brothers took over most of the lyric writing and that was that as AC became sleeker and more corporate.

Burn all your self help development books and listen to Bon Scott’s lyrics in AC/DC. They will motivate you.

“Down Payment Blues”

It’s one of Slash’s favorite songs. And mine too. Especially the riff that would be reused a few years later for “Givin The Dog A Bone” riff.

Living on a shoestring
A fifty cent millionaire
Open to charity
Rock ‘n’ roll welfare

Bon Scott might have portrayed a certain confidence and strut, but he had a soft spot for the broke, bruised and the weak of society. Because he lived what he wrote and we understood what he wrote because we lived it as well.

Get myself a steady job
Some responsibility
Can’t even feed my cat
On social security
Hiding from the rent man
Oh it make me wanna cry
Sheriff knocking on my door
Ain’t it funny how the time flies

Eventually we all fall in line to what governments want. Obedient workers who enslaved to earn and pay taxes. And by the time you know it, your retired and then dying. Ain’t it funny how time flies when your doing routine 9 to 5.

“Gimme A Bullet”

How good is the verse riff?

And if the verse sounds familiar it’s basically the “Highway To Hell” verse riff.

“Riff Raff”

Those open string riffs with smashing power chords and that little riff towards the end that sounds like something that Mick Mars took for “Rattlesnake Shake”.

I never shot nobody
Don’t ever carry a gun
I ain’t done nothin’ wrong
I’m just havin’ fun

I thought of this song and lyric when I came across the video clip to “You Can’t Stop Rock N Roll” from Twisted Sister and how the anti noise or was it anti-fun police kept chasing em.

“Sin City”

One of the best riffs ever.

Where the lights are bright
Do the town tonight
I’m goin’ in
To sin city

And you believed every word of it.

“What’s Next To The Moon”

Lars ripped the drum groove from this song and “Dirty Deeds” for his “Enter Sandman” Intro.

Two awesome songs to use for inspiration in my opinion.

“Gone Shootin”

The tune is bluesy and not as heavy but the subject matter of losing someone close to you to heroin is anything but light.

“I stirred my coffee with the same spoon
Knew her favourite tune
Gone shootin’
My baby gone shootin’…”

“Up To My Neck In You”

It’s that Chuck Berry shuffle they used on “Jailbreak” and “Long Way To The Top”.

“Kicked In The Teeth”

It’s basically “Whole Lotta Rosie” and “Let There Be Rock” musically. And I wouldn’t have it any other way. Bon Scott is channeling his Robert Plant voice.

In Australia it went 3x platinum. In the U.S only Platinum. But to me, it’s the AC/DC album. Here is a review I wrote for the album when I covered the 1978 year.

And for the Brian Johnson era “Flick Of The Switch” is his “Powerage” album.

Crank it.

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1976 – Part 1.5: Scorpions – Virgin Killer

The original cover gets more attention than the actual album. Even Wikipedia was embroiled in the controversy for showing it. I’ll go with the alternative cover.

For me, this album showcases the power of Uli Jon Roth. Four of the compositions “Virgin Killer”, “Hell-Cat”, “Polar Nights” and “Yellow Raven” are written solely by Roth (he even sings on two of em), while opener “Pictured Life” is written with Klaus Meine and Rudolf Schenker. “In Your Park”, “Backstage Queen” and “Crying Days” are Meine and Schenker compositions.

Rounding out the band is Francis Buchholz on bass and Rudy Lenners on drums, the underrated rhythm section of the band. Dieter Dierks is credited as assisting with the arrangements and production.

“Pictured Life”

It’s like a party is happening. There are leads all over this song courtesy of Roth.

In the intro, in the verses, in the Chorus and after the Chorus.

And one of their biggest songs, “Rock You Like A Hurricane” is very similar to this.

I also think that “Games People Play” from The Alan Parson’s Project sounds like this.

Make sure to check out the Chorus riff.

“Catch Your Train”

Rudolf Schenker delivers killer riffs on this, while Roth creates the Shrapnel label with his shred’a’licious leads.

Check out the lead break here and you will hear a lot of the 80’s players style. Kirk Hammet, Marty Friedman, George Lynch, Randy Rhoads and John Sykes.

“In Your Park”

It’s like a ballad before the word was overused by MTV and for some reason, I can’t stop thinking of “I’m Eighteen” when I hear this song.

“Backstage Queen”

They are doing the British Blues better than the Brits were doing it at this time.

Lenners and Bucholz are super locked in during the solo section and deliver an excellent groove for Roth to solo over.

“Virgin Killer”

How good is the intro riff to this?

When I heard it, I thought of “Too Fast For Love” which came 5 years later.

And the way Klaus Meine sings this, it sounds like an Aerosmith song.

Roth has mentioned that the meaning of “Virgin Killer” is “none other than the demon of our time, the less compassionate side of the societies we live in today, brutally trampling upon the heart and soul of innocence.”

And the record label thought that putting a naked 10 year old on the cover was a good idea and the guys in the band agreed.

“Hell-Cat”

Vocals are provided by Mr Roth for this bluesy number. Musically it sounds like Hendrix and vocally it should have been performed by Meine.

“Crying Days”

It has this arpeggio line in the intro, that appears on “Lords Of Karma” by Joe Satriani and “Hell Child” from Lynch Mob.

“Polar Nights”

This one also has vocals by Roth. Musically, it’s got a sleazy groove and some smooth legato playing from Mr Roth.

“Yellow Raven”

A ballad with some heavy classical overtones.

From the vocal point of view, I would have preferred Meine to sing on all the tracks, because as a fan of the 80’s Scorpions, it’s his voice I am used to.

Crank it for Uli Jon Roth.

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1976 – Part 1.4: Judas Priest – Sad Wings Of Destiny

It’s not on Spotify as their original label Gull owns the rights and the split between artist and label was hostile.

Judas Priest recorded this album on a very small budget, whilst working part-time jobs and living off of one meal a day. As they say, hard times and adversity breeds genius.

This album is the transition point between blues rock and a new style about to be born, which is basically the metal that I got to know.

“Victim Of Changes”

It kicks off the album, a combination of two separate songs. “Whiskey Woman” from the band co-founder and original singer, Al Atkins (who also gave the band its name) and “Red Light Lady” from the person who replaced him, Rob Halford.

The riff reminds me of “Stormbringer” from Deep Purple and both songs came out at a similar time. There is a little lick towards the end of the riff that Metallica swiped for “Seek And Destroy” which they use to “get out” of the intro riff pattern and into the verse riff. Wikipedia quotes a source that the riff was inspired by “Black Dog” from Led Zeppelin.

Regardless of the source inspiration, it’s a beautiful example of how you take little bits and pieces of what came before and make it your own.

“The Ripper”

A lot of bands at this time were doing similar riffs, borrowing from each other and allowing themselves to be influenced. The main riff here is reminiscent of “Stranglehold” from Ted Nugent, however both songs came out at the same time. It could be pure coincidence, but it also means that the artists in question had the same influences.

The Chorus riff feels like a Pink Panther soundtrack and the solo section is the way Muse do their solo sections.

“Dreamer Deceiver”

If you want to know the inspiration behind “The Warning” album from Queensryche, just listen to this.

It’s one of those moody slow tempo songs I really like from acts in the Seventies. From a Judas Priest viewpoint, this song is an underrated cut. I would even call it a masterpiece.

Halford covers so much ground with his voice, singing across four octaves at different times of the song.

And the guitar solo from Glenn Tipton. One of the best guitar solos of all time. So overlooked. It’s on par with “Comfortably Numb” by Pink Floyd for pure emotion.

As the solo went on, Halford came in with his super falsetto ohhhs and ahhhs.

“Deceiver”

It has the triplet galloping style of riffing that Sabbath used in “Children Of The Grave” which came out in 1971. And Halford is going to town with his falsetto voice, clearly showing a certain Scandinavian singer called King Diamond, how to develop his style.

“Prelude”

It’s soundtrack music. A friend of mine said, its influenced by “The March Of The Black Queen” from the Queen “II” album. Listen to em both and you decide.

“Tyrant”

I reckon a young EVH was clearly influenced by the riffs in this song. Listen to the intro riff and you will hear it sounds like a certain Van Halen song.

“Genocide”

There is a lot of Deep Purple in this track. “Smoke On The Water” and “Woman from Tokyo” come to mind, from a groove and feel point of view.

“Epitaph”

It’s a progressive song, with layered vocals while musically, it’s just a piano riff. Black Sabbath’s “Changes” and Queen and ELP comes to mind.

“Island of Domination”

And they close off the album with a track that reminds me of “IV” from Sabbath.

The main riff sounds an awful lot like Nazareth’s “Railroad Boy” released a year earlier.

And you all know my view on this, all music is a derivative of some other music. If you listen closely, the section from 2.20 reminds me of “Wake Up Dead” from Megadeth.

For just their second album, there is a lot of ground covered.

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

1976 – Part 1.3: Boston – Boston

It’s another band I really got into during the 90’s and I’ve posted my record collection of Boston here.

It was a Guitar World issue that got me interested to hear Boston as it spoke about the making of the album, Tom Scholz diligence to sound and it also had a transcription of the opening track, “More Than A Feeling”. At 445.7 million plus streams on Spotify, it’s a monster track.

At 29 years of age when the album was released, Tom Scholz wasn’t your typical rock star in waiting, working as a project manager for Polaroid with a Master’s degree in engineering and writing songs that he liked to hear in his basement when he wasn’t working. And as good as Scholz is, he needed a voice for his songs, and that voice came from Brad Delp.

Disco also ruled the airwaves when this album hit the record stores. Most labels passed on the band because they didn’t believe a guitar heavy rock record could even chart. But Scholz stumbled onto a sound that would be imitated by all bands since.

My favourite is “Peace Of Mind” purely for the guitar leads in the intro and the outro. On Spotify, its sitting at 117.8 million streams.

I then ignored the rest of the album for a long time, finding it generic. An Epic A&R rep even said to the band in one of the rejection letters that they have nothing new to offer and sounded generic, but then credited himself as discovering the band when they broke big.

Then in the 2000’s I revisited the album.

“Foreplay/Long Time” came into my life and I didn’t notice it before but it has a similar riff in it as “More Than A Feeling. On Spotify, its sitting at 74.4 million streams.

“Rock And Roll Band” and “Smokin” are your standard blues rock fares, with “Smokin” having a more ELP vibe in the middle section. It’s also sitting at 47.3 million streams on Spotify.

And the other tracks are “Hitch A Ride”, “Something About You” and “Let Me Take You Home Tonight” showcase a more of blues country rock feel, but compared to the massive first two songs, they are lost in the “deep album cut” landscape. And it’s those first two tracks which sold the album throughout the world.

17 million sales in the U.S alone. Not bad for an album recorded in a basement.

In 2013, Scholz filed a termination notice to claim back his copyrights to the debut album and “Dont Look Back” as per the clause in Copyright Law which allows him to do so after 35 years. And it ended up in the courts.

Who knows if he succeeded?

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

1976 – Part 1.2: UFO – No Heavy Petting

My UFO experiences started in the 90’s. The band UFO, just in case anyone was wondering.

“Lights Out” (released in 1977) is the gold standard along with the live album “Strangers In The Night” (released in 1979).

But.

“No Heavy Petting” deserves more love.

The band for the album is Phil Mogg on vocals, Michael Schenker on guitar, Danny Peyronel on keyboards, Pete Way on bass and Andy Parker on drums.

Any idea about the monkey on the cover.

“Natural Thing”

The intro riff is great to play and one of the best committed to tape.

And I was pointed towards “Rock N Roll Queen” from Mott The Hoople as an influence. The guitar player on that is Mick Ralphs before Bad Company.

“I’m A Loser”

Written by Schenker and Mogg. The acoustic intro riff has influenced a lot of the 80’s bands.

How good is the piano melody in the section when “hard times, out on the streets” is sung?

And the lead break from Michael Schenker is guitar hero worthy and I’m pretty sure forgotten by all.

“Can You Roll Her”

The song is written by Peyronet, Mogg and Parker.

A stupid title which doesn’t do the fast paced and frantic music any justice. The guitar riffs in the intro/verses and little guitar melodies in the Chorus are excellent.

Schenker goes to town when it comes to the lead spotlight, combining his brilliant pentatonic playing with fast picked Aeolian Minor runs. The way it is constructed would influence countless of other guitarist to “work out” their leads.

“Belladonna”

Written by Schenker and Mogg.

When I hear this song, I think of “Soldier Of Fortune”. It more or less follows the same pattern. But I also think of “Try Me” which would come on the album after. And Scorpions would write songs like this in a few years’ time.

The Schenker solo is memorable, but on “Try Me” it’s outta this world.

Make sure you check out the classical like guitar melody that Schenker starts playing after the solo.

“Reasons Love”

What a great funky, sleazy and bluesy guitar riff to kick off the song.

“Highway Lady”

It’s your standard blues rock fare with Schenker wailing away in the solo.

“On With The Action”

Written by Schenker and Mogg.

The riff to kick this song off is like doom metal, if downtuned. Its heavy.

The groove in the song makes it a favorite of mine but the song is forgotten by the masses when it comes to discussions about UFO.

And if you are a fan of excellent guitar playing, make sure you check out the solo here as well. All of the 80’s guitar heroes copied it.

“A Fool In Love”

It’s written by Frankie Miller and Andy Fraser and it’s a “Honky Tonk Woman” meets “All Right Now” blues romp.

“Martian Landscape”

Written by Peyronel, Mogg and Parker. It’s one of those songs that the 70’s bands put on albums that was a bit progressive and experimental. And sometimes it worked and sometimes it didn’t. This song worked for UFO and it’s the precursor to “Love To Love”. And a riff in “Love To Love” gave birth to “Desert Song”

In other words, “No Heavy Petting” is an underrated hard rock record, a link between the derivative 12 bar blues and hard rock as I know it.

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

Australian Method Series: Choirboys – Midnight Sun

I’ve already written about Choirboys previously, especially their 80’s album in the self-titled debut released in 1983 and “Big Bad Noise” which had the monster hit, “Run To Paradise” released in 1987.

So how do you follow up a monster album released in 1987. Well after all the touring, opening up for large U.S acts and going back into the studio to write and record, the gap was 4 years.

That’s right, 4 years.

It’s a long time.

Instead of recording in Australia, they went to Cherokee Studios in L.A with producer Marc Tanner who used to be an Elektra recording artist.

“Midnight Sun” hit the streets in 1991. And compared to “Big Bad Noise” which was certified double platinum in Australia, “Midnight Sun” has no certification.

For a great album, it gets no love or attention. Even on Spotify, there are no songs from this album in the Top 5 of most listened songs from The Choirboys.

“Midnight Sun”

It’s got this AC/DC style groove (think of “Live Wire” with a bit of a Springsteen/Mellencamp vibe.

Lyrically they are the devils boy, is walking the streets of society as the keeper of the midnight sun.

“Our Empire Falls”

This song should have been a hit.

Standing with her back to the ocean
Is this the final curtain call?
Still trying to make a deal with the sunshine
It′s over, it’s over

Once bathed in glory
But now your image is fading

And check out the lyrics, which deal with faded glories and contemplating suicide. This from an act who was expected to write party anthems.

Tonight is the night our empire falls

“Rise Up”

Their blend of different rock styles is perfect. This song is a great example of how a song can still sound hard rock but be catchy and commercial. It’s a mixture of an AC/DC (that “Live Wire vibe again), Bryan Adams and “Jessie’s Girl” from Rick Springfield with a bit of Def Leppard.

The intro alone has the drums and bass playing a simple hard rock groove.

It’s no surprise that Mellencamp’s music is heard in Australian artists, as the “Scarecrow” album was massive.

‘Cos I see the best of things
Lies somewhere in the kiss of knowledge
Bullshit ends when faith begins
If you’re down at the bottom, at the end

Rise up

“Place With No Love”

A great ballad with a weird music video featuring a character in a leather fetish mask.

“Rendezvous”

It’s got this “Radar Love” style drum groove and a film clip with people hitting the road to meet up somewhere.

Now we’re on the road to our Rendezvous
With nothing, there’s nothing to lose

These lyrics connect straight away.

Australia is a massive place with vast distances between towns. The only way we used to be connected was via the motorways and suburban roads and railways. So hitting the road to meet up is part of the Australian psyche.

How can you fly with your feet on the ground
Take all of your dreams, let’s get out of this town

We all wanted to escape our hometowns to try and achieve our dreams. These days the kids are okay to live at home we’ll into their 30’s.

“Only In America”

This song melts. When I hear it, I think of The Cult, AC/DC crashing with Springsteen.

Only in America you read my rights to me
Only in America I watch my trial on TV
Only in America only in America
I won’t ever be alone
Then why do I feel so lonely

“Battle Boulevard”

Check out the intro.

It’s just bass and drums and then the guitars come crashing in with power chords and a nice little lead.

I hear the guitars playing My Generation
That used to be our song
And I can feel the beat down on the boulevard

“Going Home”

This feels like a hard rock “Need You Tonight” from INXS.

But I’ve lived a dreamer and I’ve lived in hope
But I don’t want to stay here on my own

I’m going home

“Romance Street”

A rocking ballad if that ever could be a thing. To me, it’s an awesome cut in the vein of “Born To Run” Springsteen.

“We Believed”

When “The Killers” came out, I thought of this song. Because it felt like “The Killers” sounded like this.

In the end, The Choirboys was just another Australian band trying to break into the larger U.S market, which didn’t pan out as expected. And while the first two albums sounded “Australian” (whatever that means, but the label reps kept saying shit like this), the “American” sound was here on this album, and the song writing is mature and the lyrics get you thinking.

Useless fact, fast forward a few years from this, I was in a band opening up for Choirboys in a small pub with about 200 hundred people in attendance.

And vocalist/guitarist Mark Gable along with bassist Ian Hulme were the only original members, but they still brought it live.

The band is still going today with the line up that did this album. Jamming with Gable and Hulme, is guitarist Brett Williams and drummer Lindsay Tebbutt.

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