I was reading “Shut Up and Give Me The Mic” and it got me into a Snider mood, so I listened to “Desperado – Bloodied But Unbowed”.
For the uninitiated Desperado also includes Clive Burr (RIP) on drums, Bernie Tormè (RIP) on guitars and Marc Russel on bass.
The project never saw a proper release due to Elektra, pulling the CD from the shelves, two weeks before its release.
Back in the heyday of the record labels, as a musician, your career was in the hands of the record labels. The record company moguls had the power to make or break not only musical careers but the financial lives of individuals.
Vito Bratta is one of the most searched artists on the internet, especially around what he is doing right now. I can’t believe that a talent like Vito, just walked away from it all and stopped writing music.
But he hinted at his departure in past interviews.
In a “Guitar World” interview from July 1991, Vito said that on the “Big Game” record, everyone commented on his playing, but hardly anyone said anything about the songs. And that bothered him.
Brad Tolinski, the person who was conducting the interview mentioned to Vito that it seemed that he made a conscious effort to play differently on “Mane Attraction” and that there are less broken arpeggios and other styling’s that Vito is renowned for.
I remember picking up the Metal Edge magazine from 1988 and seeing an update from Motley Crue. In the pre-Internet era, the only way to get information from our favourite bands was via magazines and MTV.
Metal Edge was happy to report that the band was busy at work on their fifth album and that “Monsterous” is one title they werep considering along with “SSRR” which stands for “Sex, Sex, and Rock ‘N Roll”.
“The Lost Children” was released on November 8, 2011.
By the time this album hit the streets, Disturbed was on hiatus for an indefinite period of time. The band had been on a five album cycle of release and tour. 12 years in total without really having a proper break.
The music industry was also going through another transition. The U.S labels weren’t approving Spotify to operate until they got a percentage stake in the company, so P2P piracy was at an all time high and while the labels procrastinated, YouTube became a dominate streaming service which paid even less.
In the break, Draiman would produce a few bands, with Trivium being the biggest, form a new project called Device, which released an album that sounded like “The Sickness” while Donegan and Wengren hooked up with the “Evans Blue” singer Dan Chandler to form “Fight Or Flight” and release the excellent hard modern rock album “A Life By Design”.
Meanwhile bassist John Moyer would hook up with Adrenaline Mob for the “Coverta” and “Men Of Honour” releases, Art of Anarchy for their 2015 and 2017 releases, Geoff Tate’s Operation Mindcrime project and its 2015 release.
Because of these projects, Moyer wasn’t available to play on “Immortalized”, released in 2015, but returned to the band to tour and then played on “Evolution” released in 2018.
“The Children” in the album title is another term for “The Songs”. And “The Lost Children” is all of Disturbed’s non-album tracks up to 2011.
It’s from the “Ten Thousand Fists” album.
I feel like the riff got tweaked and used to better effect for “Indestructible”. But it doesn’t mean that this song is inferior.
Lyrically it’s about s person in a relationship who keeps coming in and out of the persons life, and every time they come back in, they mess up their world a little bit more.
“A Welcome Burden”
From “The Sickness” album cycle and the song appeared on the “Dracula 2000” soundtrack.
Its flow is like the debut album and it’s groovy Nu-Metal riffs.
It was written for the “Transformers” album, but never used.
And man, what a riff to start it off.
From the “Asylum” album cycle and a song which appeared in Dexter.
The Intro riff hooks me in. It’s head banging and almost progressive by it’s notes phrasing.
The Chorus as usual is huge.
From the “Ten Thousand Fists” album cycle and a riff similar to “Stricken” starts the song off.
I like the single note runs in the Verse riff.
And an excellent guitar lead is also present.
From the “Indestructible” album cycle.
A fast double time Intro gives way to a groove verse. Actually the drumming from Mike Wengren is a stand out on this.
“Leave It Alone”
From the “Asylum” album batch of songs. The song has excellent riffs throughout.
In the Verses, there is a natural harmonic lick that comes in on certain bars.
The Chorus riff gets the head banging with its military like groove.
For the solo, it goes to half time and how good is that bluesy solo lick to come out of the lead section.
A song from the “Ten Thousand Fists” album cycle.
Can melodic rock, Sabbath and Nu-Metal be a thing?
On this song they exist in harmony.
And I always enjoy a Donegan solo, but this time it’s the riff after the solo which gets me to pick up the guitar.
“God of the Mind”
A B-side from “The Sickness” and it also appeared in the “Valentine” movie. It’s a derivative version of the songs that appeared on the debut.
The verses do remind me of Tool but I feel like the song has more NIN and early Filter influences.
A B-side from “Ten Thousand Fists” and a massive head banging Intro kicks it off.
For the verses, a tom-tom drum pattern provides the focus while the guitar belts out chords.
And as usual, the Chorus is melodic and big.
A B-side from “Asylum” and the song is about religion as a catalyst for war.
The first part with the spoken samples of leaders and newscasters with Draiman chanting “hey“ is excellent.
After that I feel like the song becomes a thrash groove song. Wengren on the drums is the star here.
A B-side from “Indestructible” but with a riff that brings back memories of “Fighting For The Earth” from Warrior.
A B-side from “Believe” that they played live regularly with a big Chorus.
A B-side from “Asylum”, originally released as a digital single to benefit the “West Memphis Three”.
The lead break is shred-a-licious.
In case you weren’t aware, the West Memphis Three are three Metal heads convicted as teenagers in 1994 of the 1993 murders of three boys. During the trial, the prosecution asserted that the juveniles killed the children as part of a Satanic ritual.
Due to the dubious nature of the evidence, the case generated widespread controversy and was the subject of several documentaries. Celebrities and musicians held fundraisers to support efforts to free the men. Metallica, Pearl Jam and Disturbed come to mind.
And after serving 18 years they were freed and the real killers still walk the streets.
A Faith No More cover and a B-side from “Indestructible”. And each Disturbed cover is a great rendition. This song could pass as a Disturbed original.
“Living After Midnight”
A Judas Priest cover which starts off with the “Painkiller” drum Intro and a B-side from “Asylum”.
By the end of it, the album didn’t feel like a put together cash in. It actually felt like a new Disturbed album as the sequencing of the songs didn’t follow the chronological release of the songs.
Somewhere back in time, an Iron Maiden album would be purchased, listened to and the cover/lyrics digested, day after day after day, until the next album.
And I kept doing it like this up to their Bruce II era albums “Brave New World” released in 2000 and its follow up “Dance Of Death” released in 2003, along with the “Rock In Rio” and “Death On The Road” live releases.
And then things started to change. “A Matter Of Life and Death” released in 2006 and “The Final Frontier” released in 2010 are like unknown albums even though I own em and have heard them more than a few times.
“The Book Of Souls” album released in 2015 is one that I listened to a lot more and I also watched em playing half the album on tour, so it’s more familiar.
Now in 2021, we have “Senjutsu”.
A lot of the reviews I have read mention how there are no Dave Murray contributions to this album, in the same way reviews mentioned how Kirk Hammett didn’t have a co-write on “Death Magnetic”. But James Hetfield summed it up when he said, “Hammett’s riffs just weren’t there at that point in time”. And if Murray was struggling to be creative or stuck in a rut, lucky for Maiden, they have other songwriters who can step up in Adrian Smith, Bruce Dickinson, Janick Gers and of course, Steve Harris.
Kevin “Caveman” Shirley is producing and mixing again.
And once upon a time, Iron Maiden artwork was just Derek Riggs. Now it’s a team of artists. There is a person leading the Art Designs, there are illustrators, calligraphists and translators.
But Eddie still remains. The constant throughout it all.
It’s an Adrian Smith and Steve Harris composition, and you can immediately hear the Smith riffage, its almost Tool like.
How good is the melodic lead in the Chorus?
The section from 3.30 to 5.20 is pure Tool in the way Nicko McBrain sets the groove with Steve Harris. But the way the guitars decorate the section is more metal and hard rock and Bruce Dickinson’s melodies also stay within the hard rock and metal domain.
The minute outro returns to the Tool groove while the guitars lay down riffs which could come from the “Gates of Babylon”. After eight minutes and twenty seconds, the title track is down.
A Janick Gers and Harris composition with a riff that reminds me of the “Fear Of The Dark” album and songs like “Judas Be My Guide” with a bit of the Iron Maiden gallop chucked in.
Listen to the section from 1.28, which I think is the Chorus and how the vocal melody and the guitar melody are the same.
“The Writing on the Wall”
A Smith and Dickinson composition.
I like the Steve Earle – “Copperhead Road”/Aerosmith – “Hangman Jury” like influence in the intro and main riff, Then again “Scars” from Smith/Kotzen also comes to mind.
But my favourite part of the song is the lead break from Adrian Smith between 4.26 and 5.08. Its emotive and it gets me playing air guitar.
It brings back the same feeling of the solo in “2 Minutes To Midnight”, the section between 3.26 and 4.06. You know the section I’m talking about, as they build back up into the main riff.
“Lost in a Lost World”
Steve Harris equals nine minutes and thirty one seconds on this one.
The acoustic intro with the vocal reminds me of Emerson, Lake and Palmer and their song “From The Beginning”, which Dokken also covered on their “Dysfunctional” album.
At the 2 minute mark it blasts out into the typical Maiden metal sound.
Listen to the section between 3.38 and 4.14 and tell me if it reminds you of “The Evil Than Men Do” musically.
And I like it, especially the “Revelations” section straight afterwards.
As the song flows, the “Revelations” riff becomes the backing riff for a bunch of harmony solo’s that remind me of “The X Factor” and “Dance Of Death” albums.
The last minute, Harris showcases how tasty bass arpeggios can be when done right, with Synths, a Celtic inspired guitar line and a haunting vocal.
“Days of Future Past”
A Smith and Dickinson composition and the shortest song on the album at 4 minutes. It’s also my least favourite.
“The Time Machine”
The disc 1 closer.
It’s a 7 minute Gers and Harris composition. The fingerpicked clean tone intro gives way to another Southern Rock inspired riff at the 1.10 mark. If anything, Jethro Tull comes to mind.
At 3.11, the galloping feel is back and a Celtic like harmony lead kicks in, something which Maiden have done before, but still enjoyable to hear over and over again.
But the piece d resistance is that change at the 4.30 mark, it’s still in 4/4 but it sounds progressive. Then it goes into an ascending riff for a guitar solo.
At 5.24, the Celtic like harmonies are back and Dickinson kicks in with his melodies.
At 6.20, the Celtic harmony is played in clean tone and I’m thinking of “The Clansman”.
A Smith and Dickinson composition which clocks in at 7.20 and it’s the disc 2 opener.
The intro has echoes of “Paschendale” and I like it. At the minute mark, the verses kick in.
As soon as the Chorus kicks in, I’m reminded of “Tears Of A Dragon” from Dickinson’s solo career and I’m ready to break my desk.
At 4 minutes, the intro is back in and the lead break starts.
I don’t have my CD delivered yet, but I am presuming it’s Smith on the lead break as he is the most technical of the three guitarists and the flow of the solo sounds like a nice worked out Smith solo, a song within a song.
And as the Chorus kicks back in, different melodic guitar leads lay underneath the vocal melody, bringing the song to a close.
“Death of the Celts”
Harris equals ten minutes and twenty seconds.
Again, Harris showcases how musical the bass guitar can be as the whole intro is driven by the bass.
But the song is way too long, lacking a distinctive vocal section and it does get boring.
However I do like the solo section from 7.20 to 7.50. I think it’s Smith and then Gers kicks in.
Harris bookends the album with songs over 10 minutes. On this one, Harris equals 12:39.
The start of this song reminds me of “Sign Of The Cross”.
Guitar wise, there is a Ritchie Blackmore “Rainbow” influence.
And how good is that head banging verse riff?
The lead section that starts from 6.40 is familiar and I like it. It comes back in at the 9.28 mark.
The song speeds up for the last three minutes, as different shred lead breaks kick in. But by the end of it, it also could have used some editing.
“Hell on Earth”
The closer, in which Harris equals 11:19.
I think they should have done away with “Death Of The Celts” and “The Parchment” and gone straight into this for after “Darkest Hour”.
The intro is haunting, yet familiar, reminding me of “Alexander The Great” and “Seventh Son”.
At 2.16, the Maiden brand of rock and metal kicks in. The galloping riffs are there and a Celtic like harmony lead is also there.
At 2.49 to 3.08, there is a melodic lead which is a favourite.
The vocals kick in at 3.31.
The chorus (I think it’s a Chorus) comes in at 5 minutes.
Man, check out that section from 9.10 to 9.40. Those harmony guitars are perfect and sing-a-long like.
Then the song quietens down and returns to the haunting intro, reminding me again of “Alexander The Great” and “Seventh Son”.
And the album ends. Iron Maiden is like an old friend that returns for a visit now and then.
So welcome back old friend, let’s have a drink and catch up.
Bjorn Strid did an interview on Robb Flynn’s “No Fucking Regrets” Podcast and Flynn explained em as “80’s Miami Vice Pop”. You can check it out here on Spotify.
Guitarist David Andersson is the main songwriter in TNFO (and he’s also the main songwriter in Soilwork), bringing in his influences of Swedish Pop, Brit Pop, Funk, Disco and Strid’s love of late 70’s, early 80’s radio rock into the mix.
Two of my favourite Kiss albums are “Dynasty” and “Unmasked” because they brought in other styles of music into the Kiss rock sound and they still made it sound hard rock. So I wasn’t surprised to hear that “Dynasty” and “Unmasked” are also favourite albums for Strid and how Strid sees the song “Easy As It Seems” from Kiss as the foundation of Disco Rock and the blueprint for a TNFO song.
Kiss cops a lot of flak for those albums from their U.S fan base, but those two albums basically set up a new sound in different parts of the world. It’s no surprise that Sweden, Denmark, Finland and Norway liked em along with Australia.
The late 70’s and early 80’s had a certain way of writing and performing songs, which has been lost as the years have gone on.
Strid now feels balanced creatively. He can’t do Soilwork if he can’t do TNFO and vice versa. And by doing TFNO which is out of his comfort zone, has made him a better singer overall.
They missed out on touring the “Aeromantic” album because of COVID-19. Actually they were one week into the tour before they had to go home. And the promoters wouldn’t cancel the shows because they would be up for costs, so they waited until the last minute until the government shut everything down, putting the band into a difficult predicament.
The whole band also got COVID-19. No one went to hospital but David Andersson coped it bad.
And because the band wasn’t done with “Aeromantic”, they remained within the “Aeromantic” vibe and zone.
Recorded at Nordic Sound Lab, 90 minutes from Gothenburg, they do their albums by booking studio sessions and they just write for those sessions. By the end of the writing, they have about 40 songs down. Quantity equals quality.
Originally the core audience back in 2012 was Soilwork fans and general metal fans curious to check the band out, but 9 years into it, the audience is made up of different people who are not generally metal fans, but fans of good crossover rock music.
For Strid, his Mum listened to hard rock music and popular acts like Eurythmics and Bruce Springsteen.
Iron Maiden and WASP was an early experience for him. But Twisted Sister “Stay Hungry” album was very big for him.
A guy in his class had a few compilation tapes from his Tennis coach who was into extreme music and Strid borrowed those tapes and copied em. When he was asked which artists he liked, it was always the fast songs and that’s how he got his nickname “Speed”.
So on to the review.
TNFO are Bjorn Strid on Lead and Backing vocals, David Andersson on Guitars, Sharlee D’Angelo on bass, Sebastian Forslund on Guitars and Percussion, Jonas Kallsback on Drums, John Manhattan Lönnmyr on Keyboards and Anna Brygard / Anna Mia Bonde on Backing Vocals and known as the “Backing Anna’s”.
If you like Whitesnake, just think of those big chord synth chords at the start of “Slip Of The Tongue”. Well the chords at the start here are even bigger.
Each album has a track like this. “West Ruth Ave” on the first album. “Living For The Nighttime” on the second album. “Star Of Rio” on the third album. “Turn To Miami” on the fourth album and “This Boys Last Summer” on the fifth album.
And “Midnight Marvellous” is just as impressive.
Check out the interlude breakdown just before the solo when bassist Sharlee D’Angelo grooves and new keyboardist solos.
Strid described this song as “90s Deep Purple on cocaine”. And he’s not wrong.
The Chorus is excellent, but it’s the guitar playing and leads that make me a fan.
The ending is smashing.
Burn For Me
As soon as this song starts you will either think of “Modern Love” by David Bowie or “Straight For The Heart” by Toto or “I’m Still Standing” by Elton John or “I’m So Excited” from The Pointer Sisters.
And it’s a favourite to me because of those familiarity.
It’s going to be a good night of drinking and kicking back. Instead of chardonnay, my poison is Shiraz or Cabernet Merlot.
How good is the intro?
Genesis (their song “That’s All”) comes to mind, but the Chorus is perfect AOR Melodic Rock.
Amber Through A Window
This feels like a New Wave rock cut, for driving in the night, with the window down in summer.
I Will Try
“Everybody Wants To Rule The World” from Tears For Fears comes to mind in the verses.
The Chorus is like 80’s Journey and Cher circa 1987. The guitar work feels like its Neal Schon. Brilliant.
You Belong To The Night
The TNFO sound has a Rolling Stones influence and Mick Jagger solo influence. This song is evidence of that.
Listen to “Tattoo You” and “Just Another Night” which TNFO covered for “Amber Galactic”.
Songs from Michael Jackson come to mind listening to this and it’s a great piece of pop rock song writing.
And just listen to it for the joy of Sharlee D’Angelo’s sultry bass lines.
The first single released as part of the album pre-release. I think it hit Spotify about 12 weeks before the album drop.
Can Judas Priest and ELO be combined?
In the world of TNFO, it can. Everything goes.
And that Chorus. Brilliant.
Also check out the clip for it as it’s hilarious.
What a closer.
As soon as you press play, the intro just takes you away. It reminds me of “Edge Of Seventeen” by Stevie Nicks and those guitar lines of something else and I like it.
BONUS TRACK – Reach Out (Cheap Trick cover)
It’s worthy of inclusion on the proper album. Musically is like new wave hard rock and vocally Strid merges Robin Zander with Rick Springfield. Brilliant.
As Strid said in his interview with Robb Flynn, the album is a continuation of “Aeromantic”. And I became a fan of TNFO first and then went back and became a fan of Soilwork.
Maybe one day in the future we’ll get a gatefold issue of both “Aeromantic” albums together.
And if you grew up in the 80’s listening to hard rock and melodic rock, then you need to listen to this.
“Roll On” is the second album by The Living End. It was released in Australia and New Zealand in November 2000, and internationally in March 2001, so I’ll go with the 2001 date.
The band for the album is Chris Cheney on vocals and guitar as well as writing the songs, Scott Owen on double bass and backing vocals and Travis Demsey on drums.
The album is the last work to feature drummer Travis Demsey. In the downtime following the album’s release and subsequent tour, he would leave the band, to be replaced by Andy Strachan.
The album was certified 2x platinum in Australia by November 2007.
1,2,3,4 and the band crashes in.
“We roll on with our heads held high” is the catch cry. It remains with you long after the song is finished about a wharfies strike in Melbourne in 1998 and how after a month of striking, if the wharfies didn’t go back to work they would be replaced.
The riffs are classic Aussie Pub Rock riffs, rooted in the blues. You can smell the sweat of the working class in the notes.
Check out the guitar lead.
It’s their big single from the album and a live favorite.
Pictures In The Mirror
It’s a cross between the Foo Fighters, The Beatles and The Clash.
But that solo/interlude section reminds me of Van Halen and Kansas.
“The sun goes down, the moon appears on the horizon, the streets are bare, she walks alone”
The scene is set as the character in the song disappears from the limelight.
Because all of those people around you when you’re famous, abandon you when they can’t make money from you.
Riot On Broadway
Similar to “Prisoner Of Society” merging their punk and rockabilly hooks and riffs.
Staring At The Light
One of my favorites.
It’s like a new wave rock track circa “The Police” merged with “The Clash” and made to sound like a modern rock song.
Carry Me Home
That Intro riff would melt the pavement on the Sunset Strip.
Listen to it.
And the NWOBHM influences makes this a metal cut.
And Cheney, is a guitar hero.
Don’t Shut The Gate
A heavy blues rock groove starts it all off before it moves into a Midnight Oil style of cut.
The Intro lead lick reminds me of something else.
The interlude riff is like a Nu-Metal riff as it’s intertwined with a rockabilly riff.
“I was born on Saturday and I was buried on Sunday” is repeated throughout the song.
Blood On Your Hands
Is there a thing like funk/reggae/punk and jazz?
Well listen to this.
If anything The Police amalgamated these different styles and made it sound rock.
It’s a metal cut which has a galloping riff like “The Trooper”, some rockabilly sections and an excellent melodic guitar solo.
It’s their AC/DC cut.
The Intro is “Dirty Deeds”.
The Chorus is melodic.
And how good is the interlude section between 2.10 and 2.30?
Read About It
Cheney is a master of incorporating so many different styles and techniques into a 4 bar riff.
This song has reggae, melodic rock, punk and metal in it, with a progressive mindset.
The Chorus riff is essential listening.
Killing The Right
Similar to “Read About It”.
Check out the guitar work from 2.30 to 2.50.
A fast drum riff like “Black Betty” starts the song.
A singer from a band I was in burnt me this CD when it came out and I was surprised to find out that “Satellite” is the fourth album by P.O.D, released on September 11, 2001.
P.O.D. (short for Payable On Death) are Sonny Sandoval on lead vocals, Marcos Curiel on guitars, Traa Daniels on bass and Wuv Bernardo on drums.
Howard Benson is producing and Benson was sort of the Werman/Olsen of the late 90’s and 2000’s to me. Chris Lord-Alge is mixing and Randy Staub is engineering. If you owned albums in the late 80’s you would have seen these names on production credits.
Set It Off
The tone of the guitar is massive. I wanted to mimic it back then, so I tried different pre-amps to boost my tone.
The intro riff and Chorus riff are great to jam to and suddenly Marcos Curiel was on my radar as a guitar hero.
In its essence, there is a Texan Hard Rock groove in the intro and verses.
The Chorus is massive, about feeling alive for the very first time. And people liked it. Its sitting at 87.7 million streams on Spotify.
Another great riff to start the song off.
It’s perfect for the live show, with the catchcry, “Here comes the Boom”. And it’s a popular song for em as well, with 114.93 million streams on Spotify.
It also reminds me of the movie of the same name with Kevin James, who is a high school teacher and becomes a MMA fighter to raise money for the school.
Youth Of The Nation
At 175.96 million streams on Spotify.
Check out the drum groove which appears in the Intro and Chorus. And the kids choir brings back memories of Pink Floyd and I suppose it always will.
A short instrumental filler track.
How good is the Intro riff?
It’s pure hard melodic rock.
The Chorus riff showcases Marcos Curiel. There’s power chords, artificial harmonics and single note lines, all made to sound massive and supplement the arena rock
Sitting at 16.9 million streams on Spotify. It’s not on as many playlists as “Youth Of The Nation” and “Boom” and “Alive” however it’s as good as those songs.
If you like hip hop, this is a pure hip hop cut, but it’s not for me.
Man, that Intro. The clean tone octaves over a droning pedal note and then the distortion comes crashing in.
Check out the Chorus as well.
Guitarras de Amor (instrumental)
A flamenco Texan Western inspired cut. More filler.
It features Christian Lindskog from Blindside. Almost ballad like and it reminds me of “In The End” from Linkin Park.
Check out the section which has the violins and the guitar playing a melodic lead.
A Rush like Intro that reminds me of “Test For Echo” starts the song off as it goes from a world believing in love to the world being a ghetto and transitioning to a Staind like song.
There is a staccato like tremolo riff in the verses as the words are spat out and rapped.
The Chorus has a metal like riff as the words are screamed out.
Check out the interlude when the bass starts running on its own.
Without Jah, Nothin’
A skip track.
Thinking About Forever
It has an acoustic “What It’s Like” from Everlast track with a nice flamenco solo from Curiel.
The intro arpeggio riff reminds me of Judas Priest before it goes into a System Of A Down like riff and vocal craziness.
Check out the brief guitar solo in the song in the slower section of the song. It reminds me of those 70’s albums that always had a progressive like track as the closer.
And by the end of the album I became a fan of guitarist Marcos Curiel.
Then, in 2002, Curiel was fired from the band by their manager because he wanted to work on a few other projects while still being a member of P.O.D. The band continued with a new guitarist and Curiel went on with his other projects.
In 2004, Curiel went to court over unpaid royalties.
And P.O.D didn’t achieve the same commercial success without Curiel, as their “Payable On Death” album in 2003 went Gold and their “Testify” album in 2006, received no certification, leading to the band getting dropped by Atlantic Records in 2006 and Curiel’s replacement also leaving. On the other hand, Curiel also didn’t achieve the same commercial success without the guys in P.O.D, so in 2006 he re-joined the band.
In 2008, they released the excellent and underrated “When Angels And Serpents Dance” with Curiel.
“Back Into Your System” released in 2002 was the album that got me into the band. I purchased it because it had ONE song on it, written by Nikki Sixx and James Michael called “Rest In Pieces”. That’s right folks, I purchased an album that I’ve never heard from a band that I’d never heard off, based on ONE song written by an artist I was familiar with.
And man, that album blew me away, so I went back and listened to the first one “Every Six Seconds”.
Released in 2001, it’s listed as their second album on their Wikipedia discography, however on Spotify it is their first. Their independently released debut from 1997 doesn’t rate a mention on Spotify.
In July 2008, “Every Six Seconds” was certified platinum by the RIAA.
Saliva for this album are Josey Scott on vocals, Wayne Swinny on lead guitar, Chris D’Abaldo on rhythm guitar, Dave Novotny on bass and Paul Crosby on drums.
The cover is like a Glam Rock disco album but the influences are Sabbath, Crue, Steve Earle, Metallica, Sevendust and Skynard.
Sitting at 18.1 million streams on Spotify.
Written by vocalist Josey Scott.
I think it appeared in a “Fast and Furious” movie as well.
It’s like a Guns’N’Roses cut on some sections, and even the vocal melody of the “all that I” section sounds like an Axl vocal melody.
“Musta Been Wrong”
It’s got a metal groove which sounds like Bush or the groove which is known as the “post grunge” or “Nu-Metal” riff, but vocally it’s an amalgamation of what Oasis created in the mid 90’s and hard rock from the 80’s.
“Click Click Boom”
Sitting at 146.799 million streams on Spotify. Written by Scott, D’Abaldo, Swinny and producer Bob Marlette. I was listening to P.O.D at the time and this song could be interchanged with a track from their “Satellite” album or anything from Kid Rock’s “Devil Without A Cause”.
The riff is sleazy and as good as any hard rock riff that I grew up with. Production wise, it’s got all those Korn sound effects with arpeggios and downtuned industrial sounding guitars
Vocally, the word rapping is different, but it works.
Check out the section from 3.16 to 3.30 when Josey Scott is singing, “it’s all inside of me”.
Its a heavy Dropped D bluesy in the riff department.
The vocal melodies get me interested in this song.
There is also a brief guitar melodic lead which enhances the interlude.
“Greater Than/Less Than”
It feels like an Alice Cooper cut, from his “Brutal Planet” and “Dragontown” era’s.
Six songs in, I wasn’t bored at all.
Sevendust comes to mind listening to this.
A tremolo effect shimmering chord progression starts the song. Under it, is a heavy palm muted groove. The shimmering guitar part changes to a shimmering arpeggio riff.
Another heavy riff to start it off, with a loudspeaker vocal melody in the verses. The octave melodic idea reminds of Tool and the song “Sober”.
Another cut written by Josey Scott as the strummed acoustic guitar riff starts it all off. “Take A Picture” from Filter comes to mind. Also “Life Is A Highway”. And for some reason “New Tattoo” from Motley Crue also comes to mind.
It’s been a skip since day one and still is.
An ominous tritone arpeggio riff starts it all off. The longest song on the album and a perfect closer.
Overall, Saliva’s has a dropped D rock/metal “Soundgarden” meets “Bush” meets “Tool” meets “Alice In Chains” sound with bluesy Southern/Country Rock influences.
Bob Marlette as the producer got those Mesa Boogie Rectifiers sounding big, loud and messy (but tight as a G-string tuned to A).
By album Number 4, the Disturbed brand was bigger than ever. Johnny K was gone from the Producers chair. The deals that artists have with producers means that the producers increase their cut and royalty points with each subsequent album. It’s simple business. Instead of paying someone else, they decided to do it themselves.
Disturbed for this album and all albums after is David Draiman on lead vocals, Dan Donegan on lead and rhythm guitars, John Moyer on bass and Mike Wengren on drums.
Released in 2008, it quickly went on its way of matching its predecessors.
In Australia, Canada, New Zealand and the U.S, its certified Platinum. In Finland and the U.K, its certified Gold. It charted well in a lot of countries.
It was called “Defend” before it was re-titled to “Indestructible”.
While it is a hopeful song to the armed forces, it also serves as a reminder to everyone that Disturbed is still here after all these years.
Killer metal groove riff to start the song off.
Actually, the guitar lead breaks on the album shows the Guitar Community that Donegan is a lot more accomplished than previously thought.
“Inside The Fire”
It was nominated for a 2009 Grammy Award in the “Best Hard Rock Performance” category.
It’s a disturbing song, which Draiman has explained as “standing over the body of my girlfriend, who just killed herself, and the Devil is standing over me, whispering in my ear to kill myself.”
The guitar starts off before the drums and bass kick in.
The chorus shares some similarities to “Primal Concrete Sledge” by Pantera however Disturbed sing it in a melodic and anthemic way and of course the guitar solo is “Guitar Hero” worthy.
Another song about a bad relationship or that person in your life that lies, deceives and takes from you.
The original title of the album and the first song written for it. The “Night” in this song is a living entity that surrounds you and hides you.
How good is the intro to this?
And another anthemic Chorus.
Check out the guitar lead. Donegan moves to a new level here with some serious sweeps and string skipping.
It’s pre “The Sickness” as the band thought it would be pretty cool, especially for the fans, if they brought back maybe a song or two, that were actually written during the same period that “The Sickness” songs were written.
Another killer lead break from Donegan.
A bass and drum groove start the song with the sound of rain and a tolling bell, before the guitar riff comes in, all staccato like and in sync with the bass drum.
The way Draiman sings the Chorus showcases his vocal abilities.
It’s Disturbed from the first album. There’s a bit of everything here.
Another great lead from Donegan.
The bird calls are back as Draiman sings “huh, huh”.
Another old song from pre “The Sickness”, it’s like a punk thrash song in the intro, before it moves into a groove metal riff that reminds me of Judas Priest’s “Better By You, Better Than Me” for the verses.
Draiman is telling you to be an individual, make your mark and stand out. Don’t be a conformist within the pack.
The drums are frantic for the closer.
And in the same way that AC/DC plays its standard blues rawk and roll, Disturbed doesn’t really stray too much from a style which has brought them public acceptance.
Metal elitists will always look down on em, but Disturbed have flown the flag of metal for many years in the face of hip hop, dance and other crap styles.
Riding the wave of “old is new” to a whole new audience who was too young to know the old or to have heard it.
Listening to this album got me to call up a 60’s Rock Anthems playlist on Spotify and it’s surprising how many songs released in the 80s moving forward have riffs from 60’s songs. There are the artists that we all know like Hendrix, Cream, The Who, Steppenwolf, The Doors and Zeppelin but artists like The Kinks, The Kingsmen, CCR, The Animals and even Marvin Gaye have been influential in developing the hard rock and heavy metal riffs.
Jet are from Melbourne.
Nic Cester is on vocals and guitar, Chris Cester is on drums and vocals, Cameron Muncey is on guitars and vocals and Mark Wilson is on bass, piano and harmonica.
“Can you give me one more try at that?”
And LOUD RAWK AND ROLL kicks in.
Are You Gonna Be My Girl
It’s sitting at 347.811 million streams on Spotify.
On the Jet YouTube account the video is at 122 million views.
Yeah, it sounds like other songs (Iggy Pop’s “Lust For Life” is mentioned a fair bit), but who cares. Imitation is a form of flattery. And all hit songs are derivative versions of songs which came before.
It’s a Rolling Stones track in the verses and a 12 bar blues track in the Chorus.
Look What You’ve Done
58.066 million streams on Spotify.
A piano riff starts the song, with a Beatle-esque “Sexy Sadie” like vocal. Even the lyrics have a similarity.
The Beatles have “Sexy Sadie, what have you done! / You’ve made a fool of everyone”.
Jet has “Oh, look what you’ve done / You’ve made a fool of everyone”.
Progress is derivative. Take something that came before and tweak it.
Get What You Need
The drum groove gets me, but it’s the reminders of other songs that makes me a fan.
If you’ve heard “All Day And All Of The Night” from The Kinks, you’ll hear some similarities.
If you’ve heard “If It Feels Good, Do It” from Sloan you’ll hear similarities.
And if you played NHL 2004, you would have heard the song and become a fan.
It feels like a Free/Bad Company/Rolling Stones acoustic cut which Guns N Roses also used as an influence for “Patience”.
Say hello to “Hey Jude” or a slower version of “Baby Blue” from Badfinger.
Get Me Outta Here
I went down to the bank just to get me my pay / I’m gonna get me, outta here / I got me some cash, I’m headed back to LA / I’m gonna get me, outta here
Keeping with the theme of “old is new” again, even the lyrics were based on pre 2000 pay days.
Cold Hard Bitch
It’s at 52.995 million streams on Spotify.
They bring so many vibes to this track.
Listen to it and you’ll spot “Woman From Tokyo” by Deep Purple, “Best I Can” by Rush, “Shoot To Thrill“ by AC/DC, “Won’t Get Fooled Again” by The Who and a little bit of Stones mixed in.
Come Around Again
A country rock ballad with a Bad Company feel.
“I don’t know when I’m right that I only know when I’m wrong”
Sometimes our minds become our worst enemies.
Take It Or Leave It
The Kinks “unhinged”.
The “High Voltage” riff to a funky bass riff. Brilliant.
A Beatles influenced Chorus which also reminds me of “Purple Rain” from Prince and “Faithfully” from Journey. Brilliant.
All death is tragic.
The bonus track.
Check out the main riff. It reminds me of “Kings And Queens” from Aerosmith.
They had some serious momentum in promoting this album in Australia with national station Triple J having em in constant rotation that all the other stations followed pretty quickly.