Category Archives: Derivative Works

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

Dream On

Another artist / songwriter / producer that is represented on Revolution Saints debut album from 2015 is Erik Martensson, who is also the guitarist for the Swedish melodic rock band Eclipse.

“Dream On” is probably not the best title to use since those two words together are associated with a song about looking in the mirror and the lines on your face not getting clearer by a band from Boston called Aerosmith.

Anyway.

“Dream On” is a better derivative version of “Back On My Trail” and it really brings back memories of Night Ranger.

“Dream On” has a committee of songwriters.

Music is written by Erik Martensson (along with Finish-Swedish songwriter Johan Becker and Kristofer Becker. Lyrics are written by Martensson, J. Becker, K. Becker, Alessandro Del Vecchio and Jack Blades.

Man, that intro riff puts me right back into the 80’s. Those dreams of youthful innocence. And it’s got all of the cliches in the lyrics from the 80s and I like it.

For all the young and the innocent
For those who long who you are to catch their falling star
I guess you know who you are

I wonder what kind of dreams the youth have today.

In the 80s it was a rite of passage to get your drivers license and get a car like it’s a badge of honor. Then it morphed to tech devices.

The kids are more than happy to drive their parents car because it’s all about their social media status and the latest tech they have and gaming online. Car markers are challenged trying to get younger buyers who actually care about the environment, something which the car makers don’t care about to actually buy a car.

For all the strong sticking to their guns
For all the ones that wave their flags up high
Comes a time to make it or break it

I was always told that if you don’t make it by a certain age focus on Plan B. It’s the worst advice ever. Because no journey is the same. Every person has a destination in mind, and they need to be flexible with the route.

When times get tough just don’t dare to stop

It’s when a lot of people quit.

Something has steered them away from their goal. It could be a relationship break up or an argument or a rejection for a project they were working on. And it sets something off, like their not good enough. But everyone is good enough, it all depends on how much determination a person has to push through the lulls.

And the lead break from Doug Aldrich is quality. Hear it, experience it and play air guitar to it.

Another song to check out which also has Erik Mårtensson co-writing on this debut is “How to Mend a Broken Heart” (Originally recorded by Eclipse).

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

Locked Out Of Heaven

The debut Revolution Saints album was number 5 on my 2015 list. And they just released their 3rd album this year.

Revolution Saints is a supergroup of musicians who have been around for a long time.

Deen Castronovo (was discovered by Neal Schon and was then given a chance to play in Bad English by Schon) is on drums and vocals. It was a shame that a few months after this album was released, he was in the press for all of the wrong reasons. He even lost his Journey drumming gig because of it.

Doug Aldrich can shred and he helped prolong the careers of artists like Dio and Whitesnake, while Jack Blades has a stellar resume with Night Ranger, Damn Yankees and writing songs for other artists with Tommy Shaw. But the star of the album is an Italian songwriter called Allessandro Del Vecchio. He’s like the Desmond Child or Jim Vallance or Max Martin for Frontiers Records president Serafino Perugiono.

And “Locked Out of Paradise” is written solely by Alessandro Del Vecchio. There is a live version of the song on the “Light In The Dark” deluxe version, which shows the power of the song.

The palm muted intro for the first 20 seconds and then the power chords come crashing in with metronome drum rolls precision from Castronovo supplementing the build into the verses.

From about 38 seconds we are into the verse. Its rocking, its melodic and it builds nicely into the pre-chorus and that tasty arena rock chorus.

“We’ve been locked out of paradise, we lost our battle to survive”

Paradise is this elusive utopian refuge we try to get to. But we can’t quantify it or measure how far we need to go to get there, so we keep chasing it. My view to get there, is drip by drip, little steps at a time and trying to make each day, each week, each year, each decade better than the previous.

“Bring your heart to me, what do you touch?, I’m just a man with a hope”

Because in the end all we do is hope. We feel that our expectations and desires for a particular thing to happen are getting closer to the event. So we keep hoping. Some keep praying. And we keep going.

For the debut album, the songs were already written by other writers, so all Aldrich had to do was learn the riffs, put his unique spin on them and then work out what he needed to do for the solos.

Which are quality.

The lead break for this song is well-structured and well thought out, as Aldrich pulls out various techniques from his arsenal. It starts off melodically, builds nicely and ends with a guitar acapella two bar shred fest before moving back into the song.

By the end, I am pressing repeat just to hear that intro again and that guitar solo.

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Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Re-Watching

It’s been an interesting last six weeks or so.

We went from living life as normal, to lockdowns and now the Government is looking at easing restrictions. And since all sport was cancelled and some of my night jobs ceased, I have had some serious time available to catch up or re-watch or just watch.

I’ve got another post coming of the new stuff I’ve sunk my teeth into but I’ve also re-watched quite a few films because they’ve either come up on my payTV box or in the case of Tarantino, I wanted to watch an earlier flick before devoting time to “Once Upon A Time In Hollywood”.

“Remember The Titans” is an Amercan Gridiron film, based on a true story of a segregrated U.S high school, which became integrated in the early 70’s and how the integration between black and whites happened within the schools and via the football team, within society.

“Any Given Sunday” is a fictionalised story of an NFL team, with a coaching staff mentality of “win at all costs” even if it meant hiding the truth of the players injuries from the players themselves, who then risked permanent incapacity if they played.

Both sports movies offer different perspectives of what sport means to people and how it can be used to connect or divide people.

“Meet The Parents” is one of those comedy flicks that is still good to watch regardless how long ago it was released. Robert DeNiro is wonderful in this role. That scene when Ben Stiller digs a hole for himself, about milking cats, is classic. Stiller then goes on to stay, that he can milk anything with nipples, and DeNiro just nails the comeback line after a bit of silence, saying, “well I got nipples, can you milk me?”.

Plus the airport scene as a bonus, when the really eager flight announcer will not let him board the plane because Stiller is sitting in a row she hasn’t called for boarding, even though there is no one else waiting before or after him.

I’m a Tarantino fan and before I started to watch “Once Upon A Time In Hollywood”, I needed to get into a Tarantino mindset. So I grabbed my DVD of “Inglorious Basterds”.

Now and then, when Tarantino makes a film, he normally has another movie within the film playing.

In this one, you have a German war hero, who is pulled from the battlefield and put into a propaganda movie by Goebbels about his war exploits. So you get to see that propaganda movie on the big screen.

And the way Tarantino’s flick plays out, the viewer gets to watch the people from the actual movie, watching the propaganda movie on the big screen, while three other plots are being carried out at the same time.

Brilliant. And of course you have betrayal, mayhem, fire, bullets and the Tarantino famous dialogue.

So how many rock songs can you fit into a movie?

If you watch “Hot Tub Time Machine” you will hear a lot of tracks. I first saw it many years ago and it came up again on my PayTV box.

“Turn Up The Radio” from Autograph kicks it off. “(I Just) Died in Your Arms” from Cutting Crew is there. Two big rock hits, even though Cutting Crew was classed as more pop soft rock.

“Cry Tough” and “Talk Dirty To Me” from Poison are played while the fake Poison band from the movie performs em live. “I Want to Know What Love Is” from Foreigner appears.

“Keep Your Eye on the Money”, “Home Sweet Home” and “Kick Start My Heart” from Mötley Crüe are all there. The “Keep Your Eye On The Money” track is interesting because it really is an obscure track. Even “Smooth Up in Ya” from the BulletBoys also appears.

But none of the songs mentioned above appear on the official soundtrack, except for “Home Sweet Home”. If you purchased the soundtrack, you would have gotten a lot of pop songs and dance songs and new wave songs. The only rocks songs on the soundtrack which I know are “What You Need” from INXS, “Modern Love” from David Bowie and “Jessie’s Girl” from Rick Springfield.

It’s strange how there isn’t any AC/DC, Bon Jovi, Kiss, Whitesnake, Judas Priest, Ozzy, Van Halen, Quiet Riot, Ratt or even Europe with “The Final Countdown”. Especially for an 80s coming of age movie. Maybe the licensing costs were too high.

As for the movie, it’s got some laughs, like the American Pie movies. A bunch of dudes whose lives are at breaking point, end up going back to a pivotal moment in time. By the end of it we got Lougle instead of Google because rock and rollers in the past don’t care about the butterfly effect.

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

The Record Vault – Bullet For My Valentine

Come here you naughty girl, you’re such a tease

“Fever” is BFMV’s hard rock/heavy metal album. It’s my favourite, just ahead of their previous effort, “Scream, Aim, Fire”. Then “Venom” and “Temper and Temper”. The Linkin Park sounding “Gravity” is up next and “The Poison” (too much screaming for me, but great riffage) is last.

The first three tracks, “Your Betrayal”, “Fever” and “The Last Fight” would fit on any 80’s album written between 1981 and 1985. To me they are metal classics especially “The Last Fight”. “A Place Where You Belong” is the ballad track, the same way Metallica has track 4 as a slower tempo ballad.

The lead breaks on the first four songs by Michael Paget are guitar hero worthy, with emotional bends, arpeggios and fast picked lines.

“Pleasure And Pain” is a fast heavy rocker with the lead break again from Paget being very Iron Maiden like. It starts off with a memorable line, which is then harmonised and then he breaks out the hard rockisms and shred.

“Alone” kicks off with an open string pull off lead which gets you to pay attention straight away. Then from about 40 seconds, it feels like a cut from the “Rust In Peace” album from Megadeth. And the lead break from Paget has tapping and fast alternate picked lines. And somehow it all works together and is memorable.

Listen to the start of “Dignity” and if it doesn’t get your head nodding and foot tapping, then you are too uptight. And it has Judas Priest and Iron Maiden all over it. Even Helloween. “Begging For Mercy” has a thrash metal riff. It’s the got some screaming vocals. But the Chorus, man, how catchy. “Pretty On The Outside” is another up-tempo thrash song, with screaming in the verses. And the Chorus again is pretty catchy.

The “Temper Temper” album further evolves the hard rock and metal tones from “Fever”.

“Breaking Point” is a fast tempo rock with a super catchy chorus and another lead break masterpiece from Paget. Plus did I mention that Michael Moose Thomas builds this intro perfectly. “Truth Hurts” feels like an evolution of “Your Betrayal”. “Temper Temper” is an sleazy but aggressive verse riff and an AC/DC style chorus.

“P.O.W” has this palm muted riff in the verses which reminds of Jake E Lee’s style riffing in tracks like “Waiting For Darkness”.

“Dirty Little Secret” has this intro that reminds me of “Back In The Village” from Iron Maiden. And the way Michael Moose Thomas builds the drumming in the intro to the next part of the song is great musicianship. And that section from about 3.20, when the drums hold like a Kashmir beat, and the guitars are playing fast down picked chords and octaves and Matt Tuck is singing “Dirty Little Secret” over and over again.

“Leech” is like a punk song, but it sounds like a song that could have come from the “Slave To The Grind” album from Skid Row. “Dead To The World” is one of those slower tempo songs

BFMV is well known for. There is always a nice intro which goes for about a minute with a lead break. Think of tracks like “Fade To Black”, “One” and “Welcome Home” and “The Unforgiven” from Metallica as examples. Then about 3.20 it picks up into a metal tune with great riffage and harmonies and a lead break from Paget which is brilliant.

“Riot” is basically a blues track with its staccato style riff in the Chorus. Think ZZ Top and “La Grange”. “Tears Don’t Fall (Pt. 2)” has this cool riff with digital delay on it, which basically makes the first note repeat when they are like on the third note of the riff.

“Livin Life (On The Edge Of A Knife)” is just a good rock song. “Not Invincible” is an 80’s classic metal song, the way I know metal.

On the deluxe edition, there is a cover of “Whole Lotta Rosie” (Live at BBC Radio 1) and I think its perfect how they do it, because you can hear that Acca Dacca was an influence on the making of this album, especially when you look at songs like “Riot” and “Temper, Temper”.

Up next Black Veil Brides.

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

A Rite Of Passage

“A Rite Of Passage” is the second track on the “Black Clouds and Silver Linings” album released in 2009.

The music is written by John Petrucci, Mike Portnoy, Jordan Rudess and John Myung. The lyrics like “The Count Of Tuscany” are written by John Petrucci.

There are always accessible songs on each Dream Theater album. Accessible in Dream Theater’s language is shorter.

The main riff on this song is a metallic masterpiece. The riff moves between the E major and E minor scales.

Actually John Petrucci recorded this song using a 6-string guitar tuned 1 whole step down (D-G-C-F-A-D) so even though you play the riff like you would play it in standard tuning, the actual tone is D major and D minor.

And the song is filled with so many good bits like;
– The heavily palm muted verse riff.
– The pre chorus riff and the vocal melody.
– The chorus riff and the melodic lead break over it and the vocal melody. It’s an AOR arena rock chorus.
– Then when we go back to the next verse, the foundation chord progression is the same, but Petrucci decorates it with fast arpeggio and single note lines, before it moves back to the familiar pre chorus and that excellent Chorus.

After the Chorus, the intro riff is back and in your face.

Then it goes into this Megadeth style riff, like how they do in “Holy Wars” for the solo section. And man, John Petrucci brings it. Especially that chromatic little section with sweeps and single note lines.

Then Jordan Rudess makes chicken noises and gets a chance to throw another million notes at us, but I wanted Petrucci to take this one. It was perfect just for the guitar to shred over.

And then the solo section abruptly ends as it goes back to the intro riff for 10 seconds before it moves into the Chorus.

Did I mention that the Chorus is excellent?

And it ends the same way it started, with the bone crushing intro riff which fuses major and minor modes in E, but it’s in the key of D because Petrucci down tuned.

Lyrically the song is about secret organisations, like the freemasons.

As the lyrics state, “a brotherhood of wisdom, strength and dignity, its rituals and secrets, remain a mystery.”

These kind of organisations are shrouded in conspiracy, and are either up to good or evil. Just think of Dan Brown’s novel – ‘The Da Vinci Code’.

And these kind of organisations have so much power, but not a lot of people know much about them. There was a quote from a documentary I watched which said, there is a very high chance that a person would have had dealings with a person who is a freemason, and they wouldn’t have known it.

Beneath an ever watchful eye
The angels of the temple fly

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

The Record Vault – The Butterfly Effect

The Butterfly Effect are from Brisbane, Australia. Formed in 1999, they dropped their debut EP in 2001.

“Crave” is from their “Begins Here” album released in 2003. The next song “Saved” didn’t appear on any album until their 2016 release, “B Sides, Live and Rarities”. “The Cell” and “Take It Away” appeared on their six song EP, released in 2001. It was “Take It Away” from the EP, which got me interested in the band. 

“Imago” was released in 2006.

It debuted at No. 2 on the ARIA charts.

You could hear in this album that the band was progressing in their song writing department. You can hear the onus on more melody. Getting older, playing live, building on experiences and relationships all enhance the song writing.

But it wasn’t so smooth making the album.

“I think, as a grown man, I can probably say it would have been the most stressful seven weeks of my life”

Drummer Ben Hall 

Joe Barresi was hired to produce the album. He heard the demoes the band sent and was enthusiastic to work with them. He just finished recording Tool’s “10,000 Days” album and the band flew to LA as soon as a slot came up in Barresi’s calendar.

But the band wasn’t really ready to start recording at this point in time. And Barresi sure let them know it. The band started to not enjoy the process, but the experience with Barresi, showed them gaps in their commitments which they used to realign their goals with their music career.

From the opening one minute instrumental “Imago”, to “Aisles Of White” to “Gone” to “A Slow Descent”, it’s a four punch combo. The ending of “A Slow Descent” is excellent. But the album gets better. “Before They Knew” and “In A Memory” are my favourite cuts on this album. 

“In A Memory” has this bass riff inspired by Tool as it rumbles along and leads the song. But when you think the song is over at the 3.30 minute mark, it moves into this beautiful section which starts with chords and then arpeggios and a haunting vocal melody. And it’s got an ending as good as “A Slow Descent”. And those endings are pure gold.

It’s just a memory of all that we could have been

It’s just a memory and all that we could have been

It’s just a memory, I’ve seen

It’s just a memory, I’ll see 

The way these words are delivered is haunting, like a dream you’ve just had and you are not sure when you wake up, if it’s a real memory or a dream memory.

As good as “Imago” is, their piece d resistance album is “Final Conversation Of Kings” released in 2008.

I have no photo to share of this album because I gave it and the debut EP to my ex drummer, along with “The Dirt” hardcover book from Motley Crue, a  Rush “Live in Rio” DVD and a Coheed and Cambria live DVD. I should have gotten my stuff back first, before I booted him.

And speaking of band members not getting on, The Butterfly Effect had some issues between founding guitarist Kurt Goedhart and lead vocalist Clint Boge. So it was no surprise that the band members went their separate ways, until a few years ago, when they released a new song and announced a tour around Oz. 

Welcome back. 

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

Army Of Noise

“Army Of Noise” has got that feel of “Metal Militia” and overall the song has a “Kill Em All” vibe in the lyrics.

The intro riff morphs into the verse riff and it’s a combination of Metallica and Slayer, from their “Ride The Lightning” and “South Of Heaven” albums. It’s fast and aggressive and Matt Tuck spits out the words.

Anticipation we’re on the attack, just keep pushing forward, there’s no turning back

I lived this during the 80’s, but there is a whole new generation who needs these words and are living it right now.

Lights out, fist raised, adrenaline rushing infecting our veins

Going to the show was about the adrenaline. Now it’s about the best seat, which you pay premium for, and the selfie and the filmed footage to show the world that you went.

I’m guilty of it as well.

Now feel the heat as the temperature spikes, bodies are thrashing, the fire ignites

I’ve never been in a circle pit but goddamn they are wicked to watch.

At one of the Machine Head Sydney concerts, I saw this guy on crutches make his way into the circle pit and he just vanished like a person in a twister, only to be lifted up in the air and held up high by the circle pitters. Unbelievable, that in all of that chaos, there was a sense to protect.

Before the Chorus comes in, there is this foot stomping riff that just gets me ready to break stuff.

Once the Chorus kicks in, its arena rock all the way.

So here we are
Weapons in arms
Army of noise has come to destroy
We will not fall
Brothers in arms
We will deploy our army
An army of noise

The message and the ethos is the same as the 80s. In those times we had “Stand Up And Shout”, “I Wanna Rock”, “Cum On Feel The Noize” and “We Rock”. Judas Priest took it to another level with “Ram It Down” and “Heavy Metal”.

One thing that I’ve always liked about BFMV is the drumming from Michael “Moose” Thomas. The way he builds intro’s and riffs with metronome precision, his double kick work and tom rolls is excellent.

But he is no longer in the band, fired during the “Venom” tour. Well, he left the tour to go home, so he could be there for the birth of his child and after a few months, he contacted the band and said he was ready to return, but they didn’t offer him a return date.

And the lead break is Triple A rated. Michael Paget is an unknown in the larger field of guitarist these days, but he is a bonafide guitar hero in my book.

So feel the sound as it pounds in your chest
Eardrums exploding bodies possessed

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

The Count Of Tuscany

The intro and the outro are two of the best musical pieces put together by Dream Theater.

For the start, Petrucci took the chord progression from the song “Another Day” (which was released on “Images And Words” in 1992), changed the phrasing, added a few extra bass notes and chord movements and made it into one of his best Dream Theater riffs. But it’s also the solo that he takes, which makes it even more memorable. And it builds and builds for the first 3 minutes and 27 seconds. To me, it’s essential listening. I call this Section A.

Then the vocal part comes in. I call this movement between 4.23 and the 11 minute mark Section B. Musically its brilliant. Melodically its brilliant.

Lyrically it falls down for a lot of people. And when you think of Dream Theater lyrics, sometimes they are great and sometimes they are loaded with cheese. Personally I don’t mind the cheese but this one has a lot of it. Get ready.

It’s about a trip years ago. The band went on a vino tour with a young eccentric man who became their guide. The young eccentric man had an older brother, who had a unique library, which served as inspiration for a few scenes in the “Hannibal” book.

And as part of this tour, they kept moving more away from the city and into the isolated country side of Tuscany.

Then their guide, introduced the band to his brother, a bearded historian, with a distinguished accent who didn’t mind sucking on his pipe. Dream Theater sleuths even worked out who the Count of Tuscany is and how he also appeared in the “Hannibal” movie.

And the guys in the band are now frightened for their lives, because they are offered a vintage glass of wine that gets better with age. But this offer of wine comes after the Count tells them the tale of French soldiers who hid in the barrels and never made it out of alive.

And then we are up to Section C of the song. This nature section between 11.01 to 14.19 could have been left out.

Because the last bit, known as Section D from 14.20 is one of those moments of awesomeness. The 6/8 time signature, the vocal melody, how it slowly percolates until it explodes, the lead break to finish it. Everything about this last section is addictive.

And the song ends with the Count saying to them to not be afraid, as these are stories passed down through generations.

The chapel and the saint
The soldiers and the wine
The fables and the tales
All handed down through time

Of course you’re free to go
Go and tell the world my story
Tell about my brother
Tell them about me

The Count of Tuscany

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Up All Night

Slaughter is a forgotten band.

The people who normally read and comment on this blog would know that Mark Slaughter and Dana Strum were in Vinnie Vincent’s Invasion, which was signed to Chrysalis, when a person called John Sykes ran the label (not the John Sykes that we all know from Whitesnake, Blue Murder, Thin Lizzy and Tygers Of Pang Tang fame), but what a bloody coincidence.

Anyway, Vincent’s diva like demands didn’t sit well with the label and they offered the rest of his deal to Slaughter and Strum and the rest is history.

For two albums, Slaughter ruled because the band could rock, could croon like Michael Bolton and they could also bring out the metal, with Mark Slaughter belting out a triple octave voice.

And they even had a 25 year old Michael Bay direct the music video clip for this song. In 5 years’ time, he would become well known with the first “Bad Boys” movie.

Up all night
Sleep all day

This is an anthem.

It still has the same power 30 plus years later as it did back in the day. We tried to live to this. Artists lived this life, they didn’t care about their brand, their endorsements, their promo on Morning Breakfast shows. They kept it mysterious. All to themselves. With a lot of groupies.

Which doesn’t even exist anymore in music, because the techies and the financers are now breaking the rules and living the rock star lifestyle. When Steve Jobs hit the stage at an Apple launch event, he was greeted with an applause that was normally reserved for rock stars. When Oprah or Ellen or Lettermen walked onto their sets, they had a bigger applause than rock stars.

And musicians just kept signing their rights away for another chance to record and to be in a state of never recouping with the labels, while the labels laughed their way to billions in profits. Those same label execs who contributed nothing to culture, fly private, while the artists who made them billions don’t. There is no way a techie would have given away their rights the same way the music artists did.

When evening comes
I am alive

I feel I am most productive at night. Sometimes its past midnight and I don’t want to sleep because I am in the zone.

Up all night, sleep all day.

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

Fly To The Angels

Slaughter was one of those bands you either liked or didn’t like.

Bassist Dana Strum was a go to man when people needed band members. He recommended Randy Rhoads to Ozzy’s camp along with Jake E Lee.

Afterwards, he teamed up with Kiss outcast, Vinnie Vincent for his Invasion. After Mark Slaughter joined the band (replacing the original singer, Rob Fleischmann), the Invasion went full tilt on album number two, before Chrysalis pulled the plug on Vincent’s diva like demands and offered his record deal to Slaughter and Strum.

And for a 4 year period, Slaughter was slaying the scene, becoming a reliable platinum act in the process.

Nothing lasts forever and for Slaughter, the fall was quicker than the rise in a commercial sense. Guitarist, Tim Kelly had some law enforcement problems over trafficking narcotics and then tragically, he lost his life in a motor vehicle accident. These days, Strum is more than happy playing Motley covers with Vince Neil, while Mark Slaughter is still writing and dropping new music.

“Fly To The Angels” is not my favourite track from the debut album, but it captures the great song writing that Slaughter and Strum are capable of. There is an electric and acoustic version of the song and both are good.

It’s a sad song and Slaughters vocal commands attention with its power.

Heaven awaits your heart

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