“A New World Record” is studio album number 6 for Electric Light Orchestra (ELO), released in 1976.
Like The Doobie Brothers, this album acts as a bridge between the progressive side of the band and the radio-friendly side of the band.
The Electric Light Orchestra of 1976 is made up of Jeff Lynne on Lead Vocals and Lead Guitars, Bev Bevan on Percussion/Drums, Richard Tandy on Keyboards and Guitar, Kelly Groucutt on Bass and Backing Vocals.
Mik Kaminski is on Violin, Hugh McDowell on Cello and Melvyn Gale on Cello.
All songs are written by Jeff Lynne. At 28 years of age, he was at the peak of his songwriting powers.
Tightrope
How good is the symphonic 80 second Intro?
And then it moves into a Beatles like cut.
Telephone Line
It starts off as a telephone call, with the call going to message and the message being left is the song. At first it sounds like a cassette recording and eventually the sound cleans up.
It’s a perfect 60s (especially when the do-wop section kicks in) like song that wouldn’t be out of place on the Grease movie.
Rockaria
Bar room 12 bar blues with symphonic elements and operatic like vocals.
What a mix?
Mission (A World Record)
A piano, violins and a vocal melody that Freddie Mercury would be proud off.
From a modern view point, Muse comes to mind.
So Fine
There was a period in the70s when artists would write a song and have”Groove” or “Shuffle” in the title.
This song is in that area of Funk blues rock.
Livin’ Thing
A great track.
It almost feels like a soundtrack with the Spanish like violin Intro before an acoustic rhythm kicks.
Press play just for the Chorus.
Above the Clouds
Next.
Do Ya
Its a remake of the 1972 single by The Move, of which Lynne was a member between 1970 and 1972.
And it’s my favorite track.
Just press play to hear the Intro riff.
Shangri-La
It moves between an aria and a rock power ballad. Very Queen-like.
In Australian it went to Number 1 and it deserved to be there.
In 1977, four of the album’s songs were featured on the soundtrack of the film “Joyride” which always help getting the awareness out there.
It’s a great album title but people hated the cover, thinking it was lazy.
“Takin’ It to the Streets” came out in 1976 and it’s the first to feature Michael McDonald on lead vocals. If you own the “1984” album by Van Halen, you will see Michael McDonald listed as a co-writer to “I’ll Wait”.
Tom Johnston was the leader and main songwriter in The Doobie Brothers. But in 1974 while touring, he fell ill and he had to reduce his involvement with the band. This got the label nervous as they didn’t want the band to continue without Johnston and the other members considered calling it quits.
But newbie guitarist Jeff Baxter suggested calling up a friend and fellow Steely Dan graduate Michael McDonald to finish the tour. McDonald thought that once the tour was over, he would be on his way, but was then asked to come into the studio to work on their next album.
Producer Ted Templeman (another familiar name for Van Halen fans) started going over the songs the band had available, but he knew they needed more and McDonald was asked to contribute his own songs. Which were very different sounding to what the Doobies played and if the band recorded em, would take the band in a different direction.
And that is what happened. So let’s see how the bridge between the Johnston and McDonald era sounded.
The musicians for the album are Tom Johnston who was still around to contribute and he played electric guitar, lead and backing vocals on the track “Turn It Loose” and vocals on “Wheels of Fortune”.
Patrick Simmons played electric guitars and lead vocals on a few songs,
Jeff “Skunk” Baxter is on electric guitars.
Michael McDonald played all the piano and synths as well as lead and backing vocals.
Tiran Porter on bass, backing vocals and lead vocal on “For Someone Special”. Drums were provided by John Hartman and Keith Knudsen.
The album had a The Memphis Horns section and various other musicians playing congas and violas and what not. Even Templeman chimed in with some percussion.
Speaking of the Production team Donn Landee (another familiar name for Van Halen fans) was there as Engineer.
Wheels of Fortune
The clean tone riff to start the song rocks and grooves. Almost funk rock like. Dare I say it, Steely Dan like.
Written by Patrick Simmons, Jeff Baxter and John Hartman, it’s still the old Doobies sound.
Vocals are provided by Tom Johnston.
Changin’ wheels of fortune Drivin’ us on and on Winnin’, sometimes losin’ As soon as it’s here it’s gone
Living from payday to payday is the only way for a lot of people.
Takin’ It to the Streets
The Michael McDonald era begins. The title tracks is solely written by McDonald. Its piano driven, and it funks and sort of rocks.
I also like the bass playing from Tiran Porter. Check it out.
And the solo is driven by The Memphis Horn Section. Yep horns and not guitar.
I ain’t blind and I don’t like what I think I see Takin’ it to the streets
People have taken to the streets to protest a lot these last 15 years, but it’s still the same rubbish.
8th Avenue Shuffle
Guitarist Patrick Simmons wrote this one. It’s a blues soul funk tune, with some wonderful bass playing. Hell, it could appear on an Eagles album and not be out of place.
Losin’ End
Another track written by McDonald. It does nothing for me.
Next.
Rio
A track written by guitarists Simmons and Baxter, with vocals provided by Simmons and McDonald.
A Charlie Watts style drum beat starts the song, and when the Latin percussion comes in, I felt like I was listening to an Al Di Meola cut.
This track is the definition of “Yacht Rock”.
For Someone Special
Written by bass player Tiran Porter and the vocals are delivered by Porter himself.
The 70’s acts all had capable musicians who could play and sing.
The bass plays the main riff here, while the guitars and keys decorate. It’s trippy and I feel like he’s venting his feelings about Tom Johnston.
To reach down inside And push that nightmare away Now I’m glad that it’s over, it’s over Now I can play
It’s always difficult for a band when a person who is like a band leader steps away. And the label does it’s best to make the other members feel worthless.
It Keeps You Runnin’
Another cut written by McDonald by himself, the lone wolf.
Not a favourite.
Turn It Loose
Johnston definitely gave the band a rocking edge. So even though he was done with the band, he did deliver this excellent cut.
People all around me Everywhere I go I thought I had a grip on things Now I just don’t know
I’m not a big enough fan to know everything about The Doobie Brothers, but Johnston was seen as the driving force of the band and one of the main writers by the press and the label.
So when he disappeared, no one knew what was going to happen.
Carry Me Away
Written by Simmons, Baxter and McDonald. It’s just too much like a 70’s TV intro theme song.
In the end the album has more of a jazz, urban, soulful, funk than rock tunes and a new era started.
“After Hours: Unplugged & Rewired” is like a best off, done in an acoustic format with the addition of a few new tracks.
Released on October 8, 2013 and this one was purchased from the Amazon U.S store without any graffiti on the cover.
This City
One of my favourite songs.
Electronic programmed drums provide a foundation, while the acoustic guitars reign with arpeggios and harmonics.
If there is a song to listen to, press play on this.
This city made me who I am
I was always told that I am a product of my upbringing, and how the family, the social circles and the city I grew up in plays a part with all of this.
There is also a bluesy solo on this, which is cool to hear the guitarist flex their styles.
Forget You
From the “Breaking Point” album. It was heavy and aggressive on that album, a perfect concert and album opener.
It feels swampy this time around and it doesn’t lose its aggression.
Shallow (Closer Than the Angels)
From the “Counting The Hours” album and the way this song sounds in acoustic format is so Breaking Benjamin and I like it.
Suffocate
This song is from the first album “Cause And Effect” and it works great in acoustic and electric formats.
It also appeared on the “Hollow” EP.
Personally I prefer how it starts off in acoustic and I like how I can make that “American Woman” association for the riff known as the “Nu Metal” riff.
Closer to Me
A new song. This song sounds great and I like how the drums have this processed electronic effect for the first part.
Dance in the Fire
From the “Breaking Point” album.
I don’t like how they tried to recreate the fast picked distorted verse riff in acoustic format. They should have stayed within the strummed verse riff.
But the Chorus is exceptional.
Morphine
From the “Counting The Hours” album and they nail that Staind vibe.
Use Me
From the “Hollow” EP and “Counting The Hours” album. This song has been done acoustically previously and it works.
Whatever It Takes
From the debut album “Cause And Effect”.
I’ll do whatever it takes to get you out of my life
It’s a great hook and they deliver it nicely.
Demons
It’s a new song.
Just close your eyes Let the demons rest tonight
But they don’t rest, unless we use something to rest em. Because when a person is alone with their thoughts, the demons are out to play.
Broken Halo
From the “Breaking Point” album. The song was done acoustically as a bonus track for the album and released here as well.
Sweet Misery and Worth The Pain
Both are from the “Hollow” EP. I like the electronics under “Worth The Pain”.
Little did I know that this would be the last full length album from the band.
Various single song releases came out and a new album called “Aquarius” was announced but it never saw the light of day.
However I will have one final post on those single song releases, plus a bonus post on “The Tragedy Machine” side project of the Winterstein brothers.
Voyager is a band from the state of Western Australia. The band is made up of vocalist Daniel Estrin, guitarists Simone Dow and Scott Kay, bassist Alex Canion and drummer Ashley Doodkorte.
“Colours In The Sun” was released on 1 November 2019 via the label Season Of Mist. And for all my North American pals, please take note of the proper spelling of colours.
And they’ve been at for a while, since the early 2000’s. On Spotify I can see seven studio albums and I think there are a few EP’s in there as well which are not on the streaming services. I must admit, their band name reminded me of Star Trek, so I had to check em out.
Colours
A synth intro. Upbeat and danceable.
Once the vocals kick in there is a sense of euphoria to em.
And there is a lot of syncopated guitar, bass and bass drum like riffs. Perfect.
Severomance
More synths.
But it’s the drum/bass and guitar work which I like, with a pop like vocal melody.
This one just kept growing on me to become my favourite track.
And I like the guitar solo on this.
Brighstar
The keyboard/synth riff to start it off with the metronomic kick drum reminds me of Toto and I like it.
In the process it quickly become a favourite.
Saccharine Dream
A shimmering effect and a riff made up of single notes starts the song off.
Then a distorted guitar kicks in.
At 2.15, a normal 4/4 drum beat kicks in and from all the frantic beats, it’s amazing to hear just a simple beat. A stock beat.
Who would have thought?
So far a four punch knockout combo.
Entropy
A fast keyboard riff is played, with the guitars providing a djent like rhythm as its foundation.
Einar Solberg from Leprous (which is another favourite progressive metal act I am into) guests.
And I expected more from this song.
Reconnected
The fast alternate picking and double kick lines reminds me of Evergrey and its cabaret like piano line makes it sound unsettling.
It’s more like Power Metal.
Now or Never
It’s like a 90 second intermission, a short song to transition with. It has layers of synths with digital delay and a poppy vocal melody.
Sign Of The Times
The synths again and I like how they give the song a techno Ibiza like feel. But make no mistake, this is a progressive metal band.
And the Chorus can definitely etch out a living on the pop charts.
Water Over The Bridge
Man this song is heavy.
“The Distance” from Evergrey comes to mind during the Intro.
The video clip is hilarious as it shows the guitarists putting on some serious “stink-face” looks as they jam it.
Runaway
The synths again. They feel uplifting.
Then the guitars, bass and drums come in, to support the synth riffs.
And press play for the keyboard solo.
It’s a concise album, coming in less than 45 minutes and by the time it’s done, I’m thinking where did the time go, as it all finished so fast.
So if you’re into progressive music, then Voyager deserves your ear.
It comes on the back of a Kickstarter campaign to fan fund the album and tour. Like many successful fan funded projects, they surpassed their initial goal of $25,000.
And once the deadline passed, the band had received over $50,000.
They used the money to get outside producers to work on the album (and you notice the sound improvement immediately), to pay for a larger marketing campaign to promote the album and to finance a longer tour around the U.S.
Forget You
It features Clint Lowery, the lead guitarist from Sevendust.
It’s a great opener, more heavy rock than the “alternative metal” branding.
Check out the intro riff.
Now that I’m sober I’m finally making up my mind I can see who you really are
The great awakening from the haze.
Shut your mouth, I’m done listening to you It’s over, it’s over, I’ve had enough were through I’m taking back the person that I used to be Before these scars, before your lies so FUCK you, forget you, goodbye
There’s no love there. A perfect F U.
And finally we get a lead break spotlight in the Digital Summer catalogue.
Breaking Point
A Disturbed like riff starts off the title track.
Stand up, just look at me And tell me what you see Besides a man on the brink of insanity
Growing up on the 80’s themes of standing up for yourself and living on a prayer or the story songs like rat-tailed Jimmy and a Chevy with primered flames, the 90’s changed those themes to be more personal, full of self-doubt, depression and a certain darkness.
And it continued even in movies.
The Michael Douglas pic, “Falling Down”, shows a man on the brink of insanity and what happens when he falls off the brink.
Cut Me Open
I like the way this starts, with the electronics and the clean tone arpeggio riff.
But this time I realize from the bottom there’s no place left to go
There is a saying that when you hit rock bottom the only way is up.
But sometimes, there is no place left to go. And the lyrics definitely bring back memories of “Down In A Hole” from Alice In Chains. Great song but the topic is heavy.
Fight Til I Fall
It reminds me of Seether.
Nothing to lose when you’ve lost it all To the death I will fight till I fall
This is when a person is most dangerous. When they have nothing to lose.
The QR code would take you straight to the lyrics on their website.
Broken Halo
There is this U2 vibe in the verses which I like and the Arena Rock Chorus would not be out of place on a Shinedown album.
You’re my favourite addiction The perfect complication You’re my favourite addiction My sick and twisted medication
My favourite addiction is music. It’s always music. It doesn’t matter how I feel, music is always there for me, unconditionally loving me.
Come On
It’s an aggressive song, reminding more of Breaking Benjamin than anything else.
In relation to themes, Skid Row had “Piece Of Me” and Digital Summer has “Come On” and “Fight Till I Fall”.
Come on, come on if you survive this round Step it up or you’ll be going down
It’s very Ivan Moody like who was always looking at taking someone on in his lyrics.
War Against Myself
Why can’t you see that I’m at war against myself For once could I fight someone else
We are our own worst enemies. We would ponder a simple mistake forever.
Dance In The Fire
I like the Intro as it reminds me of songs that New Order write.
And we dance in the fire And we laugh at the flames and never learn With no cares for tomorrow Cause tonight we just love how it burns
It’s not as bad as “She Goes Down” from the Crue or Jovi’s “Bad Medicine” or how Springsteen is looking for some action while dancing in the dark, but it’s a song about getting laid.
Overdose
An intro similar to “Dance In The Fire” kicks off this song.
You’re like an overdose with no antidote I’ve fallen victim far too many times
The sins of lust and the damage left behind when the lust and fire ends.
Wanted To Love You
This is a great ballad and the vocal delivery is excellent.
As if they’re paved into the sidewalks These city streets reflect my thoughts and moments
When you walk the streets of your hometown your whole life, every pavement step and street corner contains a memory.
I’ve wanted to love you, for so long I need to It’s the only thing left that my heart knows to do
You can hear the pain in the voice, the emotion is very Aaron Lewis like. Musically I like how the piano plays over a foundation of electronic noises and repeating guitar lines.
Broken Halo (Acoustic)
An acoustic version acts as a bonus track.
Instead of 16 songs, we get 10 this time around.
For an unsigned and truly independent band, this is a slick addition to the alternative metal movement.
The tour they had with 12 Stones had a shitty Agent and in some cities, cancellations ensured.
However Digital Summer still arrived at those cities and spread the word to their fans that they are in town to meet and greet.
And they did this by taking time off from their day jobs as firefighters, paramedics, producers and teachers.
I was never a Led Zeppelin fan growing up. I didn’t even know that “Get In On” referenced “Kashmir” until I purchased the “Remasters” album in the early 90s.
And after that purchase I also heard many other songs from 80’s bands in Zeppelin’s music.
And what a weird cover for a rock band, with a family staring at an unfamiliar object around the dinner table.
So if i based my purchases on how the cover looked, this album wouldn’t even make the list.
Achilles Last Stand
One of my favourite cuts.
It’s long and repetitive, but there’s something about the bass groove, Page’s inventive playing to tweak the riffs each time and Bonham’s thundering drum sound that doesn’t make it boring.
Led Zeppelin hated being associated as one of the forefathers of Heavy Metal, but this cut begs to differ. Hell, I would even associate it with Progressive Metal. And at 10 plus minutes it definitely qualifies.
For Your Life
The Blues Funk grooves are back. It’s not a celebrated cut, but goddamn press play to hear the syncopated grooves of the bass, guitar and drums.
There is this middle blues fusion section which feels like a “roll the tape” moment.
The solo is Page abandonment, he’s phrasing is off, his atonal in some sections, exotic in others and aggressive and somehow it all works.
At 6 plus minutes it could have gone through the John Kalodner editing filter, but no one was going to tell Led Zeppelin how to do anything. They told you instead.
Royal Orleans
It’s like a jazz blues fusion cut. It doesn’t really go anywhere, and serves more as a short filler.
Nobody’s Fault But Mine
One of my favourite cuts and I had no idea that it was a cover song from Blind Willie Johnson who released it in 1927.
Because the song credits in the album are shown as Page and Plant.
The Bluesy Intro is that good that Jimmy Page sped it up and used it for “Shake My Tree” with David Coverdale.
And my ears tell me that the Bluesy Intro came from a John Renbourn acoustic cover of the song in the mid 60s.
So it’s a cover of a cover.
The vocal melody is from the original and the musical interpretation borrows heavily from the John Renbourn adaption.
But I still like it and Zeppelin brought the song to the masses.
Candy Store Rock
It’s a blues shuffle which doesn’t really go anywhere and the “oh baby” and “yeahs” are just too much.
Hots On For Nowhere
It reminds me of Van Halen during the Roth era and I believe David Lee Roth would model his vocal style.
Listen to the verses if you don’t believe me.
Tea For One
As soon as I saw the title I made up my mind that I hated the song, because I’m a sucker for a good title. And this ain’t a good title.
But man.
What a riff to start it off.
It then goes into a slow blues solo, like “Since I’ve Been Lovin You” and then Plant chimes in.
And the album wasn’t well received and it’s still the lowest selling Led Zep album but I think that more had to do more with the previous albums still selling like crazy.
They also didn’t tour on this album due to Robert Plant recuperating from serious injuries he had sustained earlier that year in a car accident.
While the second half is weak, there is a lot of good material here to dismiss the album.
On this album they amp up the radio rock songs, with bigger Choruses and concise song arrangements. They sound heavier, like Sevendust, more commercial than Three Days Grace and Staind and when they do the slower songs, they definitely know how to set a mood.
The band for the album is Kyle Winterstein on Vocals, Guitar and Producer, Ian Winterstein on Guitar, Johnmark Cenfield on Guitar Anthony Hernandez on Bass and Ben Anderson on Drums and Assistant Engineer.
Counting The Hours
Dropped D down tuning, syncopated guitars and bass kick and a melodic droning lead kicks off the title track.
There’s nothing like an apocalypse to open your eyes
Great lyric, it reminds me of the lyric in “Life Is Beautiful” from Sixx A.M. when James Michael sings, “there’s nothing like a funeral to make you feel alive.” So don’t wait for those moments, seize the day.
The two guitar attack is very reminiscent of Machine Head during the Supercharger era. One guitar would crank the rhythms while another would play melodic motifs and leads over it during intros and verses and so forth. Korn’s two guitar team is another example of this.
Just Run
It’s basically a hard rock song, but played in a dropped D tuning and the riffs are more syncopated with the drums, which didn’t happen with hard rock bands in the 80’s.
You’ve been running your mouth for quite a while now
These days its more keyboard warriors running their mouths (aka fingertips) on social media.
Check out the Chorus.
Hostage
A fast alternate picked riff is played throughout while the other guitar embellishes with melodic leads.
It’s aggressive and angsty about a “relationship awakening” in which the writer realises they have changed so much that they have become a hostage to the relationship.
I don’t want to be a victim of this pointless game
Playing the Saint
It features guest vocals from Morgan Rose of Sevendust.
Industrial electronics kick it off and then the riffs start.
Kyle is not happy in this one.
I can see right through you and everything you do
The aggressive verses give way to a melodic Chorus about that someone in your life pretending to be someone their not and how they can do no wrong.
A four punch knockout combo so far.
Shallow (Closer than the Angels)
A more rockier bass riff that reminds me of “My Friend Of Misery” starts off the song but the overall feel is like a Five Finger Death Punch song as “The Bleeding” comes to mind.
Press play for the falsetto vocals and then the Arena Rock Chorus.
Anybody Out There
Morgan Rose also appears as a guest drummer, so it’s no surprise that my brain starts to think I’m listening to Sevendust.
And the riffage certainly helps.
SCREAM for help now, is anybody out there Is anybody listening, does anybody care
There are people who care but they are the first ones we argue with, so let’s hope that are still around and still care in your time of need.
Morphine
Musically, it reminds me of the Limp Bizkit songs which have clean tone riffs and vocally, its melodic.
Not even morphine can kill the pain Increase the dosage but I feel the same
We live in a drugged up world.
We take tablets for medication and some do it to get high. We take alcohol for various reasons. People still smoke cigarettes when they even know that smoking will kill you and some turn to illegal drugs.
The Thrill
It blasts out of the gate with fast riffing, reminding me of Godsmack.
Never cared for consequences, we take no prisoners Don’t bother with regrets, we push forward till it hurts
It’s got the spirit of the early 80s.
Rescue Me
This appeared on the “Hollow” EP and was released as a single back then.
So maybe I’m the one that needed saving Someone to rescue me from myself
Contemplation.
Maybe we are not so perfect after all.
Today
It stars off with a bass groove and drums, while the guitars kick in with shimmering arpeggios and clean tone melodies.
In the Chorus, they blast out the distortion.
The song is a bit derivative of the other songs and if I was John Kalodner, I would be leave this song off.
Inside My Head
The clean tone Intro reminds me of something but I can’t think of what.
It also sounds like part two of “Today”.
Use Me
This appeared on the “Hollow” EP as an acoustic track and here it gets the plugged in treatment.
Morgan Rose from Sevendust appears again as a guest drummer on this track.
The Chorus is melodic and excellent. Press play to hear it.
So Beautiful, So Evil
How good is the intro?
From the moment she laid her eyes on me I knew how dangerous she could be
It’s like a Coverdale lyric about serpentine women.
Not Even God
Nonpoint and Sevendust come to mind but like “Today” and “Insiee My Head”, I would have done a Kalodner.
Something More
Another song I would have left off the album. Not that it’s a bad song, it’s because it sounds like many others on the album.
While The City Sleeps
One of my favourite songs.
The lyric of cruising the city while it sleeps could be a reference to Kyle’s job as a paramedic. Yes, while doing Digital Summer, he is also a full time paramedic with a generous boss who gives him time off to tour. His brother Ian is also a paramedic.
With the 16 songs, it’s a good album, however if list was cut down to about 10, then it would be a great album.
“Made In Europe” came out in 1976 and it features the line-up of Richie Blackmore, David Coverdale, Jon Lord, Ian Paice and Glenn Hughes.
The shows were recorded in 1975 before Blackmore left, however the album was released in 1976 long after Blackmore left and the version of Deep Purple after that had also broken up.
I am very picky when it comes to live albums. I think the problem is that I grew up with two many live albums that weren’t actually live or had some parts live and other parts recut in a studio.
So when I heard an official live album the first time with no studio overdubs I though I was listening to a bootleg. It was bad and I felt like I got ripped. Some of the bootlegs I had sounded better. It took me a while to understand that a revising could never capture the power of a live performance properly and within time I started to enjoy the live albums with no studio overdubs.
Burn
The opening riff is more iconic to me than “Smoke On The Water”. The drumming from Ian Paice is thundering.
But press play to hear the bass playing of Hughes during the solos. It’s monstrous and he carries the rhythm section on his shoulders.
Mistreated
Because of its bluesy nature, it’s a great song to extend when you play it live. And the main riff is written by none other than David Coverdale himself.
But my go to version of this song is the cut that Whitesnake did. Reb Beach goes to town during the solo section.
Lady Double Dealer
It’s a 12 bar blues, bit its fast, like NWOBHM fast.
Check out the bass playing from Hughes on this.
You Fool No One
It has about 2 minutes of doodling, something which was common back then but not these days. These days, its song after song after song, with zero jamming.
After the doodling, there is a riff which is played, fast and almost thrash metal like. It’s something that Blackmore would do with Rainbow.
But the problem I have with this song is that they’ve take an almost 5 minute song and turned it into a 16 plus minutes song.
Maybe just a bit too indulgent.
However the artists ruled back then and no one would have dared to tell Blackmore to solo less.
Stormbringer
Another killer Blackmore riff. The tempo of the live version is a bit faster than the studio version and its perfect for the song.
You can hear the embryo of the NWOBHM right here.
The falsetto highs of Hughes are excellent and his bass playing dominates again.
This version of Deep Purple only lasted for two studio albums, but they are two albums I hold in high regard and rate as favorites.
And you can’t pass up a live album with Coverdale on vocals.
“Hollow” is an EP/DVD released on March 31, 2008, and featured the single “Rescue Me”.
The band for the album is a bit different from the debut with Kyle Winterstein on Vocals and Guitar, Raymond Amparan and Johnmark Cenfield on Guitar, noting the absence of Kyle’s brother, Ian on guitar. Anthony Hernandez on Bass and Chris Carlson on Drums.
The first four tracks are acoustic tracks, but played in a way like “Days Of The New” with bass and drums also prominent.
The acoustic medium suits the band a lot, because it highlights even further what a great vocalist Kyle Winterstein is.
Whatever It Takes
From the debut album and the distorted sounds are replaced by the aggressive strummed sounds of acoustic guitars.
The Chorus catchcry of doing whatever it takes to get someone out of their life sounds even more desperate in this format. And the drumming still keeps the same frantic pace like the studio recording.
Use Me
A new track and the strummed acoustic guitar riff gets me interested. Vocally, I feel like Aaron Lewis is singing this.
“Let me use you and I’ll let you use me” is the hook, to forget memories and promises made.
Suffocate
Also from the debut album and I like the swampy bluesy feel I get when I hear the intro on acoustic.
Then the riff just before the verses is so “American Woman”.
The thing is, the riff I am talking about is basically known as “the Nu-Metal” riff as every band that dabbled in the genre has a riff like it.
And when its stripped back to an acoustic format, this modern riff sounds like it came from a 60’s song. And I like those little connections to thins known before.
Sweet Misery
Another new track that begins with a riff made up of open strings and single notes, begging for a distorted guitar but it doesn’t come.
Instead a piano melody plays over and over the riff, which gives it a haunting sound along with the shimmering ambient noises, which are mixed in low.
Rescue Me
A full plugged in band track.
A sad piano riff starts it all off before a guitar riff kicks into gear in the verses which reminds me of “Come Undone” from Duran Duran.
Worth The Pain
Another new track. The style of this song is why I like the band, as they combine elements of electronica into a commercial sounding hard rock song.
destroyerofharmony 