My favourite album from Stabbing Westward. It was my first proper listening experience from them. I purchased the single, “So Far Away” and then downloaded a copy of the album before purchasing it.
And it’s not on Spotify which pisses me off. But of course YouTube has all the music.
What’s the deal with the cover?
If your making a statement about a self-titled album, is that the cover you want to advertise it?
After this album, I went back to listen to their earlier stuff via various Cyberlockers, Limewire, AudioGalaxy sites.
They needed to press the reset switch on their career.
How much more darker do they want to go?
The first album was called “Ungod,” the second was called “Whither, Blister, Burn and Peel” and the third was called “Darkest Days.” And for a name like “Stabbing Westward” I didn’t expect to hear a pop rock album.
They had three albums with Sony and two of em achieved a Gold certification from the RIAA. But they signed with an independent label after that in Koch Records.
Their new manager wanted the band to create an album with a heavy pop influence. Christopher Hall, Walter Flakus, and Mark Eliopulos fought against this decision. Somehow the manager had more power within the band than the actual band members and guitarist Mark Eliopulos was fired by the manager who brought in Derrek Hawkins as both a studio and live musician, as well as a new producer, Ed Buller.
For this album, Stabbing Westward is Christopher Hall – vocals, Derrek Hawkins – guitar, Jim Sellers – bass, Walter Flakus – keyboards and Andy Kubiszewski – drums.
Released on May 22, 2001, the album did well in Australia, but ultimately failed to sell worldwide like their previous albums. They got put on a tour opening up for “The Cult” however the label told them to drop out as they were wasting their money being the opening band on a tour that wasn’t setting any attendance records and to wait around for a better offer.
So Far Away
The themes of anger, hurt, regret and despair are still there in the lyrics, however the music is straight ahead heavy rock and the vocal melodies could have come from an 80’s hard rock album.
Perfect
A strummed acoustic guitar which reminds me of Tonic. It’s a happy song about Hall’s girlfriend. I guess she was just perfect.
I Remember
My favourite song on the album. It’s a soft rock song with a simple D to Bm to A to G chord progression and a haunting vocal melody. It also reminds me of tracks from Porcupine Tree like “Lazarus” and “Trains” hence the reason why I probably like it.
Wasted
As good as any hard rock song that did the charts before and after. Most people associate it with drugs, but it’s not. It’s about looking back at your life so far and seeing how the decisions you made in the past lead to you burning so many bridges and feeling lonely.
Happy
Oasis wasn’t writing songs like this anymore.
Do the same old demons haunt just me?
Sometimes it’s hard to escape the past and the feelings you have to those occasions.
The Only Thing
It reminds me of The Verve and that alternative soft rock.
Angel
Very similar to “Wasted” in feel.
Breathe You In
An acoustic guitar riff reminiscent to The Verve and Oasis.
High
A short drum intro and then an aggressive Bush/Live like vibe kicks in with the main riff.
Television
It sounds like a cut from “The Tea Party” and it’s a nod to their past albums.
Is anyone alive / Or am I lost in a world where nothing matters / Am I lost in a world where no one cares
I suppose the question can be asked about again about social media and all the noise that comes with that.
Last Time
A bonus track for the Australian and Japanese edition. It has a “While My Guitar Gently Weeps” vocal vibe in the verses.
This record made me a fan. But. Before a fifth LP could be recorded, the band disbanded on February 9, 2002.
Vocalist Christopher Hall started a band called “The Dreaming” and by 2016, that band had Walter Flakus and Mark Eliopulos in the fold. In other words, three/fifths of Stabbing Westward. So it was just a matter of time before Stabbing Westward reunited. First for a reunion tour and in 2022, they dropped a new album called “Chasing Ghosts”.
“One Wild Night Live 1985–2001” was released in May 2001.
It’s compiled from different shows. In Australia, we also got a Bonus disc of songs recorded live in Australia. The release I have is known as the “Australian Exclusive Collector’s Edition” and the bonus disc has five songs from a March 24, 2001 show in Melbourne.
Tico Torres behind the kit needs more respect. He is a beast, happy to keep the beat when he needs to and when they jam the songs out, he’s brilliant at improvising. Richie Sambora likes to solo and on this album there are some songs which have decent outro solos like “Keep The Faith”. It’s things like this that makes the live show unique.
Jon Bon Jovi vocally is on form and having a blast. The 1985 recordings of “Runaway” and “In And Out Of Love” from Tokyo, Japan are gold, showing a band hungry for success and using that fire to light up the stage.
And I forgot how good songs like “Just Older” and “Something To Believe In” are. There are seen as deep cuts now behind all the Top 10 hits.
It’s My Life
Written by Jon Bon Jovi, Richie Sambora and Max Martin, the Desmond Child like persona from 1998 to current. The song was recorded in Toronto, Ontario, Canada on November27, 2000.
Derivative or not, this song saved Jovi by renewing its audience. The 80’s fans remained and suddenly a whole new generation of kids joined them on the backs of this song.
Livin’ on a Prayer / You Give Love a Bad Name
It’s time in the set list to play some songs written by Jon Bon Jovi, Richie Sambora and Desmond Child. These two songs are from the Zurich, Switzerland show on August 30, 2000.
In 1998, Child sold his rights to these songs and other Jovi songs plus songs he wrote for other artists like Kiss and Alice Cooper to name a few. It was basically his whole catalogue up to 1997. He know wishes he hadn’t sold his rights as he has seen how much these songs make these days.
Keep the Faith
Another Jovi, Sambora and Child cut from New York City, United States on September 20, 2000.
Sambora is shredding his way through it and Tico Torres is thundering behind the kit, keeping up with the faster tempo.
Someday I’ll Be Saturday Night
The Jovi, Sambora, Child cuts keep coming. This recording is from Melbourne, Australia on November 10, 1995. The band is even more on fire here, with Jovi brilliant vocally. The increase in tempo makes the song a lot better as I wasn’t a huge fan of the studio cut.
Rockin’ in the Free World
A Neil Young cover from Johannesburg, South Africa on December 1, 1995. The tempo is increased and it sounds a lot better.
Something to Believe In
Written by Jovi and recorded from a show in Yokohama, Japan on May 19, 1996.
This one is a hidden deep cut in the Bon Jovi live set lists. I don’t think it gets played anymore but it’s a crowd favorite.
The beat from Tico sets the groove, while Sambora, Bryan and McDonald set the sombre tone.
Stick around until the Chorus kicks in to hear Jovi sing the melodies with Sambora doing the hey, hey, hey backing chants.
Wanted Dead or Alive
A Jovi and Sambora cut from a show in New York City, New York on September 20, 2000. As you would expect from this song, it has a little acoustic improvisation at the start before it kicks in.
Sambora on the lead is always perfect. His pinch harmonics, bends, palm muted notes and legato licks have a life of their own.
Runaway / In and Out of Love
From Tokyo, Japan on April 28, 1985.
“Runaway” is written by Jovi and George Karak, while “In And Out Of Love” is listed as written by Jovi. Alec John Such is on bass and backing vocals on these tracks. Remember him. The forgotten bass player, written out of Bon Jovi history.
The band is hungry and on fire on these songs. JBJ even brings out the falsetto for the “Runaway” outro.
The things a younger voice could do?
Before “In And Out Of Love” starts there is some guitar doodling and then the song starts, which is a bit different to how it normally starts and after a minute or so, the song we know begins. And I like the tempo increase. It’s only slight but man doesn’t it change the song from pop rock fare to hard rock fare.
I Don’t Like Mondays (featuring Bob Geldof)
A Bob Geldof cover recorded in Wembley, London, United Kingdom on June 25, 1995. I didn’t like the original version, so this did nothing for me.
Just Older
How good does this sound?
Written by Bon Jovi and Billy Falcon. It was recorded from the Toronto, Ontario, Canada on November 27, 2000. It’s another cut now known as a deep cut.
Something for the Pain
A Jovi, Sambora, Child cut recorded in Melbourne, Australia on November 10, 1995.
It sounded better on the CD then it did live. Some songs work live and some don’t. The “These Days” Australian tour took Bon Jovi out of the arenas and into the stadiums. The Sydney gig was at the Eastern Creek Raceway. It’s a crap venue for live music and terrible to get to via public transport. It was a horrible experience a few years before for Guns N Roses and Skid Row, so I skipped any band that played that venue after Gunners.
And thank god that no act plays at that venue anymore.
Bad Medicine
The band should have changed their name to Jovi, Sambora and Child. As most of the big cuts are written by the these three dudes. This is from the Zurich, Switzerland on August 30, 2000. It’s basically an undercover 12 bar blues rocker.
One Wild Night (2001)
And the CD finishes with a new studio cut of “One Wild Night”. The cut is also written by Jovi, Sambora and Child . It’s faster and more party like. You can tell that by playing it live, they enjoyed the increased tempo, so why not capture that power and passion in the studio.
Do you know how hard it is to find a Dream Theater single in Australia?
And as soon as I found one, I purchased it straight away. But I haven’t found any singles since and in the 2000’s I just stopped looking for em in the record shops.
“The Silent Man” is the third EP released by Dream Theater in 1994.
The personnel for the band was Mike Portnoy – Drums, John Petrucci – Guitar, John Myung – Bass, Kevin Moore – Keyboard and James LaBrie – Vocals.
John Purdell and Duane Baron are producing the songs “Eve” and “The Silent Man”.
Eve
I actually purchased the single for the song “Eve”. At the time it was an unreleased bonus track.
It’s an instrumental, but it’s not the kind of instrumental you think with a thousand notes per minute. There is emotion and feel. Kevin Moore on the piano lays down most of the music which belongs to a soundtrack in a film.
His keys and piano riffs dominate the song and then there is Petrucci, who knows which notes to wrestle out of his fingers with his melodic leads. Especially that lead from 4.02. Press play on it.
Close you eyes and let the music take you to a peaceful time. It’s soothing, I could use it to meditate to.
Take the Time (demo)
This demo along with a few other songs, are part of “the” demo tape that got them their ATCO deal for the “Images And Words” album.
The Silent Man
It’s an acoustic song, and man can Petrucci write a complicated acoustic song with unique chord voices.
1976 saw AC/DC’s first internationally-released album, “High Voltage”. The demand for Oz Rock was already on the up.
Enter Cold Chisel.
After years of hitting every place and pub in Australia and drinking those places dry with their road crew, or getting banned due to fighting, Cold Chisel finally got a record deal and released their first album on WEA/Elektra in 1978.
But.
If you ever caught the band live, the self-titled debut sounded nothing like the band did on stage.
They also had a producer that kept telling em that live is live and the studio is the studio. They cannot intersect. Well tell that to Bob Rock who made it his mission to capture how good a band sounded live, in the studio.
Before the album was even released “Khe San” was already a crowd favourite however it was a lot faster live than the studio version. But there is something special about the slowed down studio version as well.
Juliet
It’s a rocker, more STYX like with a little bit of “Evie” from Stevie Wright and “Mississippi Queen” from Mountain.
Khe Sanh
“Khe Sanh” was released as a 45 rpm single in May 1978. It captures, the despair and the anger of an Australian Vietnam war veteran. There were no parades for these guys. They came back home, hated. And the promises made by the Government to look after them never came to be.
It was banned from commercial radio as the lyrics had references of sex and drugs. Lines like these were scandalous. “And their legs were often open/But their minds were always closed”.
But a great song is never born from marketing. It’s from word of mouth.
And the Battle of Khe Sanh was fought mainly by US Marines but this didn’t matter.
The piano riff is rocking and the best part of the song is when Jimmy Barnes sings, “the last plane out of Sydney is almost gone”.
And maybe all of us were a bit damaged as well so the song resonated with a lot of people who had addictions and couldn’t make meaningful contact with woman, and the need for casual sex with East Asian women.
Home And Broken Hearted
The verse riff reminds me of AC/DC, who were influenced by Chuck Berry.
One Long Day
The bass rumbles while the piano plays a jazzy riff that reminds me of “Long Way To The Top”. And it takes a left turn when it changes to lounge rock.
Northbound
Blues rock at its best
Rosaline
It could be a STYX or Bee Gees cut. It’s almost progressive the way Don Walker plays the piano.
Daskarzine
Its fast and aggressive.
Almost Rose Tattoo like and when “they speak her name in cheap hotels/From Turkey to Marseille” we get an understanding as to who Daskarzine is.
Just How Many Times
Its lounge jazz blues rock, slow and relaxed. The lyrical message is more important than the rest. Barnesy is a crooner on this, an R&B style of crooner.
They never got the big break in North America that they wanted, but it’s pretty hard to sell your act when your lyrics paint a picture of Australia.
By 1993, a lot of artists who got their break in the 80’s had nothing doing. Even his band Danger Danger was struggling. Their album “Screw It”, released in 1991 got zero skulls out of 5 in the reviews I came across. The reviewers had enough of song titles like “Slipped Her The Big One” and “Horny S.O.B”.
The million bucks spent on the album would never be recouped, the band got dropped and it took another four years for Danger Danger to resurface with “Dawn” in 1995 on an unknown label.
But before they got dropped by Epic, there was an attempted album called “Cockroach” scheduled for 1993, however vocalist Ted Poley sought legal action to prevent it from being released as Bruno Ravel fired Poley after the album was completed and then got Paul Laine to re-sing it.
Due to the court case, Epic shelved the album but money talks and in 2001, it was finally released with Disc 1 being the Paul Laine version and Disc 2 being the Ted Poley version.
But while old friends had their various issues, Al Pitrelli was steaming ahead.
He was doing studio work with artists like Taylor Dayne. At this point of her career, Dayne was on fire, and a lot of money was thrown her way by the label for her third album. A lot of great songwriters were commissioned to work with Dayne and they bring their own players. Pitrelli on this case, played guitar on two tracks “Dance With A Stranger” and “I Could Be Good For You” on Dayne’s “Soul Dancing” album released in 1993. And like his previous studio work, Pitrelli was asked to perform again on a cut written by Diane Warren (“I Could Be Good For You”). I guess he had the soft rock mojo Warren was looking for.
His “Coven Pitrelli O’Reilly” project released “CPR” in 1993.
His “Morning Wood” project finally saw a self-titled release in 1994 (in Japan only and it wasn’t until 2002 that it saw a European release), along with Asia (“Aria”), Widowmaker (“Stand By For Pain”), the self-titled “Ten Ton Tide” album and “Out Of Control” by TM Stevens.
The “Morning Wood” band was Pitrelli’s old pal, Chuck Bonafante on drums, Al Pitrelli on guitars, Tony Harnell from TNT on vocals and Danny Miranda on bass and keyboards. The album was all acoustic, mainly covers with a few originals.
The “Stand By For Pain” by Widowmaker is an album to be spoken of highly in relation to Hard Rock/Groove Metal. But like the heavy rock Widowmaker debut, it is largely ignored or forgotten. Dee Snider couldn’t catch a break post Twisted Sister, however he has shown his resilience, slowly rising back up year by year, first by a radio show, then as a screenwriter/director and when Twisted Sister reformed in the piracy decades, they were surprised to see that their music was more popular than ever.
Pitrelli also helped an old mate in Derek Sherinian get the keyboard job with Dream Theater after the departure of Kevin Moore. Al Pitrelli and John Petrucci used to teach guitar at a Long Island Guitar store, and Pitrelli put a call in to Petrucci to hire Sherinian who Gene Simmons described as the love child of Paul Stanley and Cher.
Pitrelli was also back in Asia for another album called “Aria” released in 1994. This period is known as the John Payne period. Al Pitrelli played on the previous album “Aqua” but didn’t tour. He played on “Aria” and went on tour this time, however after 4 concerts the tour was cancelled. Pitrelli left the tour early (how early can you leave a 4 show tour) and was replaced by ex-Simply Red guitarist Aziz Ibrahim for the other few shows. The album was also a complete commercial failure.
Another project called Ten Ton Tide released their self-titled debut. The band is listed as “Hard Rock” and “Prog Rock”. If you like Rush, then this band definitely fits the bill. This YouTube video is the only thing I could find on the project but it’s not the album that Pitrelli played on.
The band for the debut album is Jim Toscano on drums, Anthony Tirado is on Bass and Rhythm Guitar, Rob Glick is also on Bass and Guitar, Dan Gibson is on keyboards, Al Pitrelli and Zak Rizvi are on Lead and Rhythm Guitars and Dennes Cynd is on Vocals and Violin. One review mentioned the singer as a cross between Mick Jagger and Kip Winger. But I don’t hear that.
1994 or 1995 also saw a release from “TM Stevens – Out Of Control” called “Boom”, a fusion of hard rock, funk, rhythm and blues and metal.
For those who don’t know, TM Stevens is an American bass guitarist from New York City. He was a go to session guy and if you purchased a Billy Squier album, there is a chance you heard TM playing bass on it. The same goes for Pretenders, James Brown, Joe Cocker, Taylor Dayne, Cyndi Lauper, Tina Turner, Riot, Billy Joel and Steve Vai. And it was James Brown who got TM to sing. You know the track, “Living In America”. One of the voices on it is TM.
Apart from Al Pitrelli playing on the first album “Boom”, Richie Kotzen and Al Pitrelli both play on “Sticky Wicked” released in 1996.
In relation to “Boom”, check out the songs, “Supernatural”, “I’m A Believer” (a totally different song to the one you are probably thinking off), “The Gift”, “Hair”, “What About Love” and “Freedom (Never Gonna Give It Up)”.
Savatage were about to be dropped by Atlantic. They had given the band advances for each album and to the label, they never recouped that advance. Pitrelli was the studio player Paul O’Neill brought in to play lead guitar on their last album, “Dead Winter Dead”, released in 1995.
He went on a European tour with them as a hired gun and was to have no more involvement with the band after that.
But.
Something happened.
The song “Christmas Eve (Sarajevo 12/24) was a hard rock mash up of “God Rest Ye Merry Gentlemen” and “Carol Of The Bells”. The guitar leads you hear on the track that a violin normally plays are from the fingers of Al Pitrelli. And when Savatage returned to the U.S, this song had crossed over into the Charts and became a holiday favourite.
When there is a hit, expect a new album to come out. Savatage went back into the studio with Paul O’Neill producing again, but this time around, Pitrelli was a fully-fledged member, playing all the guitars and he was known as the “musical director” of the band. But Savatage was seen as a heavy metal band, and some due diligence by the label suggested that they should change the name of the band for this Christmas themed album.
And “Trans-Siberian Orchestra” was born. Otherwise known as “TSO”.
Also in 1995, a few other projects that Pitrelli was involved in got a release. The band “Place Called Rage” released their self-titled debut. Joe Lynn Turner released “Nothing’s Changed” and “Mojo Bros.” released their self-titled debut.
The “Place Called Rage” band had a few friends from the 80’s, like Chuck Bonafante on drums, Danny Miranda on bass and Tommy Farese on vocals. Released in 1995, it’s a great slab of hard rock rooted in the 70’s Rock movement with a lot of Springsteen style “Americana Rock” thrown in.
The Joe Lynn Turner album “Nothing’s Changed” is also rooted in 70’s Rock. Almost Bad Company like. Pitrelli co-wrote 4 tracks with JLT and also Co-Produced the album with JLT. Other musicians to play on it are Greg Smith on bass, John O’Reilly on drums, with keys being provided by Gary Corbet, Derek Sherinian and Al Pitrelli. This is another great slab of hard melodic rock, lost in the noise of 1995.
The Mojo Bros. self-titled debut is hard to find. A few YouTube clips exist and that’s it. Joe Lynn Turner and TM Stevens even appear on their Temptation’s cover “Ball Of Confusion”. The music is mostly instrumental except when they get in a guest singer for a cover song. The band is Danny Miranda on bass, Joe Franco on drums, Al Pitrelli on guitars and Derek Sherinian on keyboards. These three albums released in 1995 are not on Spotify.
1996 brings us to Vertex.
The “A/2” album from Arcade disappeared from stores as soon as it was released. The music that Stephen Pearcy made a living off was out of style. So Vertex was born when Pearcy was asked to be part of an industrial band by Japanese drummer Hiro Kuretani. Al Pitrelli joined on guitar and Juan Croucier from Ratt was meant to be the bassist, however that spot went to Robbie Crane from Vince Neil’s solo band for the tour. Al Pitrelli plays the bass parts on the album except for two songs (“Time And Time” and “Aint Gonna Be”) in which Bob Daisley plays the bass. Fate would have it that Crane would became the Ratt bassist as well afterwards. In a dropping the names moment, the guitarist in Arcade Johnny Angel had a connection with Al Pitrelli from their brief Talas days.
Vertex was way ahead of their time. Musically, Vertex sounded like a cross between Rammstein (before anyone knew of Rammstein globally), the hard rock genre and Megadeth. Pearcy even sounds like Dave Mustaine in the vocal department. I believe critics just saw it as a glam rocker faking his way through the 90’s pretending to be industrial. But Pearcy is really good on this and the album is forgotten. “Industrial RATT” is a term that I came across a fair bit in the YouTube comments section. The bands Orgy, Coal Chamber, Snot, Static X, Powerman 500, Stabbing Westward and early Filter all sounded very similar to what Vertex was doing.
Another release that happened in 1996, was from the “Trans-Siberian Orchestra” (TSO) who dropped the “Christmas Eve and Other Stories” album around the Holiday season and man, it sold. 3 plus million is sales in the U.S for a triple platinum certification. A tour was organised in the U.S and it sold like crazy as well. The fusion of hard rock, progressive rock, classical and Christmas themed music with a bit of blues rock and jazz found itself an audience. A large one at that. And for the audience it was all about the experience.
After a long time as a journey man, a session guru and as a band member/leader trying to get a project up and running, Pitrelli had a project that would provide him with stability and success.
Produced and Engineered by Duane Baron and John Purdell who were still riding the wave of success from the “No More Tears” album by Ozzy Osbourne. Dave Prater who produced “Images And Words” was not considered due to the difficult working relationship between the band and producer.
“Awake” is the third studio album but the first album for the band, written knowing that there was an audience for their music. Artists would like us to believe that they write music to please themselves but they are lying. Once an artist experiences public acceptance of their music, their minds want to experience more of it. That in itself leads to a different kind of pressure. And the guys in the band were still young, so they didn’t know how to deal with this pressure and the pressure from the label.
Released on October 4, 1994, the album came out at the peak of the Seattle movement. The heaviness was evident and the label wanted it, but the label also wanted a song like “Pull Me Under” even more, a combination of that Iron Maiden meets Metallica sound. But that song never came.
But with this album, Dream Theater unknowingly went from a progressive rock band with roots in hard rock, to a progressive rock band, with roots in groove metal, paving the way for a fertile new genre known as progressive metal. But the critics were mixed on it and even the fans were split. But the years that have passed have been kind to the album, and now it is seen very differently.
The writing sessions began in February, after a small 4 week break after the “Images And Words” tour. Each song had weird working titles like “Kittens On Crack”, “Blowfish”, “Beach House Reality” and “Squid”. A lot of music was written and when this happens, a band leader would need to decide as to what is kept and what is discarded. Dream Theater had no band leader. So the creative disagreements started.
Once the demos were completed, the tracks were given to their A&R Rep, Derek Oliver to listen to. While the songs were good, Oliver didn’t see a marketability to them, however he still gave the go ahead to record the album, as his boss Sylvia Rhone wanted the album done so she could show orders for the album.
It’s also the last album to feature original keyboardist Kevin Moore, who announced his decision to leave the band during the mixing process of the album.
Larry Freemantle, who had designed the cover of “Images and Words”, provided the artwork for “Awake”. As with “Images and Words”, the band instructed Freemantle to include several lyrical references in the cover, such as a clock showing the time 6:00, a mirror and a spider in the middle of a web.
“It’s 6 o clock on a Christmas morning”.
I’m not sure what I expected from Dream Theater for the follow up to “Images And Words”. But voiceovers saying it’s six o’clock on a Christmas morning was probably not it.
6.00
A Mike Portnoy drum groove kicks it off, rooted more in freeform jazz fusion.
And there is a Rush like groove that reminds me of “Natural Science”.
The lyrics are written by Kevin Moore about routine, duty and commitments in a person’s life, like cutting wood to keep a family warm and working to put food on the table. It’s so far removed from Rat Tailed Jimmy in “Dr Feelgood” or Metallica’s evil Sandman.
Caught In A Web
The 7 string guitar with the Low B string is in action here.
Truth be told, I saw the 7 string as a fad. I never saw a reason why a guitarist would need one. If you wanted a low B, increase the gauge on your strings and tune the E string down to B.
While someone like Iommi tuned down to C# out of necessity to make the strings easier to bend due to cutting off the tips of his fingers in a work accident, I still didn’t get why artists needed to go lower.
Because it sounds muddled when you play fast riffs, but press play to hear the killer lead.
Would you expect anything else from Petrucci?
Innocence Faded
Petrucci wrote the lyrics of “Innocence Faded” with Wikipedia telling me “it was inspired by his deteriorating friendship with Moore”.
When Dream Theater do major melodic rock, they do it well.
Press play to hear the outro.
Petrucci comes in with an outro riff with triads over an E pedal point. And if that wasn’t good enough, he starts to solo over it in a Steve Morse and Paul Gilbert manner.
Next up we have the “A Mind Beside Itself” Trilogy featuring the three separate songs, “Erotomania”, “Voices”, and “The Silent Man”.
Erotomania
An instrumental.
A large section of this song was written for the song “Pull Me Under” however it was removed from the song before they went into the studio to record it. And those sections which were removed ended up in this song.
Voices
The intro. Press play to hear it.
Silent Man
An acoustic song during the unplugged craze. It deserved more attention.
The Mirror
Its heavy courtesy of the 7 string and its ready to challenge all the groove metallers. Here the 7 string works because the riffs are slower.
There is a section in this song, when they play the main piano riff from “Space Dye Vest”. Brilliant.
Portnoy wrote the lyrics to “The Mirror”, describing his battle with alcoholism. He would return to the subject on later Dream Theater albums with the group’s so-called “Twelve-step Suite.”
Lie
It was the leadoff single. Not sure if this should have been the song as lyrically its poor. “The Mirror” was a better choice.
But the lead is killer.
And it ends the same way “The Mirror” started as the two songs are connected. But this time around the heavy groove sets the foundation for Petrucci to solo over.
Lifting Shadows Of A Dream
It began as a poem and two chords brought to the band by Myung. They worked on it, hated it and the next day they liked it.
This is DT being like U2 and Marillion. Myung sets the foundation with his bass riff and Petrucci brings out his Marillion and The Edge influences with digital delay melodic riffs, while Kevin Moore lays a keyboard riff which is sad but hopeful.
Scarred
The blues jazz fusion intro hooks me. For an 11 minute song there are so m at good sections.
Like the Metal verses and the solo and the outro.
Space Dye Vest
Kevin Moore is listed as the sole writer here, much to the protest of Mike Portnoy who in hindsight wanted to leave this track of it.
But it was one of my favorites because it had a soundtrack like quality to it. I could feel the sadness in the music. And James LaBrie is like Peter Gabriel in his vocal delivery.
It’s a style that I liked from em.
To tour they had to find a keyboard player.
Jens Johansson from Yngwie Malmsteen’s solo band was the first to be approached. While the label and management were keen on Johansson, the band wasn’t.
Jordan Rudess was the second and the band were blown away by him at the audition. Jordan agreed to play a small gig with them (which went terribly) and then rejected the offer to join them at that point in time. He had a gig with the Dixie Dregs, a full time job with Kurzweil and a very young family. He chose to be around his family during this period.
Enter the love child of Paul Stanley and Cher (as described by Gene Simmons), the one known as Derek Sherinian. By this point of time, Sherinian had worked with Lita Ford, Alice Cooper and Kiss.
John Petrucci and Al Pitrellil are both from Long Island and they used to teach at the same guitar store. Pitrelli put a call to Petrucci and basically said to him, “you got to hire this keyboard player”. And Sherinian was hired on a temporary basis to begin with.
In relation to the album, the label considered the album a commercial failure, which would lead to the band being pressured to write more radio-friendly songs on their next studio album. For Dream Theater, the label situation was never easy. Their Atco seven album deal was moved to East West Records, a division of Atlantic Records and then to Elektra.
This would lead to more problems. But that’s for another post.
The whole “Images and Words” album was a surprise success as it was released in a market that was very anti-technical. But “Pull Me Under” was not technical at all. It was actually pretty simple, with riffs that could have come from a Metallica or Maiden album.
So when an act is successful, the label is keen to capitalise on more sales. The best way to do that between studio albums is to release a live album.
Enter “Live At The Marquee”, released in 1993, on the back of the failure of the “Another Day” single. The music video for “Another Day” was totally ignored by MTV and never played on the music network.
There would also be a live video release of this period called “Live In Tokyo” from this tour. But that release would be covered a bit later.
In case people are not aware, The Marquee Club is a small venue in London. It’s a rite of passage for a lot of artists to play at The Marquee.
The band is the same as the “Images and Words” album with James LaBrie – vocals, Kevin Moore – keyboards, John Myung – bass, John Petrucci – guitars and Mike Portnoy – drums.
In relation to how live it is. All the music is live as captured on the night and most of James LaBrie’s vocals were actually re-recorded in a studio. In the book “Lifting Shadows”, Portnoy jokingly said the album should have been called “Dream Theater Live At The Marquee But With James LaBrie Live At Bear Tracks”.
The actual set list as found on Mike Portnoy’s concert database is as follows;
Metropolis Part I (released on “Live At The Marquee”)
A Fortune in Lies (released on “Live At The Marquee”)
Under a Glass Moon (not released)
Surrounded (released on “Live At The Marquee”)
Ytsejam (w/ Drum Solo) (not released)
Bombay Vindaloo (released on “Live At The Marquee”)
Another Day (only released in Japan, replacing “Surrounded”)
Another Hand (released on “Live At The Marquee”)
The Killing Hand (released on “Live At The Marquee”)
Pull Me Under (released on “Live At The Marquee”)
Take the Time (not released)
Wait for Sleep (not released)
Learning to Live (not released)
Metropolis—Part I: “The Miracle and the Sleeper”
The show opened with this and the CD release also did. The abilities of Petrucci, Portnoy, Myung and Moore are evident here.
The comments I read on a YouTube video of this song all mention the vocal performance of James LaBrie on this track. And it is a great vocal performance, regardless if it was recut in a studio.
A Fortune in Lies
I heard James LaBrie singing the debut album songs before I heard Charlie Dominici. Sort of like how I heard Bruce Dickinson sing the Paul DiAnno songs first.
The production sound of this song is a lot better live than what was captured in the studio. Especially the machine gun snare section before the solo break and then Petrucci nails his lead which has fast tapping, sweep picking, alternate picked lines and legato playing.
Bombay Vindaloo
Named after a vicious curry that played havoc with the band. It’s an improvised instrumental performed live only six times and never recorded in a studio. They really set the mood of India here with the use of exotic scales to highlight the themes of the song.
I’ve read reviews that mention “La Villa Strangiato” as an influence.
Petrucci again shines with his emotive leads as he builds and builds on em, very Al DiMeola like. It’s rare tracks like these, that make these kind of EP’s special.
Surrounded
The best part of this song is Petrucci’s digital delay lead, however the effect wasn’t as prominent live as it was on the studio cut. And for some reason it sounded very Van Halen’ish this time around.
If you are a fan of Marillion, then you will like this.
Another Hand / The Killing Hand
The newly written major key intro titled “Another Hand” that bridges “Another Day” with “The Killing Hand” is beautiful. Press play just for that.
And LaBrie delivers a great vocal on this. And yes, I don’t care if it was recut in the studio.
Pull Me Under
Could there be a Dream Theater set list without “Pull Me Under”?
Of course not. It’s their title winning MVP.
I have seen Dream Theater perform live on a few occasions in Sydney and they are excellent.
“When Dream And Day Unite” came out in 1989, the label Mechanix did nothing with it.
The band didn’t tour and compared to the sale numbers that other bands achieved in 1989, the album was classed a failure. But it’s pretty hard to sell something if no one knows it exists or if it can’t be found in record stores. A little bit of promo during this time would have gotten the album at least 200K sales worldwide. There was a market for the kind of music that Dream Theater was writing. But the market needs to know about it.
It also didn’t help when the A&R Rep who signed the band, left Mechanix to go to a competitor. And when that normally happens in label land, the label in spite, tries to kill off the acts the Rep had signed. Further to that, Mechanix was being taken over by a larger label in MCA and when that normally happens, labels consolidate and focus on winning projects.
Apart from the label issues, the band decided that in order to be successful, they had to change something that was not working.
Vocalist, Charlie Domicini was let go. He was a decade older than the rest of the guys and his image didn’t fit with the band. But they got their manager to break the news to him.
Even a newly inked tattoo of the Dream Theater logo on his shoulder wasn’t enough to save him. According to the band, his vocal style just didn’t suit. While Portnoy and Petrucci wanted a cross between Geoff Tate and Bruce Dickinson, they knew that finding such a vocalist was not going to be an easy task.
Dominici’s lyrics on the first album, a co-write with John Petrucci on “Status Seeker” and the sole lyricist for “Afterlife” resonated more than all of the other lyrics penned by Petrucci and Kevin Moore.
Being a bit older, meant he had a bit more experience with words and story-telling. But his voice is an acquired taste and he did cop some criticism for sounding like a bad imitation of Geddy Lee. But his vocals on “The Killing Hand” are my go to vocals for this song.
But as soon as Dominici was gone, he was back in for a gig, opening for Marillion, who wanted to unveil their new singer Steve Hogarth for his U.S debut. Portnoy was a massive fan of Marillion, so the opening slot was a dream come true. The band was on fire, but it was too little too late for Dominici who was let go again after it.
At first the band focused on trying to find a new singer as they still had six albums to deliver on the Mechanix deal. This process would take 14 months to happen. The book “Lifting Shadows” from Rich Wilson goes into great detail about the “search for a singer”.
John Arch was the first vocalist the band approached. He was out of Fates Warning after the release of “Awaken The Guardian” album in 1986. They rehearsed “The Killing Hand”, “Only A Matter Of Time” and a cover of Fates Warning “The Apparition”. Arch felt uncomfortable about how the band members wanted the vocals to sound. He felt it was too rigid. But the reason Arch left was family circumstances. He was about to become a Dad, he had a long commute to rehearse and he wasn’t comfortable spending so much time away from his family.
John Hendricks was the second vocalist the band rehearsed with after he sent the band a demo from an ad the band put out.
His appearance was more New Kids On The Block and the live audition in December 1989 didn’t go down well. But they kept him around to do vocals on some new demos called “Metropolis”, “To Live Forever” and “Don’t Look Past Me”. When they went back to live rehearsals, Hendricks still didn’t cut it, but his studio work was exceptional. The band wanted to move forward with Hendricks but label and management weren’t convinced. While Petrucci and Portnoy wanted a Tate/Dickinson style of a singer, Hendricks was none of that, more Pete Gabriel than anything and his image was New Wave compared to the Hard Rock and Metal image of Dream Theater.
Next was Steve Stone.
Stone was from Seattle and he had replaced Geoff Tate in the band “Myth”, Tate’s pre Queensryche band. Stone’s manager at the time was journalist Paul Suter, who sent demo tapes of Stone to George Lynch for the Lynch Mob project, to Steve Stevens for his Atomic Playboys project and to Dream Theater. Portnoy liked Stone’s voice, a cross between Tate and Steve Perry. Stone enjoyed the audition but conversations afterwards with the band made him feel that his creativity would be stifled.
However, they did get Stone to do studio vocal versions on “Metropolis” and “To Live Forever” as Mechanix wanted to hear product.
And then they played live. As soon as Stone yelled” Scream For Me Long Beach” and then kept on yelling it throughout the show, he sealed his axing.
By September 1990, the band was still without a singer and with a label that was losing interest in the band (as if they hadn’t lost it already) but wouldn’t release them from their contract.
Enter Chris Cintron. His demo tape was rejected at first but after Hendricks and Stone didn’t work out, Portnoy called Cintron to an audition.
Cintron’s voice was more Steve Walsh from Kansas and he was also the first singer to sing on a new song called “A Change Of Seasons”. The fact that everything was written and Cintron just had to perform what was written, didn’t sit well with him as well. Image and a few other disagreements with Kevin Moore, sealed his fate.
During this time, they also focused on writing better songs. Most bands normally have 3 months to come out with album number 2. Dream Theater in this case had close to 2 years. Furthermore, their sound evolved from the technical derivative metal sound on “When Dream and Day Unite”, to a more warmer sound, rooted in classic progressive rock with nods to Heavy Metal.
As the singer search took time, the seven album deal with Mechanix fizzled out.
But they had an ally in journalist Derek Oliver. Oliver wrote for Kerrang and he was a fan of the band. As fate would have it, Oliver moved into an A&R role at the same time that Dream Theater found themselves searching for a label who would support them.
Enter Kevin James LaBrie. He was part of Canadian glam metal band Winter Rose during this time and he sent the band an audition tape. After a short jam session, he was named Dream Theater’s new lead singer, and has remained with them ever since.
The band was then signed to a seven-album contract by Atco Records, and shortly thereafter, they began recording their new album in late 1991. The album’s production was marred with tensions, as the band clashed with producer David Prater who was chosen by Derek Oliver.
Enter Dream Theater with “Images and Words”. Released in 1992.
The album was unique and innovative to remain rooted to the prog rock niche that Derek Oliver spoke about in 1989 and it was familiar enough to cross over to the hard rock audience, looking for something new and exciting.
Dream Theater originally intended to release a double album, but that plan was rejected by ATCO, causing several songs to be omitted from the album. One of these songs, “A Change of Seasons”, would later be re-recorded by the band and released on an EP of the same name in 1995.
A Billboard review didn’t have great things to say about it;
“Power rock band’s Atco debut shows its members did plenty of listening to Yes, Boston and even Black Sabbath while growing up.
While the material is all well delivered, lead vocalist James LaBrie has a voice that stretches to fit the many different styles represented here, the main problem is the music, which sounds like it was written in the 70’s.
However given that the bands potential fans probably weren’t born until the end of that decade, it shouldn’t serve as any great detriment.”
Pull Me Under
Music composed by the band and lyrics written by Kevin Moore.
The lead single, “Pull Me Under”, gained the band a lot of commercial success with its airplay on MTV and radio, garnering them a top 10 hit on Billboard’s Hot Mainstream Rock Tracks chart. When the album was released, it sold at a steady pace, helped by an extensive world tour.
Its original working title was “Oliver’s Twist” as it was a last minute song written at the request of Derek Oliver. The original version also had the unbelievable solo section from “Erotomania” in it.
“Pull Me Under” was so good, that John Petrucci used the 1st verse riff of “Pull Me Under” in “The Count Of Tuscany” 1st Verse from the album, “Black Clouds and Silver Linings” released in 2009.
He also used the structure and dynamics for the song “On The Backs Of Angels” from the album “A Dramatic Turn Of Events” released in 2011.
As soon as the first three notes of the acoustic arpeggio are played, I was hooked. Then Portnoy started with his drum build. Metallica used an approach like this on “Enter Sandman”.
Another Day
Music is by the band with lyrics written by John Petrucci.
It’s like a hard rock ballad, but the guitar playing and the choice of chords by Petrucci is excellent. And the Soprano Sax solos are just perfect.
But press play to hear Petrucci on the lead break. It’s well worked out, it flows brilliantly, its melodic and cruisy and then he steps on the pedal and then brings it back to cruisy.
Take the Time
It’s a team effort on the lyrical front with Moore, Petrucci, Mike Portnoy and John Myung contributing.
How good is that start? The fast riffing is a cross between Van Halen and Metallica.
Then the verses go into a Rock Funk groove.
And the Chorus, its melodic hard rock.
As a guitar player, this song is like a Chord Book on complex chords.
Surrounded
It’s listed as words and music by Kevin Moore.
It starts off as a piano ballad, before it builds up to a funky blues rock tune.
But press play to hear the digital delay lead break from John Petrucci. It feels like The Edge from U2, but a lot better.
Metropolis—Part I: ‘The Miracle and the Sleeper’
It’s a monster of a song that every Metal and Rock fan would enjoy.
The pulsing intro alone is head banging material.
But those verses. Petrucci plays fast palm muted chords like the “Darkness, imprisoning me” part in “One” and keyboardist Moore outlines the chord progression with his riffs, while Portnoy plays a “Kashmir” like beat.
Perfection to my ears.
Under a Glass Moon
What an intro, pushing the envelope of what metal and rock should sound like.
But press play for the groove in the Verses from Petrucci and Myung, while Moore outlines the Chord progression with his keyboards.
And then wait to hear Petrucci on the solo.
Wait for Sleep
A brilliant piano piece from Kevin Moore. It’s like a haunting soundtrack. The main piano idea from here appears in “Learning To Live” and when it comes in, its brilliant.
Learning to Live
At 11.30 it’s the longest song on the album. The music is written by the band and lyrics are written by John Myung.
If I had to recommend one song to a new Dream Theater fan that typified the progressive rock leanings of the band, then this song would be it.
The song is that good, that Dream Theater rewrote it and called it “Breaking All Illusions” for the “A Dramatic Turn of Events” album in 2011.
The Kevin Moore keyboard intro kicks things off with a wicked 15/8 time signature. This same passage re-appears and this time it is played over alternating time signatures, starting off with 14/8 for 2 bars, then 13/8 for one bar and back to 14/8 for another bar. Then it goes back to 13/8, 14/8, 13/8, 7/8.
In between you get a very metal like passage in the vein of “Immigrant Song” from Led Zeppelin, that moves between 7/4,6/4,4/4 and 5/8 time signatures over F#m, C#m and Em root notes. It doesn’t sound forced. It is very fluent like.
The verse is unbelievable. Myung holds it all together with an unbelievable groove over a 7/4 and 6/4 time signature, that is supplemented by Kevin Moore’s choir like voicing’s outlining the Em9, Cmaj9, Amadd9 and Em9 chords. Myung paraphrases the novel “Atlas Shrugged” from Ayn Rand.
There was no time for pain, no energy for anger The sightlessness of hatred slips away Walking through winter streets alone, He stops and take a breath With confidence and self-control
I look at the world and see no understanding I’m waiting to find some sense of strength I’m begging you from the bottom of my heart to show me understanding
Petrucci and Portnoy build the song nicely into the chorus. Petrucci begins with normal volume swells, while Portnoy locks in with Myung. As Petrucci’s guitar gets busier with harmonics, chords and arpeggios, Portnoy’s drumming becomes busier.
The second verse has a great progressive groove that keeps within the 7/4 and 6/4 time signature of the first verse. This time it’s all power chords and its heavy as hell. Chugging along on an E5 power cord, Petrucci enhances the riffs by chucking in B5, Bflat5 and F power chords, utilising the devil triton to maximum effect.
The 90s bring new questions New solutions to be found I fell in love to be let down
Then when you think they are going to go into the Chorus again, they go into a bridge part with a simple 4/4 groove and then the instrumental break starts. Petrucci is now playing what Moore played in the intro.
The flamenco passage at 5.30 kicks things off. From 6.30 it gets progressive and then the woo ohh ohhs kick in and Petrucci takes over at 7.10 in one of the most heartfelt solos Petrucci has laid to tape. Those bends remind me of Dave Gilmour in “Comfortably Numb”.
The whole “Wait For Sleep” segment that begins at 7.30 and ends at 9.35 includes brilliant jazz bluesy solos from both Moore and Petrucci and the main piano riff from “Wait For Sleep”. It then segues back in to the Chorus.
The way that your heart beats Makes all the difference in learning to live
Just when you think the song is over, the outro kicks in, again led by an unbelievably groovy and very funky Myung bass line. Then Petrucci joins in with the Natural Harmonics and then the monk style voices take over. As a listener I just sit back with the head phones and allow myself to be taken away. A brilliant song and a brilliant piece of work.
Mike Portnoy has gone on record saying how much he hated working with producer David Prater and the use of drum midi triggers. Portnoy feared that the triggers would make the album sound dated and seen as another generic hard rock album.
One thing is certain.
The album still sounds fresh and current in 2022 as it did back in 1992. As Rush’s “2112” laid the groundwork for what was to come for Rush, “Images and Words” did the same for Dream Theater.
The tour finished in November, 1993. Overall they played 194 shows in 17 countries. “Images And Words” was certified Gold in the U.S. Everything they worked hard and persevered with, had finally happened.
The debut Baby Animals album was everywhere in Australia. Before the album was released in September 1991, they had some serious momentum over 15 months coming in to the album. The Angels was one of the biggest bands in Australia during this time and the Baby Animals was the opening act between 1990/91.
The album debuted at number six on the ARIA Album Charts and spent six weeks at number one, eventually going eight times platinum and becoming the highest-selling debut Australian rock album of all time (until the release of Jet’s album, “Get Born” 12 years later).
I saw em live at the Revesby Workers Club on the tour. An up and coming band called Judge Mercy was opening for them. They were excellent, but they unfortunately disappeared when the labels started dropping metal and rock acts in a years’ time.
And the Baby Animals rocked. Drummer Frank Celenza was huge behind the kit, laying down the foundations along with bassist Eddie Parise. Dave Leslie on guitar is so underrated, playing a chicken picking style and Suze DeMarchi on guitar rocks hard. Everyone raves about Lzzy Halestorm, but I’m pretty sure she would have been influenced by DeMarchi. And on vocals, DeMarchi is bluesy and soulful.
The album was produced by task master Mike Chapman and engineered by Kevin Shirley. The personnel alone shows the albums intention.
And my favourite track is “Working For The Enemy”, that whole break down section, lead break and build up is excellent. My second favourite is the metal like “Waste Of Time” with its energetic double kick intro and heavy blues boogie rock riffs.
“One Too Many” is “Rock N Roll Noise Pollution” in spirit and influence, while “Aint Gonna Get” is AC/DC on steroids and highway speed tempos with a Chorus that reminds me of “I Love Rock And Roll”.
And I haven’t even gotten into the singles yet.
How good is the intro to “One Word”?
But DeMarchi didn’t like the song after it was finished and asked the label to keep it off the album. The song went through a transformation, from a country-ish rock feel in the demo (which can be heard on the 25th Anniversary Edition) to the melodic rock beast it became, as Chapman kept asking them to work on it.
Guitarist Dave Leslie paid his dues in a Cold Chisel covers band called Swingshift, playing Australian pub rock classics on a nightly basis and he knew what worked with audiences. His chicken finger picked intro to “One Word” is guitar hero worthy.
“Rush You” is the opener as the power chord crashes down and the cymbals ring before it goes into a double time beat and some series riffage and how cool is that “Back in Black” walking chromatic riff just before the verse.
“Early Warning” begins with the drums while a slide guitar plays a rock riff and the music then stops while DeMarchi sings, “Too Young To Know and Too Old To Listen”.
The band kicks in again. Then the verses come and it’s like a Jimi Hendrix song, before it moves into the power of the Chorus.
“Painless” has this funk blues boogie which I like. If you haven’t heard it, today is a great day for it.
They toured hard on this album, playing all the major cities and regional towns in Australia, and once Bryan Adams heard the album, he added them to his European leg.
The Black Crowes added them to their Australian and New Zealand tour, while Eddie Van Halen, asked for them to be the support act on the “For Unlawful Carnal Knowledge” tour after he heard the album via his wife Valerie Bertinelli.
By the time their touring commitments ended for the album in August 1992, they had played over 500 shows.
It’s my second time hearing it, almost 8 years apart.
So “New Crown” is album number three.
It was produced by Andrew Stockdale and self-released on 23 March 2014, initially as a digital download only available on Bandcamp and then reissued physically and everywhere digitally.
Stockdale’s solo album, “Keep Moving” released in 2013 was actually meant to be Wolfmother’s third album but due to the revolving door of musicians during the recording, Stockdale decided to retire the name, only to realise that no one cared or knew who Andrew Stockdale is without the Wolfmother title.
But he did find some calmness with his solo band, so Stockdale, along with bassist and keyboardist Ian Peres, and drummer Vin Steele got together to churn out this album.
Wolfmother to me is a classic hard rock band, with elements of stoner rock and garage rock and punk, but on this album, the stoner rock/garage rock and punk is more pronounced with small elements of hard rock. And it was the hard rock which got me into Wolfmother.
Also the production and audio was a sticking point for a lot of musical fans.
When I first heard it, there wasn’t enough quality to keep me interested. The songs seemed lacking. Hearing it again today, the majority of the songs are still lacking, except for “Tall Ships”, “Heavy Weight”, “Enemy Is In Your Mind” and “How Many Times” which have been added to my playlists.
For those David Lee Roth fans, Gregg Bissonette was originally hired to perform on the album, but after recording one song with the band his drum parts were dropped and he was let go.
How Many Times
The verse riffs remind me of Kiss and “Love Gun” but that main blues rock riff is so generic and derivative, and I still like it.
I like the Sabbath like feel after the Chorus.
Enemy Is In Your Mind
The psychedelic rock intro riff is pretty cool and then it goes into a “Sabbath Bloody Sabbath” like riff. And I like it.
Also check out the bass playing on the lead break.
Heavy Weight
It’s a mixture of Sabbath like grooves and Rolling Stones.
New Crown
It’s a confusing song which drags on for no reason.
Tall Ships
The best song on the album. The intro is very Sabbath like.
And stick around for the first part of the melodic lead at the end.
Feelings
It sounds like something else, more punk rock (Stooges), a little bit like The Rolling Stones vocally, maybe it can be classed as “power pop”. But it’s a skip.
I Aint Got No
“Satisfaction” comes to mind straight away. And it’s a skip.
She Got It
It’s downtuned, however the Stooges/Rolling Stones influences are strong on this album. Another skip.
My Tangerine Dream
I suppose the bands Led Zeppelin and Tangerine Dream come to mind here.
Radio
It’s almost there. But a skip.
One of the reviews I read wrote, “crap band releases a crap album”. A crap album it is and I suppose every band has an album that is lesser than the others. This is Wolfmother’s.
destroyerofharmony 