Dare was formed in 1985 by keyboard player Darren Wharton after Phil Lynott dissolved Thin Lizzy.
By 1987, they got a record deal with A&M and “Out Of The Silence” was released in 1988.
The line-up for this album consisted of Darren Wharton (vocals/keyboards), Vinny Burns (guitars), Martin ‘Shelley’ Shelton (bass), James Ross (drums), and Brian Cox (keyboards) better know these days as Brian Cox, the physicist and TV star!
Abandon
A keyboard riff that reminds me of soundtracks starts it off and then the guitars kick in. It’s a great piece of AOR rock.
Into The Fire
Press play to hear the verses on this which are better than the Chorus.
Nothing Is Stronger Than Love
It’s hard to describe this song. It’s heavy on the keyboards but it has some cool guitar bits.
Jonathan Waite comes to mind when I think of the keyboard riffs and Boston comes to mind when I think of the cool guitar bits.
Runaway
A great melodic rock song which reminds me of Rick Springfield.
Under The Sun
My favorite song on the album.
As soon as the keyboard arpeggio riff and vocal melody started I was thinking of Marillion. And then I was thinking of Pink Floyd.
The Raindance
Another great song which reminds me of the Celtic influenced work that Gary Moore did on his last few hard rock albums of the 80’s.
King Of Spades
This song wouldn’t be out of place on the “Days Of Thunder” soundtrack. Stick around for the harmony guitars.
It’s also a tribute to Phil Lynott, who had died two years before the album was released.
Heartbreaker
This song is a hit.
And it should have been.
But their label was shit. Terrible at promoting and marketing hard rock acts even though they had some good ones.
Return The Heart
It’s a skip.
Don’t Let Go
An early ASIA like track which also wouldn’t be out of place in the “Cocktail” movie.
In the end the sound is dominated by the double keyboards but there is enough guitar to make it rocked
The follow up album “Blood From Stone” was more hard rock but the label advertised it as “Hair Metal’. Another shit decision by A&M. And when it didn’t sell, they dropped the band.
But Dare survived and is still in the game, touring and releasing new music.
Aaron Lewis has been in the news recently. He is touring in the U.S for his “Frayed At Both Ends” Country album, getting criticized for playing the same song at a gig twice and a few months ago he released a song called “Am I The Only One” in which he expressed his political views and questioned the patriotism of Bruce Springsteen.
Music industry blogger Bob Lefsetz didn’t like it and Lefsetz called out Lewis and his label boss Scott Borchetta. However Borchetta in an open letter back to Lefsetz, said that even though Lewis and Borchetta have opposing political views, Borchetta is not going to cancel or drop Aaron Lewis.
Moving away from “Politics 2021”, back in the early 2000’s, Lewis was busy writing and recording “Break the Cycle”, the third studio album by Staind. Released through Elektra and Flip Records in 2001, it is Staind’s most successful album to date, and it was the album that broke them into the mainstream.
Supported by Fred Durst who signed them to his Flip Records label originally, they had the fortunate or maybe unfortunate tag as Durst prodigies. The debut album, “Tormented” was ignored by the press, but Elektra wanted a piece of the action and “Dysfunction” is the result of major label support.
Then came “Break The Cycle”.
At 28 years of age, Aaron Lewis had lived and experienced enough sadness and happiness to put his life and thoughts into his lyrics.
A total of 5 singles were released from this album, “It’s Been Awhile”, “Fade”, “Outside”, “For You” and “Epiphany”, all of which did reasonably well.
On a side note, the album did cost $800K to make and Elektra along with Flip Records, just weren’t sure they would even get close to recouping.
But in its first three weeks, it sold over a million copies in the U.S. Currently it is certified 5x Platinum for U.S sales. In Canada and New Zealand it was certified 2x Platinum and in the U.K it was certified Platinum. In Australia and Sweden it was certified Gold.
And the label is still saying that Staind owe em money.
The band for the album is Aaron Lewis on Lead vocals and Rhythm guitar, Mike Mushok is on Lead Guitar, Johnny April is on Bass and Jon Wysocki on Drums.
Open Your Eyes
It’s like a Jekyll and Hyde. The lush strummed lightly dirty electric guitar which is the verse riff and part of the intro is calm and beautiful.
The riff that kicks in with the natural harmonics and downtuned riffing is aggressive and ugly. Sonically they just don’t go but the jarring difference works this time around.
Pressure
Written by Staind and producer Josh Abraham.
It has metal like riffs and a verse that is very Grunge like.
Fade
One of their best songs.
The bass groove is great and the way the guitar decorates the spaces shows the skills of Mike Mushok.
And of course, Aaron Lewis is more than capable of crafting and carrying a vocal melody.
It’s Been Awhile
I suppose this was the song that got a lot of people to check out Staind and at 194.497 million streams on Spotify it’s remained in the conversation and the various playlists.
Change
A huge metal like riff starts it off before the clean tone verses kick in.
The Pre-Chorus or is it the Chorus, feels like it could come from a Bush song.
Can’t Believe
Not a favourite. It sounds like the vocals are screamed through a loudspeaker and it does nothing for me.
Epiphany
An Aaron Lewis cut, as the acoustic guitar is prominent with a haunting vocal melody.
Suffer
It’s a hard rock riff however the down tuning and phrasing makes it sound like it isn’t.
Warm Safe Place
It’s just down-tuned too much, that the riff sounds like a muddled mess.
For You
My favourite track on the album.
That opening riff is good enough to challenge some of the best metal riffs from the 80’s.
Outside
Lewis again brings his acoustic guitar and melodies to the table.
The song has 95.057 million streams on Spotify.
Waste
A simple drum groove starts it off, almost jazz blues like. A clean tone guitar plays the riff and Lewis delivers his emotive vocal melody.
In the Chorus, the distorted guitar dynamic kicks in before it moves back to the subdued clean tone verses.
Take It
Another killer riff to start it off.
If there is a problem with the album, it’s the down tuning. On some songs it is excessive, to the point that it sounds muddled. But when they get it right, the songs elevate themselves and the slower acoustic pieces add a lot of variety.
Regardless of political alliances, Aaron Lewis does have a great voice. There are YouTube videos in which he covers “Black” by Pearl Jam and “Turn the Page” by Bob Seger live.
Lyrically, he’s copped a lot of flak for his lyrics to the point that people have called em depressive, but then again, no one said that life is all sunshine, happiness and smiling selfies in exotic locations.
Eskimo Joe are an Australian alternative rock band that was formed in 1997 by Stuart MacLeod, on lead guitar, Joel Quartermain, on drums and guitar, and Kavyen Temperley, on bass guitar and vocals.
Their road to fame started with a University Battle of The Bands contest. They won their local campus event, won the State event and then won the National event.
Released in 2006, this album is Number three and it’s noted for having the sound of the early 1980s Australian rock movement.
From the bands point of view they wanted to make a record as if they were stadium rock band. In other words if they were like INXS, what kind of record would they make.
The band recorded “Black Fingernails, Red Wine” on the central coast of NSW’s The Grove Studios. The Grove Studios were originally known as Mangrove Studio and were formerly owned by INXS bass player Garry Gary Beers.
In Australia it was certified 4× Platinum. It went to number one and spent 62 weeks on the ARIA Charts.
I never really appreciated this album when it came out. I was heavily into Progressive Metal, Nu-Metal and Metalcore bands at the time and I was devouring bands from those genres. I heard the singles and I liked em, but didn’t invest time.
A decade later, I finally did.
Comfort You
A great pop song with a piano line that reminds me of “Speed Of Sound” from Coldplay.
As soon as the drums and the fuzzed out guitar kick in, I was hooked. It’s almost new wave, but hard rock as well.
Lyrically there’s not much to it with a simple repeating line of “I will come, come to comfort you”.
But that’s all that is needed as the music and the groove is intoxicating.
If you’re not tapping your foot and nodding your head by the end of it, check for a pulse.
New York
This song is excellent.
It’s constructed with all the right atmospherics and ambient noises, plus an emotive piano melody and Temperley’s glimmering voice powers the melody.
Hey, hey, I know it wasn’t New York Where I lost my mind.
The opening lines. A habit will always follow you regardless of which city you wake up in.
Black Fingernails, Red Wine
This song is huge. And the hook.
Black fingernails, red wine I wanna make you, all mine
It reminds me of Icehouse, Eurythmics and INXS.
The Chorus is arena rock.
Breaking Up
An acoustic guitar and an addictive vocal melody.
And how descriptive is “A mouthful of glass / That cuts up your words”.
Setting Sun
The song was called “Forever Young”.
U2 comes to mind but press play on this track to hear the bass playing.
If your scared about the future, I’m scared about the past
While you’re at it, check out the guitar melody which starts at 2.32.
London Bombs
Coldplay comes to mind. And I like it.
Sarah
Killers comes to mind with a bit of Rick Springfield.
This Is Pressure
An acoustic strummed passage starts the song.
There is no romance in suffocation
Truth right there.
Beating Like A Drum
If you like INXS, you will like this song. it’s not that it sounds like the band, it just has this spirit and attitude of Michael Hutchence.
I had a lot to drink last night Now I’m feeling old Is there anything that I can buy That I have not sold
I’ve grown up with a father who likes to drink a lot and an older brother who likes to drink more. And all they think about is the next drink. Lucky for me they didn’t sell stuff to feed their habit.
Reprise
It’s a short instrumental, cinematic like piece.
Press play on it to hear the emotive piano melody.
Suicide Girl
Oasis and Radiohead comes to mind.
My social suicide girl Poison in the wall Razors in the apple core
These lyrics are hard rock. Nikki Sixx and Rachel Bolan would be proud.
How Does It Feel
A piano riff and a Muse/Coldplay feel.
You’re gonna lose everything / How does it feel
Not the best when it happens but as time goes on, a lot better.
There isn’t a song on this album that I will skip. It’s perfect from start to finish. So if you want to experience Australian Pop Rock, press play on this.
And the band is still active releasing new music and touring. But those reviews will be in other Australian posts.
Alice Cooper did really well between the difficult periods of 1993 and 2003 for rock artists. It didn’t matter what kind of music came out, the Alice Cooper brand was known for doing things different. The 70’s output alone is very diverse. The experimental early 80’s period, although not commercially successful, introduced new wave sounds into the mix. His stage shows bordered on the horror and macabre, with a lot of theatre thrown in. And one thing I do know as a fan of the horror genre, you don’t just stop being a fan.
Then “Trash” came out with its slick “hair metal” production and Alice was really back. His stage shows got even more extravagant and he hasn’t looked back since.
“Hey Stoopid”, the concept album “The Last Temptation” and “Brutal Planet” which told us we are all going to die, continued his brand in the 90’s.
And then there is “Dragontown” was released in 2001.
The band is Alice Cooper on Vocals, Ryan Roxie on Guitar and Greg Smith on Bass.
The studio session Guitar players are Wayne Swinny from the band Saliva and Tim Pierce who did a lot of session work and can be heard doing guitar on songs like “Runaway” from Bon Jovi, “Don’t Dream It’s Over” from Crowded House, “Iris” from Goo Goo Dolls and “Black Or White” from Michael Jackson.
Producer Bob Marlette plays about every string related instrument like Rhythm Guitar, Bass, Keyboards and String Arrangements.
Sid Riggs is on Keyboards and programming and Kenny Aronoff on Drums.
Backing Vocals are provided by Teddy Andreadis, Eric Dover, Calico Cooper and Gionvanna Morana.
If the first two names of the backing vocalists look familiar, they should, as Teddy has done a lot of work with G’n’R and Dover was the singer in Slash’s Snakepit. And the third backing vocalist is Alice Cooper himself, making an appearance as Calico.
All tracks are written by Alice Cooper and producer Bob Marlette.
Triggerman
The sound is definitely on that industrial hard rock style that bands like White Zombie, Coal Chamber and Orgy did.
But in its essence, it’s still a rock song.
Just listen to the Chorus, its 60’s pop. And the ending is in the vein of “Paradise City”.
I am always out of sight A shadow in the mist I don’t need no alibi, cos I don’t exist
Lyrically, it’s about a nobody, a person ignored by society, a person who doesn’t exist, but when that trigger is pulled, they do exist.
Deeper
A very heavy and down tuned chugging riff opens the song. The Pre-Chorus is haunting, with the symphonic Church sermon like voices.
Down and down and down we go We’re in a deadly spin
Dragontown
An ominous like Intro begins it.
Then Alice starts his vocal melodies.
Well, here you are Lying bleeding on a grimy street See the broken glass sparkling darkly As it cuts your feet
So descriptive.
The Pre Chorus is heavy and I like the vocal melody when Alice is singing, “come on, I’ve got something to show you”.
And the Chorus tells the story of how anyone can disappear in “Dragontown”.
This song is as good as any “metal” song released during this period.
Sex, Death and Money
This cut could have been on a Rod Zombie album. And the Alice sarcasm is back as by the end of the song, we are all going to fry because of our lack of morality.
Sex, death and money, sonny Makes this wicked world go round Sex, death and money It’s the Gospel here in Dragontown
Amen to that.
Fantasy Man
You just want to squeeze my masculinity Why can’t you leave it alone
It feels like a cut from “Hey Stoopid”, a mixture between “Hurricane Years” and “Feed My Frankenstein”.
Somewhere in the Jungle
From reading the lyrics, you get the idea that somewhere in the jungle the devil is laughing, as an African genocide takes place, making even the wild animals run away from the madness and slaughter while the million bodies are piled on top of each other, arms and legs, feet and hands.
It’s heavy like Ozzy’s “My Jekyll Doesn’t Hide”.
Disgraceland
Downtuned 12-bar blues. That’s what this song is.
An Elvis Presley inspired verse, which also reminds me of a cross between Johnny Cash, Chris Issak and George Thorogood.
And Alice is doing a commentary on the absurdity of how the greatest rock ‘n’ roll hero of all time died on a toilet.
Sister Sara
How low can a guitar go?
In this song, very low.
And like “Sister Mary” in Operation Mindcrime, “Sister Sara” is in a bit of trouble. While “Sister Mary” had issues with an terrorist organisation controlling sleeper cells, “Sister Sara” gets caught with the Bishop and many other cardinal sins to feed her habit.
Every Woman Has a Name
An acoustic guitar arpeggio riff starts it off and Alice tells the story how dreams of youth are taken away by the cold hard and unforgiven world we live in.
I Just Wanna Be God
A bone crunching intro riff starts it off reminding me of Godsmack, Monster Magnet, Mudvayne, Static X and I like it.
And there’s a killer solo as well.
It’s Much Too Late
Then this one kicks in, more Country Rock and totally out of leftfield.
Alice is in his demented “Steven” character voice.
The road to hell is littered with nice guys with good intentions But once you’re there, you’re there
The Sentinel
And the album is rounded out by another dose of massive industrial downtuned riffs.
I am the sentinel I want the world to know I’m sending you all to hell I’m tired and I’m wired here to blow
Amen. The countdown has begun.
While none of the songs became concert staples, the album did what it needed to do. Get Alice Cooper on the road.
Dare is an English rock band, formed in 1985 and fronted by former Thin Lizzy keyboard player Darren Wharton.
The “Real Love” single was the first thing I purchased from Dare in 1991. I liked it a lot, so I purchased the album before it, “Out Of The Silence” released in 1988 (and that review is next) but not the album “Blood from Stone” released in 1991, the single was on.
Why?
Because the album wasn’t readily available in Australia upon release. A&M Records wasn’t really renowned for their excellent release strategies. And the album isn’t on streaming services either. Go figure.
Back to the single, you get one album track in “Real Love” and two B sides, in “Killer Lover” and “Rideaway”.
Real Love
It’s a ballad.
The melodic lead in the Intro which also appears in the Chorus is excellent. Very singalong like and Wharton’s raspy/throaty voice adds the right emotion to it.
Killer Lover
It’s a generic hard rock track in the style of artists like Winger and Steelheart.
Rideaway
This is a great melodic rock track.
And I always wonder why some songs break through and become popular and some don’t.
“Real Love” has all the right ingredients to be a monster song, but it never came to fruition. But it got me interested to check out the debut album.
“Animosity” is album number 3 and it was released on November 13, 2001. Four months later it was certified gold by the RIAA.
This is their best album, a mixture of their Nu-Metal grooves with a lot of melody and head banging riffs.
Just think Rage Against The Machine riffs merging with Metallica riffs and melodies and Faith No More riffs and melodies.
Sevendust is Lajon Witherspoon on lead vocals, Clint Lowery on lead guitar, and co-lead vocals on “Xmas Day” and “Angel’s Son”, John Connolly on rhythm guitar, Vinnie Hornsby on bass and Morgan Rose on drums.
This album really highlights what a great talent Lajon Witherspoon is. His vocals are exceptional.
T.O.A.B.
Written by drummer Morgan Rose, it stands for “Tits On A Boar”.
In case you are not familiar with it, it means a person, place, event or item in which there is little or no value.
Musically and vocally it could have come from the debut.
And any song that starts off with “Die you piece of shit!”, well you know you ain’t gonna get a love song.
Praise
Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.
A great riff kicks this off, something that Stone Sour would do a lot off.
Trust
Written by Clint Lowery and Lajon Witherspoon.
The power of the Intro riff hooks me in immediately.
Then it’s just bass and drums for the verses and Lajon delivers a killer vocal melody.
And if you are in any doubt, press play for the Chorus.
Also it wouldn’t be a Sevendust song with a head banging interlude.
Crucified
Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.
It continues the standard set with “Praise” but the Chorus is more melodic. Very Disturbed like.
And lyrics like “Don’t you feel like a bitch / Don’t promise shit you’ll never be” set the aggressive tone.
Xmas Day
Written by Clint Lowery.
A ballad, which reminds me of Soundgarden, Alice Cooper 70s version and other
Don’t know how she gets by Sleeps with a phone on her chest And a bottle that’s totally dry Forgets the day I was born But if she saw me right now
The lyrics more or less sum up what the song is about.
But press play to hear the Chorus and the great vocal performances.
Dead Set
A Lowery, Rose and Witherspoon composition. It’s a heavy rocker with another killer Chorus.
I dodge the grave almost every day
Shine
A Witherspoon composition with a syncopated groove riff in the verses which is head banging material.
I’m on a free fall / So hard for me to shine
Follow
A Lowery and Connolly composition with Aaron Lewis doing additional vocals. Goddamn it could pass as a Staind or A Perfect Circle song.
And how good are the opening lyric lines.
Time can take everything that surrounds you
Damaged
It’s a Connolly and Rose composition.
How could you really know as your blood flows The damage left inside
No one will ever know the damage done especially the mental damage.
Live Again
Another Connolly and Rose composition. And if you press play on a track from this album this is it.
Look at yourself and live again
That Chorus. So emotive and catchy.
Beautiful
A Lowery, Rose and Witherspoon.
Another killer heavy Intro that gets me thinking of Faith No More with a Chorus that reminds me of Godsmack.
Redefine
A Lowery, Rose, Witherspoon with a heavy riff that reminds me of Disturbed.
But that Chorus riff. So cool to play with the octaves.
Angel’s Son
A Lowery and Witherspoon acoustic composition.
It was originally released on “Strait Up”, a tribute album of Lynn Strait, former lead-singer of the band Snot. Strait died in a car accident on December 11, 1998, at the age of 30.
If you thought Sevendust was just too heavy for ya, then check this album out.
The “Body and the Beat” album and the song “Rain” kept Dragon in the Charts between 1983 and 1986.
In 1986, they released the hard rock sounding “Dreams Of Ordinary Man” album which was certified Platinum in Australia and kept their comeback alive.
In 1987, they dropped a cover song, “Celebration” from Kool And The Gang. And it went to Number 1 on the Australian charts and stayed in the Top 10 for quite some time.
I’m not a real fan of that song but it made business sense to cover it because of it’s cross over appeal. It was played in night clubs, parties and everywhere you went in Australia, you heard Dragon’s version.
And then in April 1989, they dropped “Bondi Road”, their ninth studio album.
And no one knew it at the time but it was to be the last album of new material to be released during singer Marc Hunter’s lifetime, who passed away from throat cancer in 1998 at 44 years of age.
Bondi Beach is listed as a place to visit in Sydney for tourists. It’s also the place where the reality TV show, “Bondi Rescue” is filmed which shows the lifeguards basically saving tourists from the waters.
With a title that involves the word “Bondi”, summer always comes to mind, however they dropped the album in April, which in the Southern Hemisphere, is the second month of Autumn.
But by the time October rolled around (the second month of Aussie spring), the album had grown in momentum and really became a summer album for the months of December, January and February.
Young Years
It’s one of their best songs, a hard rock classic. And it’s not even written by the band, written by keyboardist Alan Mansfield and his partner, vocalist Sharon O’Neill, who as a songwriting team have written other songs for Dragon which became fan favorites.
The song also had a massive resurgence in popularity following Marc Hunter’s death in 1998.
And on guitar they have the great Tommy Emmanuel. Apart from being an accomplished solo artist and an amazing guitar player at that, Emmanuel has amassed a lot of session credits here in Australia and in the U.S.
Plus a special mention to the awesome backing vocals of Mary Azzopardi and Wendy Matthews.
It’s a great opener and then I felt lost listening to the next songs.
“Blue Blue”, “Book of Love”, “Here Am I”, “Ice in this Town” and “Gold in the River” failed to capture the intensity and fire of the opening track.
Bondi Road
Then the Intro riff started for “Bondi Road” and I was back in. It’s all in clean tone but it’s got this rock blues funk groove which I like.
Written by Johanna Pigott and Todd Hunter, who also wrote “Rain”, however this time around vocalist Marc Hunter also has a songwriting contribution.
Summer
You couldn’t have an album called “Bondi Road” without having a song called “Summer” on it.
This one is written by David Hirschfelder, Marc Hunter and Wendy Hunter.
It’s major key riff, rocks hard but the way it’s delivered, it feels like I’m on the beach, soaking in the summer rays.
Then came “Family Man” and the album lost me again.
Runaway
It rocks out of the gate with a hard rock riff.
Another track written by the team of Alan Mansfield and Sharon O’Neill.
Good Time Girl
Mansfield and O’Neill contribute another song.
The rock sounds of Free and Bad Company start the song, and it moves into a riff similar to “Young Years”.
Stick around for the Chorus.
Celebration
And yes the stand alone single was given an album as well.
The album was Certified Gold in Australia, a bit lower than the previous albums and a sign of the changing times.
“Smoke” is album number 5 from Drivin N Cryin, released in February 1993 on Island Records.
I got it a few years after as I was trying to get my hard rock fix circa 95/96.
And it was a purchase based on the song titles. When Grunge hit, a lot of the song titles had just one word as the title.
As soon as I saw titles like “Back Against The Wall”, “Turn It Up Or Turn It Off” and “Whiskey Soul Woman”, I was curious. Then I saw that Geoff Workman (RIP) is the producer and engineer so I purchased.
For those that don’t know Workman has been involved in either producing and engineering some massive albums for The Cars, Queen, Journey, Foreigner, Toto, Mötley Crüe and Twisted Sister.
I knew nothing about them and for quite some time, I presumed this album was their first.
But the band was formed in 1985 and had a deal the following year.
Kevn Kinney on vocals/guitar, Tim Nielsen on bass and Paul Lenz on drums are the original members.
The band’s name, Drivin’ N Cryin’, was chosen because it reflected the two directions of the band’s music. Good for driving and good for crying.
In 1987, Lenz left and was replaced by Jeff Sullivan. And rock history would have it that Sullivan was the drummer for a certain band called Mr. Crowes Garden, which later would became known as The Black Crowes.
Afterwards Rhythm Guitarist Buren Fowler joined the trio and this is the band as I know it.
While they released albums in the 80’s, it was “Fly Me Courageous” released in 1990 and with Geoff Workman as Producer, which is seen as “the album” from the band. Certified gold, the album is hard rock the way it should be, without zero hairspray and make up and no label interference. However I didn’t know this at the time.
And three years later, “Smoke” follows in the same direction with Geoff Workman behind the boards again and the same sound.
Back Against The Wall
It feels like a derivative version of “Ace Of Spades” with a “Wipeout” drum groove in between certain sections. And I like it.
She Doesn’t Wanna Go
One of my favourites, especially that Chorus riff.
Smoke
This one has a Van Halen feel in the Intro riff, but as soon as the Verse kicks in, it’s like Thin Lizzy and in the Chorus its AC/DC.
What is there not to like.
When You Come Back
It sounds like a cut from the “Lies” EP by Gunners.
Patron Lady Beautiful
At 7 plus minutes, it’s a jam out 70’s style cut, slow blues rock with a lot of guitar solos. Another favourite.
1000 Swings
It’s a blues rock tune with a metal like Chorus riff.
1988
It feels like some of the early Sabbath recordings when they just jammed the blues.
Whiskey Soul Woman
The Cult comes to mind when I think of this song.
And it’s got the “Strutter” beat which I like. I call it the “Strutter” beat, because the Kiss song was the first song I heard with that snare/high-hat and bass drum all at same time.
What’s The Difference
It’s very Petty/Dylan and I like it.
It’s just a light dirty electric and a vocal melody.
Eastern European Carny Man
It’s like a Bad Company meets Boston track.
All Around The World
Its sleazy in the riff department, very 80’s Motorhead like.
Turn It Up Or Turn It Off
It feels like a merge between “Do Ya” and “Whole Lotta Rosie”. Vocally, the melodies feel very Tom Petty like.
Once this track finishes there is 30 seconds of silence and “Can’t Fall Off the Mountain,” a hidden track begins like an acoustic camp fire tune.
And I enjoyed this album.
But I lost sight of em as I started getting into bands like Collective Soul, Tonic, Matchbox 20, and some of my 80’s and early 90’s favourites started to release some great recordings circa 97 and onwards.
So if you like hard rock with bluesy overtones and some Petty/Dylan/Lemmy/Lynott influenced like singing, call up Drive N Crying.
“One Way Ticket to Hell… and Back” is the second studio album from The Darkness. So much for all the talk about diminishing recording budgets, as this album cost £1 million to make.
Released in November 2005.
They even got Roy Thomas Baker, best known for his work with Queen, who is a major influence on The Darkness to produce.
And a change was happening within the band as well.
Bassist Frankie Poullain left the band during the early stages of production on the album, with most bass parts on the album played by guitarist Dan Hawkins.
So the musicians for the album are Justin Hawkins on Lead Vocals / Guitars and Piano, Dan Hawkins on Guitars and Bass and Ed Graham on Drums.
Richie Edwards would join on Bass for the tour.
One Way Ticket
A flute and a choir starts it all off and then a riff inspired by “Highway To Hell” kicks in.
And the song is an amalgamation of the big hits from the debut, like “I Believe In A Thing Called Love” and “Growing On Me”. A perfect opener.
But the solo felt like a bit of a joke. And it feels like that was the intention.
Knockers
It’s got this Pink Floyd feel in the Intro and Verses and I was waiting for Justin Hawkins to sing “We don’t need no education”. But that never happened.
And the Chorus has this Gospel Country Rock feel.
Is It Just Me?
The riff is similar to “Too Fast For Love” and other blues rock classics like “Peter Gunn” with a Chorus riff that reminds me of Rick Springfield and “Jessie’s Girl”.
Dinner Lady Arms
Musically, it’s a Def Leppard “Hysteria” like riff, just more up-tempo.
But the Chorus lacks lyrically, because the title is stupid and the hook doesn’t resonate.
Seemed Like A Good Idea At The Time
A hard rock ballad with a title to challenge Meatloaf.
Hazel Eyes
It starts off with harmony guitars, which feel like they have a backwards effect on em. Then the strumming starts and the song begins. There’s bagpipes, a vocal melody and some high falsettos, which the guitar mimics as a harmony lead.
But it felt rushed and it ends abruptly.
Bald
The intro is brilliant, ominous and it builds nicely, until the guitars crash in with distorted chords and lead breaks. Musically, this is my favourite song, even though the Chorus vocal melody is a ball squeezing contest in falsetto highs.
Girlfriend
The riff has got that Status Quo 12 bar blues feel. But it’s not a favourite.
English Country Garden
I get what they are trying to do on this by bringing in the weirdness of Queen but it’s a skip.
Blind Man
Another skip.
Wanker
It’s the B-side to the “One Way Ticket” single and its Rolling Stones groove smashing against AC/DC and Status Quo works for me.
There are horns which gives it a soul rock feel, and Hawkins moves between normal singing in the verses to his falsetto in the Chorus which he even harmonises as a backing vocal.
It’s insane.
Grief Hammer
It’s the other B-side to the “One Way Ticket” single and the Intro gets me interested right away. Musically its pretty good.
And this album while good in certain parts lost me as a fan for almost a decade.
Because at times it felt like a Jack Black “Pick Of Destiny” soundtrack. And I like that soundtrack because it’s Jack Black.
And I guess it a big recording budget doesn’t lead to quality.
I more or less ignored them until “Easter Is Cancelled” in 2019.
The debut album “Permission To Land” took everyone by surprise. No one was ready for The Darkness. Their look, their vocal chops, their style of music was all “anti-what’s in vogue”.
Justin Hawkins is on vocals, lead and rhythm guitar, synthesizer and piano. His brother Dan Hawkins is on rhythm and lead guitar. Frankie Poullain is on bass and Ed Graham is on drums.
I saw the clips and I watched em perform on various TV shows. I was a fan but I didn’t feel the need to buy. I wasn’t sure if it was a gimmick or the real deal.
Anyway a few years later I actually purchased their product.
Black Shuck
I was hooked from the AC/DC inspired intro. Very “Dirty Deeds” like.
Once the singing started, I was like WTF.
In a simple verse you hear operatic falsettos, Meatloaf like “Bat Out Of The Hell” style vocals, Freddie Mercury extravagance and NWOBHM throaty spitfire vocals. Almost theatre like. King Diamond also comes to mind.
It felt like a train wreck and I liked it. So I stayed on the train to see how far it would go before it crashed.
Get Your Hands Off My Woman
Then this started, with a bass riff that reminded me of The Police. The operatic falsetto is all over the verses and the Chorus.
And I like the “Hit With Me Your Best Shot” inspired Chorus riff.
The train crash was still on the rails.
Growing On Me
Very Cheap Trick like in the Intro/Chorus and when the Verse kicks in, check out the Rick Springfield “Jessie’s Girl” riff.
And I like it.
Finally we get a solo in the middle of the song and in the outro, but it’s the riff before the solo which I like.
I Believe In A Thing Called Love
At 159.4 million streams on Spotify, it’s their “hit”.
What else can be said about this. The riffs are very Sweet/ELO like and the Chorus vocal delivery has become iconic throughout the years. I remember in the early days of the “Idol” shows, there always was a singer who auditioned with this song.
And how good is the Outro, with the lead first and then that head banging riff to close.
So far, so good. A four punch knockout combo so far.
Love Is Only A Feeling
A mid-tempo like ballad more Poison like. And by now, my ears had acclimatised to the falsetto and normal singing voices.
Givin’ Up
Musically, it’s AC/DC in attitude and spirit.
Stuck In A Rut
The intro riff is “Thunderstruck” played ala Malcolm Young. Vocally it’s everywhere and not my favourite, but it doesn’t take away from the power of the music to me.
Friday Night
More Cheap Trick like influences.
Love On The Rocks With No Ice
I like the music. Its hard rock the way I like it. It has that AC/DC style of rock, with all of these other influences throughout, like ELO, Bad Company and even Judas Priest.
And this song has their best solo moments in the mid-section.
Holding My Own
“Purple Rain” from Prince and “Faithfully” from Journey come to mind when I hear this.
Makin’ Out
More AC/DC style of rawk and roll to close out.
Check out the open string lick after the solo, very “Thunderstruck” like.
By the end of it, I hoped they would stick around, but had a feeling that the labels would use them and spit them out. Like “Chainsaw Charlie” in “The Crimson Idol”.
But I was wrong, as they have shown the same resilience from when they started.
Doing it their way and “anti-what’s in”.
In Australia, Canada and New Zealand, the album was certified Platinum. In the U.K, it was 4x Platinum.
In Denmark and the United States it’s certified Gold.
And I guess you know which review is coming tomorrow.
