Category Archives: Classic Songs to Be Discovered

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

The Record Vault: Disturbed – Ten Thousand Fists

After the excellent “Believe”, I was eagerly anticipating this release and I was a first day buyer. The cartoonish comic cover got my attention, as people from all walks of life are together, raising their firsts in the air.

Released in 2005, “Ten Thousand Fists” is the third studio album from Disturbed.

John Moyer joins David Draiman, Dan Donegan and Mike Wengren this time around. However, Moyer was considered a session musician during the time of recording, and only became a full-time member during the tour supporting the album.

Johnny K is also producing. This would be his last album with the band.

The album was also dedicated to Dimebag Darrell, who was murdered the year before the album’s release.

“Ten Thousand Fists”

A great song about the metal show and the glorious sight of “ten thousand fists in the air”.

Musically its classic Disturbed, in which the vocal melody follows the syncopated drum and guitar riff in the verses.

The Chorus’s by now have become anthemic for Disturbed.

You will remember the night you were struck by the sight of ten thousand fists in the air

The interlude with the backwards guitars gives it all a Middle Eastern vibe. Check it out.

“Just Stop”

Another killer riff to start the song off. Check.

Verses is syncopated, with riffs, vocals and bass drum. Check.

Anthemic chorus. Check.

Just stop enough of the limitless critical comments on my life
Just drop the judgment and all of your pseudo-involvement in my life

We might see our Metal hero’s as indestructible, but they are normal like all of us and they have feelings, which do get hurt within relationships.

“Guarded”

A speed metal cut, as it comes racing out with double kick drums and fast alternate picked lines.

Guarding yourself from the love of another
Left you with nothing tonight

How much are you willing to let people in?

Then it goes into an arpeggio riff that reminds me of Coverdale/Page’s “Whisper A Prayer For The Dying”.

“Deify”

“Deify” means to worship someone or treat as a god.

The song starts off with a sampled speech of George W Bush Jnr before it cranks into an angry song against the Bush administration.

I won’t let them
Deify you
They view you as the new messiah
Deify you
Renew belief in some demented man

It’s a divisive time. A lot of people disagreed with our Government’s at sending soldiers into Iraq and Afghanistan. And look how that’s worked out for Afghanistan at the moment. And Iraq hasn’t been stable since.

Check out the speed metal in the Interlude.

“Stricken”

One of my favourite tracks on the album. It has a groove riff similar to “Remember” in the intro.

The Chorus is anthemic as you would expect by now.

And finally Dan Donegan shreds.

2005 was the era for guitarist who didn’t normally shred on albums to start shredding.

“I’m Alive”

Another song with an anthemic chorus.

How good is that Tool like groove in the Bridge?

There will never be a reason why I will surrender to your advice
To change myself, I’d rather die

Would you rather fail doing it your way or on someone else’s advice?

“Sons Of Plunder”

The dog and bird barks are back vocally with the catchcry “Tell me you like it” as Disturbed rocks the new metal sounds in the verses and goes all anthemic in the Chorus.

At 1.53 it goes into this bass feel that reminds me of “My Friend Of Misery”. But the way the guitars and drums build it back up, needs to be listened to.

Lyrically Draiman is attacking artists that create soulless songs just to have a hit.

You say you’ve found yourself a new sound
The shit’s loaded and ready to go
A bit too much just like the old sound
Already heard it for the hundredth time
One hundred more, all have the same sound
Running around with all the sheep that you know
“It’s so sublime, they’re breaking new ground”
“They’re sure to have another hit this time”

It sounds like the decline of Hard Rock music between 1988 and 1992.

I’m still surrounded by the “new sound”
I’ve had enough and I’m ready to go
A strangle-hold throughout the world now
The new obsession will fade in time
A thin reminder of the past now
All convoluted hardly ready to go
Their whines and moans will never last now
I think you’ve given us our fill this time

And the Grunge came (“the new sound”) that took over the world only to see if fade within 5 years.

“Overburdened”

The bass riff again echoes an influence of “My Friend Of Misery” with a bit of the “Orion” interlude and “Rime Of The Ancient Mariner” interlude chucked in.

Then it becomes a groove cut, reminding me of Tool. And all of those little references to songs I know, makes me like this song a little bit more and it also gets me to check out those influences.

Lyrically it’s about war.

Check out the anthemic Chorus.

At 3.54, the Bridge begins. The riff is like ascending before it descends giving an eerie feeling.

At 4.26, Donegan clicks on the wah-wah pedal and we get another lead break. His style is more bluesy, but when needed he can break out some fast legato lines or alternate picked lines.

And the song ends the way it started, with the bass riff.

“Decadence”

A throwback to the debut in the intro and verses but the Chorus is the new Disturbed. Anthemic and melodic.

“Forgiven”

How good is the interlude/bridge section between 2.00 and 2.43 and then Donegan breaks out another lead break?

“Land Of Confusion”

The Genesis song from 1986 gets disturb-iz-ied.

This is the world we live in
And these are the hands we’re given
Use them and let’s start trying
To make it a place worth living in

This is truth, but how many are willing to risk being uncomfortable.

There’s a perceived safety in comfort so we put up with our Government’s invasion of our privacy and removing more liberties in the name of security and keeping us safe.

“Sacred Lie”

Verses like the debut album. Check.

Anthemic Chorus. Check.

Massive drumming. Check.

My conviction is stronger today
As I fight to uncover your sacred lie
And the fear isn’t going away
As the soldiers still die

Remember the war on “weapons of mass destruction”. The biggest bullshit ever.

“Pain Redefined”

Read the comments for “Sacred Lie”, but this one has a lot more electronics, like “The Game” from the debut.

Then again, how can I not mention the massive Chorus.

“Avarice”

Avarice means extreme greed for wealth or material gain.

So we get a speed metal barrage to finish the album off just to show the anger.

Politics and evil
All one in the same
Satan hides behind a different name

There is a small demented chromatic like lead break I like which kicks in over an ascending chord progression.

In Australia, it was certified Platinum. In Canada, it was certified 2× Platinum. In New Zealand, it was certified Gold. In the United Kingdom, it was certified Gold and in the United States, its certified 2× Platinum.

It charted well in a lot of other European countries. It was everywhere.

P.S. All the solos on the record are excellent. Kudos to Dan Donegan for stepping up.

P.S.S. This is Disturbed at their best and itt’s a great addition to any Heavy Metal Collection.

P.S.S.S. The “wah-ha-ah-ah!” scream is still there.

Wah-ha-ah-ah to it. Crank It.

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2001 – Part 3.2: The Rasmus – Into

“In The Shadows” from their 2003 album “Dead Letters” made me a fan. And I followed em with each subsequent release after that.

Around 2013, I decided it was time to go back and listen to their earlier albums, before “Dead Letters”.

“Into” is their fourth studio album, released in 2001. When they broke through to the international markets and mainstream attention it was with “Dead Letters”, which was their fifth album. Imagine that. Five albums deep into your career and you are finally breaking through the borders of your homeland, which in this case is Finland.

With this album, The Rasmus continued to move away from their earlier sound and into a more hard popular rock sound with the mood of the album being more contemplative and melancholic. Also the songs are concise, trimmed to ensure that the majority are lean and under 4 minutes.

The Rasmus band is Lauri Ylönen on vocals, Pauli Rantasalmi on Guitar, Eero Heinonen on Bass and Aki Hakala on drums. Names that are hard to remember in the English language but that shouldn’t detract from the great musicians and songwriters they are.

“Madness”

A pop punk distorted riff kicks off the song.

I like the Pre-Chorus with its acoustic guitars and electric guitars dynamic and its auto-tuned vocal melody, which also acts as a fuzzed out guitar lead the second time the Pre-Chorus comes around.

At 2.27, a violin solo kicks in, which mimics the vocal melody and it keeps going until the song finishes with the vocal melody over it.

“Bullet”

A heavily processed guitar riff starts it oft and it’s sitting in the background when the normal music kicks in.

The verses remind me of Whitesnake, Muse, Scorpions and there is a pop song there as influence that I can’t think of.

The Chorus is typical of the Chorus’s that would appear on the subsequent albums.

I gotta leave to make you see I’m over you
‘Cos if I stay I’m number two anyway

What do you do when you still like the person but they don’t like you the same way anymore?

“Chill”

The clean guitar melody in the intro is catchy and it was that good, it would appear on other songs on later releases.

I gotta make a phone call to my best friends.
I gotta let them know that I’m leaving.
Everything behind me and politely I don’t wanna hurt their feelings, oh no.

The first three lines. It’s sung fast but so melodically.

You want to leave but you’re not sure. You are going out on your own with no safety net. And you don’t want to burn any bridges because if you do return, you would want to have those friendships kick-starting again.

Reading Tommy Bolin’s story, he hitchhiked, by himself at the age of 15, from his hometown to a bigger city to play with better musicians.

And every time when I painted my room
like a fool I hid my feelings.
And every time when I painted my room
I thought about leaving.

The Chorus hook. For all the talk these days about mental health, the issues of mental health are nothing new. They seeped into lyrics of songs since music was invented.

“F-F-F-Falling”

It was number 1 in Finland for three weeks.

At 3.52, it’s my favourite song. It’s what “Dead Letters” was built on. The staccato like intro riff is arena rock.

The verses then roll along with its strummed acoustic guitar being the main riff and a tasty distorted guitar playing some single note licks in between. It reminds me of songs from Collective Soul, The Wallflowers and Eagle-Eye Cherry (think “Save Tonight”).

F-F-F-Falling down with the sun
I can’t give it up
The night is calling me like a drum
I keep on F-F-F-Falling

The Chorus hook. Its anthemic.

At 2.01, the Bridge kicks in, and the way the vocals are layered is excellent.

At 2.35, it all quietens down, as it builds back up into the Chorus and the excellent Bridge. There is also a nice guitar lead buried in the mix which mimics the vocal melody.

“Heartbreaker”

Another masterpiece in pop rock song writing.

The intro I believe is played on a synth, and it sounds like an 80’s retro riff. Then the acoustic guitar kicks in with its strummed chords and the vocal melody.

Oh yeah, oh yeah. She wanted to be a heartbreaker
Oh yeah. She was so greedy but a lousy love maker

The Chorus is anthemic. The music is in a pop punk fashion, but the vocal melodies are hard rock.

She used to be the queen of the scene
She had a key but she lost it
Nothing’s gonna last and the time goes fast – she knows

Descriptive story telling. Maybe Warhol was right. We all will get some form of 15 minutes of fame. All the Kings and Queens of the past, don’t seem to hold their title for long.

“Smash”

The way it started off, with processed drums and phased/tremolo’d guitars, didn’t prepare me for the arpeggios to come in the verses and the melodic rock hooks vocally.

Understand that you’re holding a bomb in your hand
Take control, hand in hand with yourself from now on
Take this advice, aim to the skies

Is the bomb the person’s dreams and wishes?

“Someone Else”

It’s a great power ballad, about drinking blood off dinosaurs and other strange things. There has to be some peculiar metaphorical meaning behind it.

Check out the Chorus. It’s huge.

“Small Town”

The intro reminds me of Bon Jovi but then it goes into a “Teenage Dirt Bag” kind of verse with the Chorus going back to a Jovi feel.

“One & Only”

The intro reminds me of “Save Tonight” from Eagle-Eye Cherry.

Overall, the track is in the vein of the tracks to come on subsequent albums.

“Last Waltz”

A music box intro starts off this bolero waltz groove.

P.S. The album went 2x Platinum in Finland.

P.S.S. All ten tracks are listenable. There is no filler.

P.S.S.S. “Into” is their great leap album, bridging their past with something new to come and international success.

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Dokken – Broken Bones

I was a streamer by the time this album came out, so it felt like I purchased it.

And it didn’t feel right not finishing off the Dokken series for three more albums.

“Broken Bones” came out in 2012 on Frontiers. Mick Brown didn’t play on the album as I think he was touring with Ted Nugent at that point in time, so the drumming was handled by Jimmy DeGrasso. Joining Don Dokken and Jon Levin was new bassist Sean McNabb.

And the star of the album is Jon Levin on guitar again. His solos are excellent, songs within songs moments and he can write a mean riff. Vocally, Don Dokken sings in his lower register while Mark Boals is doing the backing vocals.

“Empire”

Like most of the Dokken albums released, they start off with a fast rocker. This one is more like “Till The Living End”.

Check out the guitar leads from Jon Levin on this.

What Will You Rule In The End
A Burnin Empire

“Broken Bones”

“It’s Not Love” is instantly recognisable and it also reminds me of a cut from “Back For The Attack”.

An emotive lead break from Levin is a must hear.

All These Bones That Lie Within My Spirit
Broken Just Like Me

“Best of Me”

Very grungy (think “Even Flow” from Pearl Jam).

“Blind”

A slower groove doesn’t hide “The Hunter” influence.

“Waterfall”

At 2.48 long, it feels like an unfinished cut, a left over psychedelic track. A miss for me.

“The Victim of the Crime”

The intro is head banging material before it moves into an exotic sounding riff and groove, more Tool like. And I’m always interested when bands do these kinds of things.

The lead breaks from Levin are worthy, reminding me of a cross between Uli Jon Roth and Yngwie Malmsteen.

“Burning Tears”

A haunting melodic acoustic arpeggio similar to “Alone Again” starts the song, but it’s the distorted riff which kicks in after that gets the head banging.

And Jon Levin again shines on the lead guitar here.

“Today”

It started to become a trend, since “Dysfunctional” that a cover song would appear on a Dokken album. This one is from Jefferson Airplane cover, written by Marty Balin and Paul Kantner.

It feels like an inferior “From The Beginning” ELP cover they did on “Dysfunctional”. Better to be left off, but Frontier’s likes to put old songs under a new sound copyright which they control.

“For the Last Time”

Jon Levin again steals the light, with his movement from acoustic passages to full out rock and metal riffs.

“Fade Away”

It has a feel from “The Hunter” in the intro and “Dream Warriors” in the verses. Then it’s like “Stop Fighting Love” and “Will The Sun Rise”. Musically, it’s great to jam to, vocally, Don is in the lower register and its very monotonous.

But Levin shines again in the lead break.

“Tonight”

It’s another fast rocker, to close the album with, similar to the title track in speed, but very Euro sounding, more Scorpions like. Levin just keeps shining throughout the album with another guitar hero lead break.

And make sure you check out the guitar harmony lead break to close the song and album out.

“Can’t Fight This Love”

It’s a bonus track from the cloth of “Back For The Attack”.

If you’re a Dokken fan there is something here for ya. If you’re a guitar player, you’ll be impressed by Jon Levin.

P.S. Even though some of the songs are dull, Levin’s performances are anything but dull.

P.S.S. What happened to the drum sounds on some of the albums during the 2000’s? Is it because artists are recording at home or in cheaper studios than the studios before. Is the mixing bad?

P.S.S.S. Don Dokken’s voice on this album is very monotonous and same same on each song. But he does get the job done with the help of Mark Boals.

P.S.S.S.S. Did I mention that Jon Levin is a Guitar Hero? He is.

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Australian Method Series: Wolfmother – Wolfmother

The Wolfmother debut.
 
Sometime in 2000, founding members Andrew Stockdale on guitar and vocals, Chris Ross on bass/keyboards and Myles Heskett on drums got together to jam.

But it was in 2004, when Wolfmother was born.

And suddenly things started to happen. After playing a gig in April 2004 in Sydney, they got a record deal with Aussie independent label Modular Recordings with whom they released their (EP) “Wolfmother” in September.

While touring on the EP, Universal Music came in and signed em to an international recording deal.

The self-titled debut produced by Dave Sardy was originally released in Australia via their independent deal on 31 October 2005.

The album was later released internationally by Universal in early 2006.

Like other Aussie artists who got a later international release, the album had an additional track and a rearranged track listing. Spotify carries the international release listing and release date.

As an owner of a book of Frank Frazetta paintings, seeing “The Sea Witch” on the album cover grabbed my attention immediately.

Prior to the release, the band had some serious momentum in Australia. They had the EP out on the charts, they toured and nationwide radio station Triple J, had the band in constant rotation.

Dimension

The bass and drum groove reminds me of an amalgamation of Sweet and Cream in the verses before a Chorus kicks in that sounds like a Sabbath cut.

And a new game is created here in which the listener has to guess which band or song influenced the next song.

And I like games like these.

White Unicorn

You know that section half way through in “Stairway To Heaven” when Jimmy Page starts to play major sounding triads over a droning D note.

Well that’s how “The White Unicorn” starts off. And I like it. Take something that came before and create something new from it.

Woman

Its basically a Sabbath cut with that driving galloping groove from “Children Of The Grave”.

Then again “Roadhouse Blues” comes to mind as well.

The addition of the keyboards makes it sound like a demented Doors cut.

And like other Aussie bands, (Airbourne comes to mind) they capitalized on the video game phenomenon that was happening. “Woman” was licensed to appear in over 12 video games which came out between 2006 and 2008.

Where Eagles Have Been

The beginning reminds of “Goin To California” from Led Zep or “Mother Nature’s Son” from The Beatles or “Brain Damage” from Pink Floyd.

This is the beauty of music. Familiarity is in every song which is created.

Check out the sound effect which increases in intensity at 3.42 and then the guitar solo. This is the best part of the song.

At 4.24 to 4.46 reminds of me of “Dazed and Confused” from Led Zep.

Apple Tree

It has a punk style “My Generation” feel from The Who in the Intro and first verse.

Joker & the Thief

This song has crossed over onto a higher astral plane. It’s everywhere. If you sit down to watch a movie or a TV show, there is a chance you’ll hear it. If you buy a video game, there is a chance you’ll hear it.

When I hear “Detroit Rock City” by Kiss, it reminds me of this song.

“The Hangover” and “Shrek” movies have scenes in the movie, which has this song playing.

Colossal

It feels like a Sabbath cut that hadn’t seen the light of day.

How good is the riff that comes in at the 3.30 mark?

It reminds me of “Ace Of Spades” from Motörhead.

Mind’s Eye

My favorite track.

The arpeggios to start it off are hypnotic. Metallica used a similar progression for “The Day That Never Comes”.

When the verses come in, simplicity at its best. It’s just a single strummed chord and a haunting vocal melody.

I like the simple ascending chord progression just before the Chorus. And it comes back again after the Chorus.

How good is the organ riff?

And they jam on it till the end.

Pyramid

Another song that became a favorite amongst people that didn’t even like this kind of music because it appeared in the “FlatOut 2” car racing game.

Witchcraft

A flute solo. Jethro Tull anyone.

Tales

It’s not a favorite.

Love Train

Listen to “Moby Dick” from Led Zep. Imitation is a form of flattery.

Vagabond

A simple drum metronome style click and an acoustic guitar playing a sort of Country Blues Delta riff start off the song.

Swampy it is and the album is done.

I’ve read reviews that they are copyists and unoriginal. But music is judged on the fun and enjoyment you get out of it. And this album is a whole lotta fun.

Going back to the originality question, the bands that influenced em where also copyists. Led Zeppelin’s first album is a great cover album rebranded as a Zep album.

After all was said and done, the album was certified 5× Platinum in Australia, Gold in Canada, Gold in Germany, Gold in the U.K and Gold in the U.S.

By the time the band started to record album number 2, it was just Andrew Stockdale who remained. But the sound and the songs still remained.

You can read my review on “Cosmic Egg” here.

And spend your weekend cranking Wolfmother.

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2001 – Part 3.1: Hoobastank – Hoobastank

I saw a tab of “Crawling In The Dark” in a Guitar World magazine and the notes in the Intro Riff had a lot of similar notes and feel from the 80’s riffs I played like “Crazy Train” and “Lightning Strikes Again” from Ozzy and “Fighting For The Earth” by Warrior.

So I was interested.

The self-titled debut, released in 2001, is their first album on a label, however Hoobastank did release an album independently in 1998, called “They Sure Don’t Make Basketball Shorts Like They Used To” which was more funk metal and ska punk in sound that the alternative rock of this album.

Hoobastank is Doug Robb on lead vocals, Dan Estrin on guitars, Markku Lappalainen on bass and Chris Hesse on drums.

The album is produced and engineered by Jim Wirt.

Vocalist Doug Robb grew up learning guitar and names Faith No More and Van Halen as his favourite bands.

Guitarist Dan Estrin grew up listening to his Dad’s 70’s and 80’s vinyl collection and he’s mentioned that “Appetite for Destruction” by Guns ‘N’ Roses inspired him to take up guitar.

Drummer Chris Hesse’s grew up playing the piano, guitar and then drums while bassist Markku Lappalainen had Finnish parents who exposed him to Iron Maiden and Megadeth. That’s parenting 101. He also discovered techno music and somehow all of those influences make up his style.

But Hoobastank sounds nothing like those bands, but if you listen you will hear bits and pieces of those bands in the Hooba-Mix.

Crawling in the Dark

It’s only 2.55 long. No filler on this song, just great riffage.

The intro/verse riff is based around 80’s riffs, played with a phaser/flanged effect and palm muted. Guitarist Dan Estrin showcases his abilities, but its bassist Markku Lappalainen and the way he phrases his bass riff which makes the different.

The Chorus is almost Staind like, when they are melodic.

The interlude/bridge part is head banging.

It’s a great crossover track and at 70+ million streams on Spotify, it’s a favourite on the service as well.

From a guitar point of view, Estrin rented several guitars for the recording of the first album and the PRS Custom 24 guitar became his mainstay as it sounded killer. A few years later, while on tour, PRS touched base with him and he got a custom PRS built.

Remember Me

Estrin shines again on this track.

After 22 seconds of ambient noise, the bass and drums kick in with the verse groove. But the song really shines when Estrin kicks in. His guitar playing reminds me of Carl Bell from Fuel on this track.

The riff in the Chorus when Robb sings, “do you remember me?” reminds me of Stabbing Westward.

At 2.26, it kicks into a Bridge. At first it’s clean tone and when Estrin kicks in with the distortion at 2.48, its head banging time with Robb singing “you’re never going to be a part of me”. And they close the song off with that riff.

Running Away

At 2.58, it’s all killer music and no fat at all as an acoustic guitar starts the song, strummed.

The Chorus. Excellent and anthemic with a riff which ascends, like “Hero Of The Day” does from Metallica when Robb sings, “Why are you running away?”.

Check out the fast arpeggios after the Chorus. I want em to go longer, but Hoobastank is a lean machine on this record, delivering concise songs, with the majority of em under 3 minutes and 30 seconds.

Pieces

So much happening in the intro riff here. It’s like Faith No More, Linkin Park, Fuel and Incubus amalgamated.

The interlude from 1.58 is head banging and loaded with groove. When Robb starts singing “suffocating, sinking further” it reminds me of the melodies of Maynard Keenan from Tool.

Four punch combo so far.

Let You Know

Clean tone arpeggios but it’s not a ballad.

The bass playing from Lappalainen is excellent and the drums from Hesse are on an acoustic kit but with a techno element in the verses.

But the Chorus. Brilliant. Hard rock to a tee and sounding like 90’s Aerosmith.

At 1.58, Estrin goes into a melodic passage with a digital delay added and it’s the best thing The Edge had created during this period that didn’t come from this fingertips.

Better

The intro riff is the standard derivative Nu-Metal riff.

The Chorus with its mix of clean tone arpeggios and distortion reminds me of Fuel.

Ready for You

A Mark Tremonti inspired riff appears in the first 19 seconds before it moves to a major key riff that reminds me of songs that Autograph did on the debut album. Good Charlotte used these kind of riffs on their albums as well. And every Frontiers release over the last two years would have a song with a riff like this.

And the Tremonti inspired riff is all over the song, popping up between sections.

Up and Gone

An octave and busy bass riff kicks the song off.

Listen to when Estrin kicks in with this riffs, how he decorates a super heavy distorted riff with open strings, natural harmonics, bends and fast palm muted chords on his dropped D guitar.

And Jim Matheos was doing a similar style of riff decorating in Fates Warning during this time. Just listen to the “Disconnect” album released in 2000. Then again, Steven Wilson was doing the same in Porcupine Tree from the late 90’s.

The album could have ended here.

But there’s still more.

Too Little Too Late

It could come from a Creed album.

Hello Again

Another track with a Creed like sound.

To Be With You

It’s got an Incubus feel, rock with a jazz/funk feel. Estrin shows his varied guitar style, purely within a clean tone setting.

Give It Back

This track is ferocious and full of energy, like the Collective Soul heavy grooves. The interlude reminds me of “Linkin Park”,

Losing My Grip (Japanese Bonus Track)

This track should have been on the normal release. When the distorted riff kicks in from the 40 second mark, it reminds me of Papa Roach and “Last Resort” which also reminds me of Bruce Dickinson/Iron Maiden and “Bring Your Daughter To The Slaughter”.

The Chorus is like those Oasis/Alanis Morissette type of Chorus’s.

The last thirty seconds sees Estrin kick in with a little melodic riff/lead.

The Critic (Japanese Bonus Track)

A jazz style drum groove starts the song before the acoustic guitar kicks in, for a song which reminds of Incubus.

For their label debut, this is an excellent album. By October 2002, it was certified Platinum by the RIAA.

Then in 2003, “The Reason” came out. And we all know what happened after that. But that story is for another time.

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1976 – Part 2.7: Black Sabbath – Technical Ecstasy

The sound was a bit different but it still did well.

The Grunge movement brought Black Sabbath back into the mainstream. Alice In Chains spoke of their love of Sabbath, so did Soundgarden and even Nirvana.

Kyuss/Queens Of The Stone Age also spoke of their Sabbath love.

So it was no surprise that Sabbath started selling records in the 90s.

Eventually in 1997, “Technical Ecstasy” received a Gold certification in the U.S.

It’s the seventh studio album.

Released in 1976 and produced by Tony Iommi. But he struggled with it to the point of anger against his band members who spent most of the time on the beach and on booze and drugs.

Ozzy mentioned in his book “I Am Ozzy” that recording the album in Miami was very expensive and he was confused as to why they had to sound like current popular bands. Maybe that was due to their label head Don Arden throwing his interest behind ELO during this time.

The writing was on the wall, as punk had broken through in the U.K and the Sabbath brand of doom was on its way out.

They are also in the midst of releasing a box set of this album, with all the extras that come with box sets.

Back Street Kids

The Intro/main verse riff has a similar feel to “Immigrant Song” and their own “Children Of The Grave” and I like it.

At 1.50 it goes into an excellent major key riff which reminds me of Styx/Free/ELO and acts like that.

The solo from Iommi utilizes the Major Pentatonic. It’s weird to hear happy leads.

You Won’t Change Me

The most doomiest riff starts the song off and their most melodic progression becomes the verse.

Check out the melancholic swirling organ riff from 4.11 and Iommi decorates nicely.

It’s Alright

It’s a Beatles cut and it came out of left field but then again this album is all about expanding the sound.

Bill Ward wrote it and sings it.

Gypsy

Such an overused title in the 70s and 80s. I don’t recall the word being used much in the 90s and beyond.

Bill Ward opens up the song with a drum groove that reminds me of “Sympathy Of The Devil” from The Rolling Stones.

Iommi busts in with chords which further reinforces the Stones influence.

The Pre-Chrous riff is excellent and Ozzy brings out a vocal line that he used in “SATO”.

Then there is a section which I call the ELO section, with piano and distorted guitars.

The last minute is essential listening as Iommi wails away with his pentatonic leads. A perfect closer for Side 1.

All Moving Parts (Stand Still)

The Side 2 opener and what a great blues rock riff to kick it off. And Butler on the bass is massive.

At 1.40 it changes into something different and this is why I like Sabbath. The songwriting can be progressive with the arrangement and at other times the arrangements can be more mainstream like. You get the best of both worlds.

The vocal melody from Ozzy in the verses was used again within his solo career.

Rock ‘n’ Roll Doctor

The Intro reminds of Uli John Roth and his Scorpions work.

But after that a “No Bones Movie” cut blasts out of the speaker.

She’s Gone

I don’t know how much Randy Rhoads listened to this album, but goddamn the acoustic arpeggios on this song sound eerily familiar like the songs “You Can’t Kill Rock N Roll”, “Diary Of A Madman” and “Revelation Mother Earth”.

Dirty Women

This is classic Sabbath. So many good riffs and Iommi’s solo is excellent.

The riff at 2.30. Check it out.

Straight after that it goes into this “2112” style riff and progression.

Overall, the album is really under appreciated. Most of the 70s music had variety on the albums because artists weren’t afraid to experiment. This one is no different.

A few stray observations if I may.

Ozzy mentioned in his book that he doesn’t like the album but this is the sound that made his solo career. Plus having Randy Rhoads, Bob Daisley and Lee Kerslake helped with the songs and Sharon Osbourne ran the party with an iron fist.

Bill Ward can carry a tune vocally which was a surprise. It was almost Queen like.

The synth work complements the songs. So I don’t know why so many reviews focused on the synths.

And what’s the go with two robots making out on the cover.

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The Record Vault: Disturbed – Believe

Album number 2, released in September 2002. David Draiman is on vocals, Dan Donegan is on guitar and keyboards, Steve “Fuzz” Kmak is on bass and Mike Wengren is on drums. It’s also the last album to feature original “Fuzz” before he was booted from the band in 2003.

It’s also produced by Johnny K and the band members. And the mix from Andy Wallace is excellent.

The lyrical focus is different this time around. While “The Sickness” dealt with violence, “Believe” is more of a spiritual album.

Prayer

As soon as the opening staccato riff for “Prayer” starts off, in syncopation with the kick drum, I was hooked.

One thing that was clear to me when I played it, was the anthemic melodic rock Chorus in which Draiman soars, and this vocal style would appear across all of the songs on the album.

Liberate

It could have come from the first album as the verses follow the staccato singing with the catchcry of “liberate your mind, motherfucker you’re so narrow minded, narrow minded”.

The Pre-Chorus has Draiman doing fast spoken vocals on one track and on another he’s doing middle eastern ohhhs and ahhhs.

But the Chorus. Anthemic.

Wengren on the drums deserves special mention here. Its percussive and frantic.

Awaken

It’s a heavy rock song with a foot stomping groove and as Wikipedia tells me, it deals with America’s never-ending obsession with “wallpaper music”. I didn’t get that impression from the lyrics but…

The vocal style from “The Sickness” is prevalent here as he spits out the words like a machine gun.

Check out the outro riffing and how the bass drum is in unison with it.

Believe

Another staccato style riff in the vein of “Prayer”.

The Chorus. Brilliant.

All your belief cannot absolve your sin

Check out Donegan’s multi-layered guitar parts after the second Chorus.

At 2.36 it goes into a Tool/Deftones style groove. Instead of head banging, you sway.

Remember

One of the best Disturbed songs. The opening riff grooves and man its heavy.

And vocally, David Draiman really announces himself here as a force to be reckoned with.

The Chorus you don’t get to hear until half way through as the song goes, Verse, Pre, Verse, Pre and then the Chorus. But when it comes in, it explodes out of the speakers and totally worth the wait.

Wikipedia tells me that “Remember” delves into the cutthroat nature of the music industry as well as Draiman’s resistance to indulgent partying. But I don’t get that view by looking at the lyrics.

Check out the multi-layered guitar parts in the last Chorus.

Intoxication

It’s more of the same style from the debut album, with the vocal line and guitar line and bass drum pattern all syncopated in unison.

The Chorus is massive and it rhymes vilify with sanctify and I like it.

Rise

The intro riff is metal at its best.

There is another riff in the song which I always called the Chorus riff, but I think it’s played just after the Chorus.

Mistress

The riffs are cool to jam on.

At 2.09, a change of groove comes in, with slightly distorted arpeggios. It percolates before it crashes back in to the main riff.

Breathe

The intro/verse riff is a great riff to jam to. And checkout the bass riff which compliments it.

At 2.56, this Tool “Schism” like groove kicks in and I’m jamming it.

Bound

A flanged/phased wah riff kicks off the song, before the effects are taken off and its good old distortion cranking through.

You can call this a relationship song.

At 2.33, the song goes into a few grooves which they use for an interlude. No solos are allowed on Johnny K produced albums.

Devour

Great riffs in this song, especially the riff just before the anthemic Chorus.

At 2.35, a simple riff kicks in which they build back up into the Chorus.

Darkness

And for the fans who said Disturbed sold out with their cover of “The Sound Of Silence” must have forgotten about this song, which is just acoustic guitar, piano and strings. And one of their best.

In Australia and Canada, it went Platinum. In the U.S it went 2x Platinum. In New Zealand and the U.K it went Gold.

Crank it and believe.

I guess the word “motherfucker” was too much for the censors, so they felt the need to sticker it.
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1976 Part 2.6: Ted Nugent – Free For All

It’s album number two for the “Motor City Madman” released in October 1976. Wikipedia mentions that it’s his first album to go Platinum, but it doesn’t mention that the year was 1992, 16 years after its release.

A “free for all” is a chaotic situation, lacking rules or structure. Like an uncontrolled fight that involves many people or a concert circle pit, or a press conference that deteriorates into a smash and bash or a barrage of questions without any control as to who is asking.

But this album is cohesive and structured, nothing like a free for all.

It’s well known that Ted Nugent liked his solo career to be all about him. But he did need others to make that happen, like Derek St. Holmes, who was hired as a vocalist and rhythm guitarist for the debut album. But as the lead singer, you could say that some attention was directed towards him.

Fast forward a year later, St. Holmes left the band, due to growing personal and creative conflicts with Nugent however he did play and sing on a few tracks before his departure. Left without a vocalist, Nugent turned to himself and to an unknown singer called Meatloaf, who was a year away from his “Bat Out Of Hell” international success.

And like all things in business, money talks and St. Holmes was back in the band at the request of Epic Records for the tour and “Cat Scratch Fever”.

The musical side of the recording has Ted Nugent on guitars plus vocals on the title track, along with Rob Grange on bass and Cliff Davies on drums. Derek St Holmes played rhythm guitar on the tracks he provided vocals on and Meatloaf did the rest.

Tom Werman is also producing.

St. Holmes hated the Werman production as he believed it was too watered down, but Werman knew exactly what was needed to get as many songs onto the radio.

The view from Werman was simple. If the songs were played on radio, it meant that the band would have a chance to tour. By touring and having songs on radio, the album would then sell.

This type of thinking would come to fruition for Werman by the late 70’s and most of the 80’s. His streak of Gold and Platinum albums is an envious one, and most of the artists who succeeded with Werman or had their biggest selling album with Werman, would go on to blast Werman many years after.

“Free-for-All”

I was reading that the intro riff is based upon the track “Sufficiently Breathless” from Captain Beyond, but when I first heard it, it reminded me of “Stormbringer” from Deep Purple and “Stranglehold”.

Vocals are provided by Nugent.

Lyrical, the Nuge is in top form with lyrics like “the stakes are high and so am I” and “When in doubt I whip it out”.

It’s a free-for-all alright.

“Dog Eat Dog”

It feels like Accept took this song and used it as the basis for the “Balls To The Wall” album and song.

Vocals are provided by Derek St. Holmes. The pentatonic leads from Nugent are excellent and towards the end, he does an open string lick, which reminds me of the things that Angus Young would do on “Dirty Deeds Done Dirt Cheap”.

Lyrically, it’s pretty descriptive. We are told of a riot, “Sabotage on a downtown street / Police cars overturned” and a suicide, “Kamikaze from the hundredth floor / Swan dive to the street”. “Wild Side” from Motley Crue comes to mind here.

“Writing on the Wall”

7 minutes long.

My kind of cut, that just jams along and takes you on a journey. The main riff reminds me of “Stranglehold” and “Free For All” but it’s the vocal delivery and melodies from Meatloaf which makes this song sound epic.

The Chorus section sounded like “Gates Of Babylon” exotic before “Gates” was even recorded.

I like the lead break section in this. The bass grooves on the main riff, the drums lay down the foundation and Madman Nugent decorates it with pentatonic lines, bends, slides and a ringing chord.

At some stages it moves into the melodic minor domain before moving back into the bluesy pentatonic lines.

“Blazing’ down the highway / I’d rather have it my way”

I don’t think the kids these days have the same view of the highway as we had back then. It was a rite of passage to get your licence, get a car and drive. It opened up new places.

What’s a rite of passage these days?

Get the latest tech, have the most followers, play the crypto game or the stock market.

“Turn It Up”

It feels like a Led Zeppelin cut in the “Rock N Roll” vein. But at 1.22, it changes into these sleazy groove for a Nugent solo before it picks back up into the 12 bar blues.

Vocals are provided by St. Holmes.

And in the last 30 seconds, Nugent becomes Jimmy Page with fast Pentatonic lines.

“Street Rats”

It kicks off Side 2.

The intro riff would sound familiar to Van Halen fans, as I’m pretty sure a young EVH was listening to this. Hell, the Sunset Strip sound is this riff.

Vocals are provided by Meatloaf.

“Post war anti-social” is a lyric that resonates for some reason. Maybe it’s due to the in-depth study I did on the Vietnam War back in High School and how the soldiers returned as villains and not to any Victory Parade, with PTSD and drug issues and problems with the government.

“Together”

The song is written by Rob Grange and Cliff Davies. Vocals are provided by Meatloaf. It’s like a power rock ballad, and one of the best tracks on the album.

Grange and Davies create a great foundation, for Nugent to solo over and Meatloaf to create a great vocal on.

“Light My Way”

It’s written by Derek St. Holmes and Rob Grange and vocals are provided by St. Holmes. Its more in the vein of the blues rock tracks that St. Holmes is involved in.

“Hammerdown”

It’s a heavy metal cut that would rival most NWOBHM bands and make sure you check out the vocals by Meatloaf.

I’m not sure if Steve Harris was listening, but the riff in the Verses and Chorus is very similar to “Running Free”.

Even the vocal melodies from Meatloaf could be said inspired some of the NWOBHM vocalists.

White line
Double time
Come around with a hammerdown

Was the Nuge a user/taker or just using artistic licence. It’s pretty clear what he’s writing about here.

“I Love You So I Told You a Lie”

Written by Cliff Davies, and what a great title.

Vocals are provided by Meatloaf for a 12 bar blues in the verses.

A family life and a loving’ wife
Just ain’t my kinda scene

But when you’re all alone, you would long for this scene as a we are creatures of the tribe.

Underrated stars on the album are Rob Grange on bass and Cliff Davies on drums. While Grange was Entwistle like, Davies was very technical.

Ted Nugent is also more of a melodic player than a technical shredder and I like it.

And although he has views on things are different to mine, those views rarely distract me from good music.

Crank it.

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Dee Snider – Leave A Scar

I grew up on the 80’s Twisted Sister albums. I have em all, from “Ruff Cutts” to “Love Is For Suckers”. Albums like “Stay Hungry” I have four times. On cassette, vinyl and on CD I have the original issue and “Still Hungry” anniversary edition with extra tracks and demos.

I eagerly waited for Desperado, only to read it got shelved. Then I heard about Widowmaker and waited for those albums, which finally got a release in Australia, almost half a year after it was released in the U.S. And I never stopped following Snider’s career.

“Never Let The Bastards Wear You Down” had Dee digging into the vaults to grab songs written for Twisted Sister and Desperado albums. “We Are The Ones” showcased an alternative rock vibe with massive anthemic Choruses. And while I like it when artists branch out, I didn’t like the Showtunes covers album.

Dee Snider has a voice for heavy metal.

If you don’t believe me, check out tracks like “The Fire Still Burns”, “Burn In Hell”, “Under The Blade”, “Stay Hungry” and “Come Out And Play”.

And his metal vocal style was forgotten behind the big clips of “We’re Not Gonna Take It” and “I Wanna Rock”.

A simple dare from Jamey Jasta, brought forth “For The Love Of Metal” and it caught a lot of people by surprise. “Leave A Scar” carries forth the metal torch that Dee Snider has recently lit. I’ve got the Dee-Lux Wooden Box Edition (limited to 500) on pre-order via Napalm Records which comes with a 7 inch single of a non-album track.

The band line-up is Dee Snider on vocals, Charlie Bellmore on guitar, Nick Bellmore on drums, Russell Pzütto on bass and Nick Petrino on Guitar.

“I Gotta Rock (Again)”

The intro riff from Bellmore is excellent and the drum groove smashes you awake.

A fitting title for a return to live music after a pandemic.

I can’t stop
Be a lifer til I’m done
Gonna ride it til I’m gone
For as long as I’m breathing!

Even a strain of COVID-19 couldn’t stop Dee from rocking out again.

And the lead work from Bellmore and Petrino is Judas Priest “Tipton and Downing” like.

How good is the foot stomping riff after the lead breaks?

“All Or Nothing More”

It could have come from a Megadeth or Metallica album as the riffs are super head banging material.

What is your life?
Choose a path, decide what you will do
Anger and strife
Won’t get you where you need

A new call to arms for a new generation needing some guidance. Choose a path and enjoy the journey and remember it’s okay to take some twist and turns along the way.

The Chorus is anthemic.

All or nothing
All or nothing more
Make a choice
Use your voice
It’s your soul you’re fighting for

Its written in a period of political upheaval and if people didn’t use their voice for change, then the same corrupt leaders would remain.

There is this bass riff after the Chorus that reminds me of “Holier Than Thou” and I like it.

And the wah-wah is out for the lead break.

“Down But Never Out”

Its furious, more Killswitch Engage like. Another empowerment anthem for the S.M.F’s.

Musically, its excellent.

And we could be down, it happens from time to time especially now, trying to survive a pandemic and lockdowns, but we are never out.

As the Chorus states, we’ll battle on and fight to turn things around.

“Before I Go”

My second favourite track.

The guitar work from Bellmore is excellent especially in the riff department.

Like the verses.

From the cradle to the grave
You’ll be judged by those that you saved

Truth.

And how the hell do you fit the words “gossamer wings” into an anthemic chorus?

They did.

The simple dynamic of quietening down after the solo is excellent.

“Open Season”

The opening riff gets the head banging immediately.

Hey motherfucker, are you kidding me?
You better get ready

The intention of the song is clear.

Now it’s open season
I aim and never miss

If there was any confusion about the message in the song, I think this sums it up.

The riff after the second chorus. Fist pumping devil horns epic-ness.

“Silent Battles”

My favourite track on the album.

The guitar riff to kick off the song reminds me of all the good things I like about the 80’s. I’m hearing George Lynch, EVH, a bit of Vito Bratta and Nuno Bettencourt.

Did I mention that Snider can rock pretty hard?

Fighting silent battles
The war some must go through
Now let us be guided
Guided by the truth

The Chorus is one of the best I have heard for a long time.

Rising bravely to face this new day with hope
Some kneel down with solemn pause

And the harmony solo. How good is it?

The only thing I can do once the song finishes is press repeat.

“Crying For Your Life”

It reminds me of “Reason To Kill” from Widowmaker. The clean tone intro hides the anger of the song.

You left your mark every step of the way
You were so sure you wouldn’t have to pay
Now look in the mirror, what do you see?
Look in the mirror, no ride’s for free

Actions will have consequences.

Check out the riffs/music from 2.36.

It’s like a funeral march, very Paradise Lost like, aka “Draconian Times” album.

“In For The Kill”

A bone crunching riff along with the bass drum acting like a metronome starts the song off.

But it’s the harmony solo in the intro that gets me ready to break my desk.

I’m tired of waiting, sick of holding back
Been ready for this day
It’s not a reckoning and it’s not an attack
I’ve got to have my say

If there’s any confusion to the songs intention, well the first four lines lay it all out.

Make sure you check out the excellent lead breaks.

“Time To Choose”

A thrash metal cut, with “Corpsegrinder” from Cannibal Corpse on backing vocals. Typing it feels strange. Death metal backing vocals.

How can death metal vocals be backing vocals?

It is.

Your dreadful choices you just can’t defend

Check out the technical guitar playing in the outro.

“S.H.E”

A great melodic Chorus for a super heavy groove metal cut.

And it’s the most hardest rocking and metallish love song I have ever heard.

“The Reckoning”

A speed metal cut with a riff that reminds me of “Don’t Tread Of Me” and “Of Wolf And Man” in the intro. In the verses it reminds me of early Megadeth.

Your reckoning
Is here
There’s nothing that you can do
You’re living
In fear
You’ll never know what hit you

And the drumming is relentless.

“Stand”

I like the ominous and slightly distorted intro which also serves as the Chorus riff.

Stand up
Don’t leave your mark, leave a scar

“I carved my name in a tree. 55 years later, I went back to my school, and I saw the tree, and my name is still there. That’s a scar. That’s the difference. And that resonated in my head. When I was writing the song, ‘Stand,’ that line that’s where it comes from. Don’t leave your mark. Leave a scar.”
Dee Snider in HollywoodLife.com

There aren’t a lot of artists in their mid-60’s producing quality music like this. Dee Snider is doing it and he’s making it look very easy. The Bellmore brothers are underrated talents as songwriters and instrumetalists, on the guitar and drums.

And hopefully my box set with the 7-inch single will arrive someday from Germany.

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Australian Method Series: Teramaze – I Wonder

From Australia. Advertised as Progressive Metal but it’s more like hard alternative rock with some progressive grooves on this album. And I like it.

“I Wonder” came out in October 2020 and I was surprised to learn that it’s their seventh album but my first time listening to them.

For this album Teramaze is Dean Wells on Guitars and Vocals, Andrew Cameron on Bass, Nick Ross on Drums and Chris Zoupa on Guitar.

The term Progressive Rock has a bad concoction these days, associated with a million notes over complex chord changes or in Tool’s case, long laboured grooves that move in and out of time signatures or polyrhythms. But there are a lot of bands that can take it all and make it sound easy, not complex and not too long.

Teramaze is one such band.

“Ocean Floor”

Kids noises are heard over an ominous synth riff and then the band crashes in with the lyrics “Children pray, from the ocean floor / Are we too late, to save their lives”.

The lyrics are based on a true story of children gone missing and their bodies been discovered at the bottom of the ocean.

It’s powerful and you need to listen to it.

Especially that “Interstellar” soundtrack influence from 3.17 to 4.06.

“Only Daylight”

The way the songs starts off with the heavy groove riff, just gets the head banging.

By the time the verses come in, it’s slower but still powerful.

The lead break is excellent, emotive.

There’s this section after the solo which has the lyrics “No one will find me, no one will see me / From up above, I’m down below / They watch as they dance around me”. The way it is sung over the music is haunting as it carries the song for the last 2 minutes.

“Lake 401”

The clean tone arpeggio riff makes me pick up the guitar to learn it.

And the way the Chorus vocal melody with the words “Its so hard to know / If she’ll be waiting forever” is delivered is excellent.

And for styles, it’s more rock than anything else.

“A Deep State of Awake”

The synths start it off before an “Enter Sandman” style groove kicks in with the drums, bass and then guitar.

There are some leads which has the keys and guitar in harmony and it reminds me of Dream Theater “Images And Words” era.

Lyrically I see it as two voices within the same person. One part is delivered aggressively and the other is delivered melodically.

“Here to Watch You”

The Chorus.

Especially when Wells sings “The Fearless will construct / Our way all the world will know now”.

“Sleeping Man”

My favorite track.

The “Sleeping Man” has a chorus hook of “I’ve awoken the sleeping man inside”. It’s catchy, its hard rock and its perfect.

The keyboard hooks under the melodies are also memorable.

Check out the guitar solo.

“Run”

Man, this song for the first 90 seconds reminds me of those piano and vocal songs that Evergrey do so well.

After that it becomes a melodic rock song with excellent guitar playing

“Idle Hands / The Devil’s Workshop”

9 minutes long.

Musically and melodically the section in which Wells sings “We spent the time, and wasted it all most every year / And there is nothing left to follow” is excellent.

At 3.30, a lead break kicks in. It’s emotive and one of the best I’ve heard recently.

The section after it with the lyrics; “You never run it together / You never stopped the war / If only you could’ve chosen me / What life would have in store” is almost Daughtry like in delivery.

At 5.12 it’s just piano, playing the chords and vocal melody.

Then the vocals come in with the acoustic guitar. It builds up again to the “You never run it together / You never stopped the war” part again.

The last 90 seconds has double kick, fast melodic guitar leads and the only thing I can do is press play again and devote another 9 minutes of my time to the song.

“This Is Not a Drill”

Musically this song reminds of bands like Haken and Tesseract.

I see the world has changed
Theres nothing left to gather now
I feel the world has fallen
Tomorrow, may never come again..

We’re waiting for the cure
Assured it’s on the horizon
Pandemic fabrication
The lies insure well never know again..

I wonder what they’re singing about. And for everyone the world did change. People died, relationships ended, how we did things changed, flying and travel ceased and a lot of careers ceased to be.

At the 5 minute mark, the section that comes in reminds me of “Home” by Dream Theater.

To find someone to love, whatever.

That’s all we want in the end.

At 8 minutes and 40 seconds it never got dull or boring.

“I Wonder”

The closer.

The way this song builds and is constructed is excellent.

Check out the Chorus with its symphonic and anthemic melody, especially when Wells is singing “We’re here tonight, you’re never gonna see me alone / we feel alive, I’m never gone make it”.

The “I watch them killing you slowly” section reminds me of Muse.

At about 5.10 some intricate playing happens but it’s all still accessible and sing along like.

And the lead break is excellent.

By the end of it, each track left something behind with me.

And from reading some of the reviews, this is the first album in a while which features lead vocals from band leader and guitarist Dean Wells. And I’m like, “why didn’t he sing on all the albums?”. His voice needs to be heard.

Check it out.

And don’t let the progressive tag turn you off some great Rock and Metal.

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