Category Archives: Classic Songs to Be Discovered

Classic Songs to Be Discovered, Music, My Stories

2022 – The 9 to 12

Okay let’s get going with the 2022 review.

Audrey Horne

From Norway.

Another side project from extreme metallers to pay homage to their classic rock and metal influences which has become their main project. Think of bands like Kiss, Deep Purple, Ozzy Osbourne, Thin Lizzy, Iron Maiden, Scorpions, Helloween, Judas Priest, Van Halen, Tool, Metallica, Cheap Trick.

“Devils Bell” follows the excellent “Blackout” album from 2018, which featured “This Is War” and “Audrevolution”, two of my favourites from the.

As soon as you press play to “Ashes to Ashes”, the harmony guitars assault your ear buds. It’s almost doom like and after 46 seconds, the song morphs into something different, but it’s at the 1.40 mark when the guitar hero riff kicks in.

“Animal” has a riff straight from the rule book of the NWOBHM. “Breakout” has a killer riff that is from the 80’s, very Jake E. Lee (Ozzy period) and George Lynch (Dokken period) like and it morphs into a Jimmy Page riff, something like he played on “Whisper A Prayer For The Dying” on Coverdale/Page.

“Return To Grave Valley” (an instrumental) has a Thin Lizzy and Iron Maiden influence, which they also used on the excellent “This Is War” from the previous album.

“Danse Macabre” (translates to Dance With Death) has nothing to do with Ghost except that both songs have great riffs and catchy vocal melodies.

“Devils Bell” continues the Iron Maiden/Helloween influences. Make sure you stick around for the interlude/harmony solo section. “All Is Lost” has another killer guitar intro and stick around for the killer middle section which features vocal ohhs and harmony guitars.

“Toxic Twins” has some excellent guitar work. The names Arve “Ice Dale” Isdal and Thomas Tofthagen don’t have the same recognition as other guitarist, but these dudes can play and wail with the best of em. Underneath it all are the mammoth sized bass lines from Espen Lien and the thunderous Bonham meets McBrian drums of Kjetil Grev.

Another key ingredient to Audrey Horne are the early Ozzy like vocals from Torkjell “Toschie” Rod. Its unique enough to be his own and it has enough elements to pay homage to Ozzy.

“From Darkness” channels Uli Jon Roth from his Scorpions days. Think “He’s A Woman, She’s A Man”. And that solo section again, brings back memories of their love for Iron Maiden.

Compared to the streaming numbers of other bands, Audrey Horne is way below those numbers with most of the songs under 100K in streams.

Alter Bridge

From the U.S.

I wasn’t sure I was going to spend time to listen to “Pawns And Kings”. I feel like Myles’s voice is everywhere these days with so many projects happening that I enjoy, like his work with Slash, his Alter Bridge work plus his solo career. But as a guitarist, I am always super keen to hear what Mark Tremonti is up to.

I try to not listen to the pre-release singles but on this case I did spend time with a few. How can you deny a track with the title “This Is War” or “Pawns And Kings”. In the words of Yoda, “impressed, I was”.

After a long three month lead in, the album finally dropped in October, 2022. Compared to the streaming numbers of say, Three Days Grace new album, this one feels like it’s forgotten, however Three Days Grace does have a four month heads start.

The very metal like “This Is War” gives way to the heavy rock riffage of “Dead Among The Living”, which could have come from the recent Tremonti album. “Metalilngus” from their debut album is one of their most streamed songs at 101 million streams on Spotify, so it’s no surprise they try and keep the metal going with “Silver Tongue” which is also their most streamed song from the new album at 3.1 million streams on Spotify.

The intro riff on “Sin After Sin”. Wow. Press play and enjoy the almost 7 minute long song that moves between heavy metal, groove metal and heavy rock. At 1.4 million Spotify streams, it’s one of the Top 5 songs from the album when it comes to streams.

The sequencing on the album is excellent, as it transitions to a major key pop rock song in “Stay”. It’s much welcomed after the groove metal behemoth “Sin After Sin” before it. And at 756,559 streams its more or less forgotten, but it shouldn’t be.

“Fable Of The Silent Son” is an 8 minute epic that kept me interested throughout. Because while it starts off all dreamy like at 2.50 an almost djent like riff kicks in and they make it sound accessible. At the 5 minute mark this Tool like section kicks in before it goes into a Randy Rhoads style like solo section. This is the Alter Bridge I like, when they go back to the 70’s Rock albums and experiment.

And the sequencing again is spot on, as they hit us with a major key song in “Season Of Promise”. Stick around for the section between 2.30 and 3.30, because when Myles is singing like that, how can you not like it.

“Last Man Standing” is the least streamed track on the album at 490K Spotify streams. But I am hooked from the digital delay riff in the intro and that riff that kicks in at the 57 second mark.

The title track. Wow. Especially the “One” like section from about the 2.50 mark. 6 minutes and 18 seconds later I needed to hear it again. When the solo kicks in, the riff under it is very Middle Eastern sounding, so Tremonti is operating in the Phrygian Dominant scale. If you are a Muse fan, then you will enjoy the outro.

Bush

From the U.K.

How good was “The Kingdom” (2020)? 

Well Gavin Rossdale must have thought the same, because he is continuing to live in the music and style of said album with a few little tweaks here and there. As a side note, the song “Undone” from “The Kingdom” only has about 500K Spotify Streams, but wow, what a song that is. 

I feel like I am drowning with “Heavy Is The Ocean”, its downtuned and depressive riffage sinking me.

“Slow Me” immediately hooks me, as it starts off with the vocal melody. “More Than Machines” is the most streamed song at 2.29 Spotify Streams. How good is the vocal melody during the Chorus?

“May Your Love Be Pure” and “Shark Bite” bring the groove rock, while “Human Sand” brings back the retro 70’s feel of Classic Fuzz Rock in the intro. “Kiss Me I’m Dead” also has an intro riff which reminds of 80’s metal. “Identity” has a head banging industrial metal riff ala Rammstein.

“Creatures Of The Fire” is as good as anything on the charts and at 127,815 Spotify streams, the song is forgotten. It reminds me of the excellent “Undone” from “The Kingdom” album.

The closer “1000 Years” is also a favourite, with its synth like guitar riff and Rossdale’s sad vocal delivery.

Shinedown

From the U.S.

It’s not their best work but probably their most angriest. A lot of living has happened between “Attention Attention” (2018) and “Planet Zero”. It’s no surprise that George Floyd, the Insurrection and Covid lockdowns get some attention on this album.

After a brief 22 second intro from “2184”, a punk metal burner called “No Sleep Tonight” kicks in. “Planet Zero” was one of the lead singles and its sitting at 16.2 million Spotify streams, but it’s not the best song by a long shot.

“Dysfunctional You” could have come from “The Sound Of Madness” while “Dead Don’t Die” would keep the fans from “Threat To Survival” happy. 

“America Burning” is patchy. 

But “A Symptom Of Being Human” is by far the best track on the album. An acoustic song, which could have been written during the Smith And Myers sessions, it arrives on this album, exactly when you need it.

“Hope” is a four letter word, is the hook for the song. It’s classic Shinedown doing rock ballads with balls.

“Clueless and Dramatic” is “The Sound Of Madness” part 2 and I like it. “Sure Is Fun” is anything but, while “Daylight” is showing to be a sleeper hit with 7.3 million Spotify streams and counting. It lives in the Shinedown meets The Script meets Imagine Dragons world. 

“The Saints Of Violence And Innuendo” is a cross between Brit Pop and Aerosmith while “Army Of The Underappreciated” is a miss. “What You Wanted” could have come from Smith and Myers.

As a fan, the last two albums have been hit and miss. Three to five killer tracks and the rest loaded with filler.

Just missed out

Reckless Love

From Finland.

The album “Turborider” was moved out of 12th place because somewhere in my subconscious I couldn’t have an EOY list and not have Shinedown on it, especially when they have a new album out.

But check out songs like “Turborider”, “Outrun”, their cover of “Bark At The Moon”, “Like A Cobra”, “For The Love Of Good Times” and “89 Sparkle” sounds like a modern disco dance cut with a dash of hard rock. “Future Lover Boy” is another dance rock tune, with synths and a metronomic drum beat.

“Prodigal Sons” is the heaviest track, reminding me of early The Rasmus. And my favourite.

It’s nothing earth shattering, not really original, the lyrics are dumb, but Reckless Love do their homage to the 80’s really well. And I like it. On some occasions it almost comes across as parody. But never boring and a 35 minute blast from start to finish. And there is still plenty of shred on hand for the guitar purists.

So why didn’t it make my Top 12. 

It’s the electronic dance beats and synths. These add ons on each track made the songs sound too computerized and in some stages the auto-tuned vocals robotic. But I think that was the style they were going for.

Let your ears do the decision making for you. 

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Classic Songs to Be Discovered, Music, My Stories

2022 – The 5 to 8

Say hello to the next four.

Coheed And Cambria

From the United States.

“Vaxis II: A Window Of The Waking Mind” continues their “Amory Wars” space opera. The “Vaxis” series takes place after “The Keywork” was destroyed and it follows a couple on the run, along with an “Eleven” like Child which came into they care, as they try and

The thing about CoCa that I like is the variety in the music. You get major key songs which sound like Pop Punk/Metal/Rock songs like “Comatose”, “Rise, Naianasha (Cut The Cord) and “The Liars Club” (My Chemical Romance comes to mind here).

“Shoulders” and “Love Murder One” are modern groove rock tracks.

“A Disappearing Act” could end up on dance floors with its pulsing synth riff and bouncing bass/drum groove, and yet it still rocks hard. Then again, “Love Murder One” has a lot of pop elements as well, which could fit this category as well. “Bad Love” pushes the limits of fusing what is contemporary pop/dance with hard rock. It’s catchy and I like it.

“Blood” is a slow rocker with auto-tuned vocals which serve the song well. It could be on a Post Malone album. “Our Love” is another slow rocker, more U2 and 80’s synth Rush.

“Ladders Of Supremacy” is written after George Floyd’s horrible death. Its heavy and it rocks. And they made it fit the story. Check out it’s Tool like section from the 5 minute mark.

“Window Of The Waking Mind” is progressive in its arrangement and moods.

Claudio Sanchez along with Travis Stever have kept my interest in Coheed and Cambria for the 20 years I have been a fan. During that time drummer Josh Eppard left and came back, while original bassist Michael Todd couldn’t shake off his addictions which put him onto a path of armed break-ins and jail time, who was then replaced by Zach Cooper and what a job Cooper has done the last 10 years he’s been with the band.

Ghost

From Sweden. Their streaming numbers are wow. Along with Volbeat, they are part of big metal acts these days based on their streaming numbers.

“Kaisarion” is a great way to kick into album after the 100 second “Imperium”.

“Spillways” feels like a 70’s Classic Rock track, with its metronomic piano riff. And how creative is the hook, “through the spillways of your soul”. Who comes up with this?

“Call Me Little Sunshine” has me ready to take up arms. It’s clean tone intro feels like the pyramids are getting built and when it cranks into the distortion, it’s time to break desks.

How good is that melodic riff in “Hunters Moon”?

And if the intro to “Watcher In The Sky” doesn’t get you moving, check for a pulse. And that hook, “search lights, looking for the watcher in the sky”. Brilliant.

But my favourite is the Van Halen-ish “Aint Talkin Bout Love” sounding “Griftwood”.

Out Of This World

From Sweden.

I was blown away by this album. Kee Marcello is on guitars and keys here, with Tommy Heart on vocals, Ken Sandin on bass, Darby Todd on drums with Don Airey performing guest keys. In case you are not aware, the name of the band is the same as the album that Kee Marcello played on with Europe. “Out Of This World” was the highly anticipated album after “The Final Countdown” however it only sold half of what the previous album did. Marcello would record the excellent and forgotten “Prisoners Of Paradise” (1992) and he more or less disappeared from the writings of the press.

The way Marcello plays the guitar, he is more of a cross between Steve Vai and Eddie Van Halen, then others, and you can hear this on the songs. His love of Styx, early Journey and Toto and their melodic rock songs is also evident here, as it feels like Steve Lukather played on the album. 

Vocalist Tommy Heart is a pro here as well, delivering quality on each song. Because in the end, it doesn’t matter how great the music is, if the vocals are crap. And there are no crap vocals here. Hell, on some songs, I feel like Joey Tempest is singing.

The album clocks in at 45 minutes and the only thing I could after it finished is press play again. Tracks like “In A Million Years”, “Lighting Up My Dark”, “Staring At the Sun” and “The Warrior” (Van Halen’s “Hot For Teacher” comes to mind, then again, “The Winery Dogs” have taken this approach as well) are on par with the well-known tracks from the Melodic Rock and Melodic Metal mainstream era between 1984 and 1991.

Do your ears a favour and press play on it? 

Three Days Grace

From Canada. 

They became mainstream in the early 2000’s (circa 2003/04) and they rode that platinum success for over a decade. Then vocalist Adam Gontier left abruptly in 2013, replaced by Matt Walst from the band My Darkest Days. His brother Brad is the bassist of the band and one of its founders, along with drummer Neil Sanderson and ex-vocalist Gontier. Barry Stock rounds out the band as the second guitarist.

The last album they did with Gontier, “Transit Of Venus” is my least favourite and it’s taken a while for the band to recapture that fan base. “Human” was a good start (“Painkiller is sitting at 140 million streams) but the excellent “Outsider” released in 2018 got me back on board. On Spotify, songs like “Right Left Wrong” (44.1 million streams), “The Mountain” (74.6 million streams), “Infra-Red” (50.7 million streams), “I Am An Outsider” (25.3 million streams), “Strange Days (12.3 million streams) and “The Abyss” (10.1 million streams) need to be listened to. 

So “Explosions” was highly anticipated.

The album immediately introduces the heaviness with “So Called Life”. At 34.2 million streams on Spotify since May 2022, it will surpass a 100 million by this time next year. Because we are looking for something to take the edge off this so called life. 

“I Am The Weapon” is heavy and melodic and it could have come from the melodic metal streets of Sweden. “Neurotic” which features Lukas Rossi is a throwback to the Gontier fronted albums, which will satisfy the core. Along with songs like “No Tomorrow” and “Redemption”. 

You can hear the heartache in “Lifetime”, its slow rock, but if you listen closely, you can hear those ballad like country licks being played.

Press play to hear the intro riffs to “A Scar Is Born”. 

I love the way “Souvenirs” percolates and builds around Matt Walst’s vocal melody until it explodes. And the hooks in the Chorus, “We don’t know why we’re here, but we’re not here for long” and “Surrounded by souvenirs from days that are gone”. Truth right there. At 1.7 million streams the song is more or less forgotten, but it is one of my favourites.

“Champion” is Imagine Dragons and The Script with more grit. “Chain Of Abuse” could have come from Breaking Benjamin. “Someone To Talk To” features the cellos of Apocalyptica,

The closer is the title track.

At 37 minutes long, the album is concise, it rocks hard and the only thing you can do afterwards is press play again.

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Classic Songs to Be Discovered, Music, My Stories

2022 – The First 4

Here we go. Some lists for 2022.

Evergrey

From Sweden, they hit onto a particular metal style with the “Hymns For The Broken” (2014) album and “The Storm Within” (2016) and they have been living in that world for over a decade now. “A Heartless Portrait (The Orphean Testament)” is their latest album, on the backs of “The Atlantic” (2019) and “Escape Of The Phoenix” (2021).

As a fan, I cannot complain at being exposed to 5 studio albums and 1 live album in an 8 year period.

This album has something for everyone.

It’s got heavy melodic rock, with “Call Out The Dark” and “Heartless”, moody atmospheric with “Wildfires”, groove metal with “Save Us” and “Midwinter Calls”, progressive metal with “The Orphean Testament” and “ “, doom metal with “Ominous”, melodic Metal with “Reawakening” and “Blindfolded” and their special brand of metal with atmospheric vibes with “The Great Unwashed”

P.S.
As a guitar player, the album is full of guitar hero moments from vocalist/guitarist Tom Englund and guitarist Henrik Danhage.

Machine Head

From the United States.

After the departure of drummer Dave McClain and guitarist Phil Demmell in 2018, Robb Flynn kept the Machine Head brand going with stand-alone releases with “Do or Die” (2019), “Circle the Drain” (2020), The “Civil Unrest” EP from 2020 which featured “Stop the Bleeding (feat. Killswitch Engage’s Jesse Leach)” and “Bulletproof”.

Robb Flynn got hooked on the anime show “Attack On Titan” and wrote a concept story called “Of Kingdom And Crown” set in a futuristic wasteland which revolves around two characters, Ares and Eros, who both go on their own respective killing sprees following the death of their loved ones.

What an album.

The first 3 minutes of “Slaughter The Martyr” is essential listening as they build it up with great melodic vocals from Robb and bassist Jared MacEachern.

When the fast riff kicks in at 3.10, it’s time to break some desks. And that intro section comes back in at the 8.20 mark where it smacks me in the face with its sadness.

My favourite songs are “Unhallowed” (that head banging riff, plus it is the first song in the album sequence that has a co-write from new lead guitarist Waclaw Kiełtyka), “Arrows In Words From The Sky” (a masterpiece), “My Hands Are Empty” (the vocal melody) plus additional song writing by original MH lead guitarist, Logan Mader “Kill Thy Enemies” (the main Chorus riff plus check out that bridge section at 2.40) and “No Gods, No Masters” (the whole song is a masterpiece).

Long Distance Calling

The names of Dave Jordan and Florian Funtmann on guitar, Janosch Rathmer on drums and Jan Hoffman on bass are virtually unknown.

From Germany, it’s all instrumental and I was tuned in the whole time. This isn’t instrumental like Steve Vai or Joe Satriani. It’s different. There is always a groove and a riff which form the foundation. Then they decorate. But it’s not a 1000 notes per second decorating. It’s melodic, sometimes it’s just a single note droning across the different bars of the riff. And the drummer by Janosch Rathmer is superb.

After a haunting music box minute intro they kick into the riff heavy “Blades”. But it’s the moody songs like “Kamilah”, “Sloth”, “Blood Honey” and “Eraser” (that section from 4.50 to the end, a masterpiece) that really connect with me. Also check out the riff at 4.30 in “500 Years”, the intro section to “Giants Leaving”, and that melodic riff in “Landless King” at 1.30 or that clean tone section from 3.30.

I don’t like to label them with other bands names because their soundscapes are unique to their own but people like to have that association. Pink Floyd were classified as progressive rock, so is King Crimson, so is Tool, so I

And I want to make mention of the title track “Eraser”. There is a video done in conjunction with Greenpeace which shows how much of the world humanity has erased. Check it out on YouTube. And if you are a fan of the band, you will note how the last track on the previous album “How Do We Want To Live?” had the spoken words of “Humanity is the virus”. In this case, there are no words spoken, but the YT video makes it clear that that “Humanity erases nature instead of living in equilibrium with it”.

The Butterfly Effect

From Australia, “IV” is their fourth album (“duh”) however it is their first piece of new music in over 14 years and what a triumphant return it is.

This album was also anticipated highly by me. You see “TBE” are part of a group of Australian artists like Cog, Karnivool, Birds Of Tokyo, Dead Letter Circus, Superheist and The Superjesus that I really got into between 2001 and 2012. One of the bands I was in opened up for Cog quite a few times.

Every song is strong.

“IV” is a raw, sad instrumental which leads into “Dark Light” and that pseudo melodic metal Chorus. I feel like I hear “Come Undone” in “The Other Side” and I like it.

“So Tired” sounds like a demented Guns N Roses in the verses and a section which reminds me of Aussie rockers “Powderfinger”. But make sure you stick around for the interlude section of the song (which also sees the song to the end). The music and the vocals of Boge as he sings “It’s not over now”. It’s unbelievable.

“Unbroken” is the most streamed song from the album at 458K streams. Its melodicism immediately infects me.

But closing track, “Visiting Hours” is a masterpiece to me. It is an accumulation of their first three albums into an atmospheric, progressive ballad.

Vocalist Clint Boge is one of the best in the business. Guitarist Kurt Goedhart is a riff-meister and he decorates each track expertly while bassist Glenn Esmond and drummer Ben Hall showcase why they are one of the tightest rhythm sections around.

Or in the case of the metal-esque song “Great Heights” one of the most expressive rhythm sections.

And in keeping with the Aussie spirit of sinking a few cold ones before a show, The Butterfly Effect teamed up with their favourite brewery, Green Beacon Brewing Co, to create an ‘Amplified Ale’, which was available to enjoy on their recent sold out tour.

I’ll drink to that.

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

Unto Stone We Are

Sort of Spoiler Alert….

Andor is one of the best shows I have seen on Disney Plus.

If you get to the last episode there is a section which I call “The Funeral Scene”. The music for it is written by Nicholas Britell and the song is called “Forming Up/Unto Stone We Are”.

And it’s always the music, the melodic soundscape to moving images that gets me to pay attention.

It starts with two separate marching bands at different ends of the alleys, just tuning their instruments and sort of jamming with themselves. Then the drummer starts the military like tempo and the most saddest of melodies is heard.

They start to walk towards the town centre and they eventually meet, and they are in time playing the song with each other. Director Tony Gilroy wanted this scene to be massive and he got the musicians to come in and learn the musical score so he could record it live instead of using the studio track.

This small attention to detail resonates.

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

The Record Vault – Dream Theater – Six Degrees Of Inner Turbulence

Dream Theater was redeemed. Their previous album “Scenes From A Memory” renewed their fan base while also satisfying the existing fan base.

I was interested at what was next.

A double album. This is something the band tried to do with “Images And Words” and “Falling Into Infinity” however the label both times said “no”. But this time around, they said yes.

With the same personnel of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Portnoy locked in, the band released “Six Degrees of Inner Turbulence” on January 29. 2002. The first disc is made up of 5 songs that total 54 minutes and 18 seconds. The second disc is one song, which clocks in at 42 minutes, however that one song has 8 sections in it, which are sequenced as individual songs.

On the Wikipedia page for the album, it tells me that the influences for the album’s writing and recording, according to the authors, include Metallica’s “Master of Puppets”, Radiohead’s “OK Computer” (and also a Radiohead bootleg Portnoy brought in), Pantera’s “Far Beyond Driven” and the song “Mouth for War”, Megadeth’s “Rust in Peace”, U2’s “Achtung Baby”, Tool’s “Ænima”, Nine Inch Nails’ “The Downward Spiral”, Soundgarden’s “Superunknown”, Alice in Chains’ “Dirt”, Kevin Gilbert’s “Thud”, King’s X’s “Faith Hope Love” and Galactic Cowboys’ “Space in Your Face”, Béla Bartók, Rage Against the Machine’s “The Battle of Los Angeles”, and Maria Tipo’s “Chopin Nocturnes”.

As a fan of the influences mentioned, I can definitely hear their sounds and textures.

The Glass Prison

The opening track.

It’s 14 minutes long, consisting of three parts called “I. Reflection”, “II. Restoration” and “III. Revelation”. The lyrics are written by Mike Portnoy and it’s the beginning of his “Twelve-Step Suite”. This song covers the first three steps of the AA program. The other steps would appear on subsequent albums.

The static phonograph noise that ends “Finally Free” on “Metropolis Pt. 2: Scenes from a Memory” (1999) begins this song. Then the arpeggiated bass riff starts the song. Press play to hear it. It’s essential listening, especially when the band starts to crash in and build it up.

At 5.487 million Spotify streams, the track is forgotten. But there are so many good bits in the song, like the thrash metal riff in the Verses which reminds me of “Disposable Heroes” by Metallica, or the Groove Metal riff at 5.55 which reminds me of Pantera or the riff at 11.10 which reminds me of King Crimson.

Blind Faith

Lyrics are written by James LaBrie. For a vocalist, he doesn’t get a chance to write the words he sings for the band. John Petrucci does most of em these days. Previously he shared this duty with Kevin Moore and then Mike Portnoy.

1.802 million streams on Spotify. Another forgotten track, however its dreamy Pink Floydish meets Marillion vibe gets me interested. The verses are a cross between Pink Floyd, U2 and Marillion.

Pink Floyd is a band that people either get or don’t get, hence why they come up in a lot of overrated lists.

For a song that’s almost 11 minutes long, the riff at 5.45 is to be heard.

Misunderstood

Lyrics are written by John Petrucci.

It percolates slowly until it explodes. Just over 9 minutes long, check out the acoustic guitar intro, which again reminds me of Pink Floyd and you need to stick around for the Chorus distorted riff at 4.08.

As part of the solo, Petrucci played the guitar solo, and then reversed it with the DAW software. He then learned how to play this reversed version, and recorded it that way. The listener gets a very unsettling effect.

The Great Debate

Tool immediately comes to mind. Lyrics are by Petrucci and at almost 14 minutes long, the song has a lot of great movements.

A bass guitar riff starts the song off, with Portnoy building it up to a crescendo while voices from various news reports talk about stem cell research while the keys/guitars decorate.

Then it cranks into the Tool riff and for about 5 minutes it follows a Verse/Pre/Chorus structure. Make sure you stick around for the riffs when Labrie is singing “Are you justified” and “Life to save life”. It’s basically Tool without Maynard, then again, Fates Warning released a Tool meets Porcupine Tree sounding album in 2000 with “Disconnect”. Jim Matheos showcased then that he can groove and decorate with the best of em.

Disappear

It’s rare that LaBrie gets two song writing credits. But here it is. The original title was “Move On”. The piano riff in the Intro hooks me, but man, that section from 4.37, it’s so heavy with depression and sadness, which I suppose goes with the “death” theme lyrics.

Disc two is the entire song “Six Degrees of Inner Turbulence”. Thank god Portnoy decided to sequence the CD so you can skip to the desired part.

The song explores the stories of six individuals suffering from various mental illnesses. Particularly represented are bipolar disorder, post-traumatic stress disorder, schizophrenia, post-partum depression, autism, and dissociative identity disorder. The “Unbreakable” trilogy from M. Night Shyamalan comes to mind here.

Overture

It all starts here, the Jorden Rudess composed instrumental, clocking in at 6.50.

While listening to these orchestral piece I find it boring, however when the band heard it, they took various melodies and ideas contained within this version and expanded them into segments of the complete piece. So what you hear here end up in the songs to come. But I still don’t like it.

For “Overtures”, I will take “The Titanic Overture” any day.

About to Crash

Lyrics written by Petrucci. This section clocks in at 5:50 and it’s very Genesis like.

“War Inside My Head” and “The Test That Stumped Them All “

They go together as the heavy/thrash metal pieces of the song with lyrics written by Portnoy.

Together the songs clock in at 7:11 in length. It has to be a special Portnoy nugget to have these two songs come in at 7/11. Press play to hear the Main Riff of “The Test That Stumped Them All”.

Goodnight Kiss

It’s a skip for me.

Solitary Shell

How good is the major key strummed intro from Petrucci who also wrote the lyrics.

About to Crash (Reprise)

The intro riff is a favourite. The first words I said were “fuck yeah”.

Lyrics are written by Petrucci and the song also has this Celtic section at 2.20 that I like along with the piano riff after it.

Losing Time/Grand Finale

A forgettable ending.

It’s never forgotten to me how Dream Theater carved out a career in a musical hostile label and promoters environment between 1992 and 2003.

When they broke big with “Images And Words”, Seattle was the scene. 10 years later, “Nu-Metal” and its various offspring’s like “Post Grunge” and “Alternative Rock” were a thing and acts like Creed, Limp Bizkit, Slipknot, Offspring, Disturbed and Nickelback were getting platinum albums thrown at em from every corner of the world. And yet they never abandoned their style. While they would incorporate some of the mainstream sounds into their music, they still kept their Dream Theater identity.

And this album was the springboard for bigger and more metallic things to come.

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1986 – Part 5.6: Madonna – True Blue

I’m not sure what Madonna is trying to own right now, but once upon a time Madonna owned the charts,

“True Blue” is album number 3. She had a new look and a newish sound.

She co-wrote and produced the entire album with Stephen Bray and Patrick Leonard.

Papa Don’t Preach

Written by Brian Elliot and Madonna.

There are a lot of players on this song.

Bray provides keyboards, drums and drum programming. Fred Zarr provides additional keyboards, John Putnam is on acoustic guitar and electric guitar, with David Williams providing more guitars and Bruce Gaitsch providing even more guitars. Billy Meyers did the string arrangements and Jonathan Moffett provides percussion and drums.

While the song doesn’t resonate lyrically, Madonna’s vocal performance is stellar and the melodies remain with me long after the song is finished.

Open Your Heart

Written by Madonna, Gardner Cole and Peter Rafelson. It was one of the first songs recorded for the album, however it was originally intended for Cyndi Lauper.

White Heat

Written by Madonna and Patrick Leonard.

The great Richard Marx provides backing vocals on this.

The song was dedicated to actor James Cagney and named after the film of the same name from 1949. The song is like a funk meets a groovy rhythm and blues chord progression.

Live to Tell

The keyboard/synth riff hook you in and the decorative guitar playing by Bruce Gaitsch is perfect.

The track is listed as being written by Madonna and producer Patrick Leonard who also plays the keys and drums on the song, with Jonathan Moffett also contributing. No bass player is listed, as all the different keyboard tracks create a synth bass line.

It was originally written by Patrick Leonard for the soundtrack of Paramount’s romantic drama film “Fire with Fire” but, after the company declined it, Leonard showed the song to Madonna. She decided to use it for “At Close Range”, the new film of her husband Sean Penn. When the film’s director, James Foley, heard Madonna’s demo, he asked Leonard to write the score for the film, as suggested by Madonna.

Make sure you listen to the album version, the version that is close to 6 minutes long.

Where’s The Party

Written by Madonna, Stephen Bray and Patrick Leonard. Bray and Leonard also do the keyboards, the drums and the drum programming. The great Dann Huff plays guitars on this with David Boroff appearing on the saxophone.

I class this song as a funk pop song.

And who knew that the funk pop rock sounds of this album would give way to a whole new movement called Dance Music in a few years’ time. While not released as a single, “Where’s the Party” did receive airplay on radio stations, back when the radio DJ’s did their own programming. Before investors and share prices.

The message of the song is clear. It doesn’t matter how bad or pressured life could get, accept that party invite and let your hair down. Enjoy.

True Blue

Written by Madonna and Stephen Bray. I dig the whole 60’s Motown vibe.

Bray provides the keyboard sounds, the drums and the drum programming, with Fred Zarr providing additional keyboards and Bruce Gaitsch again decorating nicely on the guitars.

La Isla Bonita

Written by Madonna, Patrick Leonard and session guitarist Bruce Gaitsch who also provides some wonderful flamenco leads.

Leonard provides most of the music with the keyboards and drums/drum programming with Paulinho da Costa providing percussion and all the guitar tracks are provided by Bruce Gaitsch.

It’s about escapism and hoping that the holiday never ends.

As a side note, the song was written for Michael Jackson’s “Bad” album, but Jackson turned it down. While working with Leonard, Madonna accepted the song and re-wrote the lyrics, earning herself a co-writing credit.

Jimmy Jimmy

Written by Madonna and Stephen Bray.

Leonard and Bray provide the keyboards, drums and drum programming with Fred Zarr providing additional keyboards. Jonathan Moffett is on real drums and percussion while Bruce Gaitsch again decorates nicely on the guitars.

“Jimmy Jimmy” is that bad boy that Madonna likes, like James Dean.

Love Makes the World Go Round

Written by Madonna and Patrick Leonard, it feels like a Phil Collins track. Guitars on this one are provided by Paul Jackson Jr with Paulinho da Costa on percussion with Bray and Leonard providing all of the other sounds.

And the themes are about anti-war and anti-poverty, using Latin drums and samba-influenced rhythms.

For 40 minutes, Madonna had captured my attention and held it.

And she did that around the world to many others.

It went Diamond in France and Canada.

It went 7x Platinum in the UK and the US.

It went 5x Platinum in New Zealand.

It went 4× Platinum in Australia, Italy and Argentina.

It went 3x Platinum in Spain and Switzerland.

It went 2x Platinum in Germany.

It went Platinum in Austria, Belgium, Finland, Hong Kong, Netherlands and Norway.

It went Gold in Brazil, Greece, Japan and Portugal.

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

1986 – Part 5.5: Eurythmics – Revenge

How cool is the painting for the cover?

When I first heard “Sweet Dreams” I said, that’s “Crazy Train”. I don’t care how Dave Stewart spins it, he was definitely influenced by Randy Rhoads. If you don’t believe me, listen to this recent cover version of the song from Iron Savior.

I guess they heard the similarities as well.

Anyway, “Revenge” is album number 5, released on 29 June 1986 by RCA Records in the United Kingdom and on 14 July in the United States.

All tracks are written by Annie Lennox and David A. Stewart.

Missionary Man

I like the groove on this song.

Thorn in My Side

This song is excellent. The intro riff alone is iconic in my book.

When Tomorrow Comes

A rarity on the album, written by keyboardist Patrick Seymour.

It’s a melodic AOR rocker.

The Last Time

The rock sounds continue.

The Miracle of Love

This is a song that has survived the test of time. It is one of those crossover songs that works well in hard rock and normal rock. The intro keyboard lead sounds so good on a distorted guitar, sort of like the sax solo on “Careless Whisper”.

For me, it’s a 5 out of 5 for side A.

Side B is a good listen but the track titles always seem to escape me.

Let’s Go!

It’s got a New Wave vibe, with a bit of rock.

Take Your Pain Away

Repetitive with a funky bluesy bass groove.

A Little of You

The Chorus is addictive. Press play to hear it.

In This Town

It’s like they are warming up in soundcheck. And then it kicks in, with a rhythm and blues “Mustang Sally” vibe. The hook of “in this town something got to change” will always be relevant, considering how crazy and divisive towns have become.

I Remember You

A lonely Sax player is wailing away with the sounds of streets noise as the song builds. It’s not a favourite, as it percolates without exploding.

Side B is a 1 out of 5 and not as strong as the opening side.

This album was huge in Australia, reaching number 2 in the Charts and hanging around for a long time on the backs of the singles, eventually reaching a 4x Platinum certification. All the radio stations played the songs and the music video stations played the music clips.

And what is good for Australia, New Zealand likes as well, with the album certified 5x Platinum. Other places the album received certifications include Austria (Gold), Canada and the UK, (2× Platinum), Finland, Norway and Switzerland (Platinum), , while it only got a Gold certification in the U.S, Spain, Italy and Germany.

Press play on the first five songs and check out Iron Savior’s cover of “Sweet Dreams” on the YT link provided.

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1986 – Part 5.4: April Wine – Walking Through Fire

It’s not even on Spotify. I guess when the hard core fans classed this album as the weakest album of the April Wine catalogue, the band took notice. Then again there was no band when this album was recorded. Read on.

Read on.

“Walking Through Fire” is album number 12. It is listed as being released in 1985 and in 1986. Remember those days when albums would have staggered releases based on geography.

As the Wikipedia page for the album states, it was essentially a contractual obligation to the band’s record label, to whom they still owed one album. And the label made sure that they would never recoup this album, getting songs from outside songwriters and booking expensive studio time.

By this time, the band had broken up, and the album features only Myles Goodwyn and Brian Greenway from April Wine’s “classic line-up” with some session musicians. For those wondering, Myles Goodwyn is on lead vocals and guitar, Brian Greenway is on guitar, Daniel Barbe is on the keys, Jean Pellerin is on bass and Marty Simon is on drums.

Rock Myself to Sleep

A lifeless opener and the first single released from the album, a tune written by two members of Katrina and the Waves in Kimberley Rew and Vince De la Cruz. It failed to make the charts.

Wanted Dead or Alive

This is a great Melodic AOR Rock. Press play to hear the Chorus.

Written by Jeff Cannata and Michael Soldan when they were in band Arc Angel together.

The song was actually released on their self-titled first and only album in 1983 on CBS Records. For those interested, a number of session musicians performed on the album, like, James Christian, Jeff Bova and Hugh McDonald. If you follow hard rock music, those names would be familiar to you. Of course, their brand of AOR Melodic Rock proved very popular in Europe but did nothing in the US as their brand of rock was dismissed by music writers as a Boston/Kansas clone.

Beg For Your Love

Clichéd song written by Canadian songwriter Eddie Schwartz.

You probably heard his song “Hit Me With Your Best Shot” getting a lot of air time courtesy of Pat Benatar recording it.

Half of the songs he recorded for his solo album, “No Refuge”, released in 1981 have been covered by other artists like “Hearts On Fire” by Honeymoon Suite on their self-titled 1984 debut and “All Our Tomorrows” by Joe Cocker on his “Unchain My Heart” album from 1987 to name a few.

Love Has Remembered Me

A ballad written by Myles Goodwyn. It was a minor hit and time has been kind to it.

Anejo

Written by Myles Goodwyn, it’s a skip for me.

Open Soul Surgery

Written by Jim Vallance, who has got a certain hard rock and roll sound and it’s the best track on the album.

You Don’t Have to Act That Way

Written by Myles Goodwyn, this track is a skip for me and I had an uneasy feeling that the rest of the album would follow this vibe. But I was wrong.

Hold On

Written by Myles Goodwyn this song is a hit, however it wasn’t promoted at all. Press play to hear the AOR Chorus.

All It Will Ever Be

Written by Myles Goodwyn rocks hard in the verses while it goes all major key “Life Is A Highway” like in the Chorus. It’s an underrated cut in my book.

Wait Any More

Written by Myles Goodwyn it’s got this summertime major key vibe which I like.

I grew up in the 80’s and this album can compete with a lot of albums that came out during this time. It’s basically a few good songs surrounded by filler, like most of the albums.

If you are interested, start with “Open Soul Surgery”, then go to “Wanted Dead Or Alive” and finish off with “Hold On”.

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Australian Method Series: The Screaming Jets – Tear Of Thought

Let’s go back to February 1991.

The Screaming Jets released the single “Better” and two months later, their debut album “All For One” came out. Their sound is made up of an amalgamation of Australian acts like AC/DC, The Angels, INXS, The Choirboys and Cold Chisel, with a little bit of blues, a little bit of Classic Rock and Punk Rock thrown in. And it connected with the people of Oz.

Dave Gleeson always like to push censorship issues, and I remember when he appeared in the MTV Studios in Sydney for an interview, wearing a Metallica T Shirt with the “Metal Up Your Ass” design on it. The MTV guys weren’t too impressed and when he sat for the interview he had to strategically cover the offending images with his hands.

The group then relocated to the United Kingdom for over two years. The wanted to break into a European market first, before attempting their assault on the massive North American market. Doc McGhee was very keen to be the one to break them in the U.S

In the meantime, their youthful energy was getting them into trouble with other artists. The Divinyls wanted them off the Australian tour they were doing together, because lead singer Dave Gleeson insulted Chrissy Amphlett on stage, when he said, “Are you here for a rock and roll show or just a tasteful flash of the vag?”

Warrant copped it as well, when they turned up at a Club that the Jets were playing in Kings Cross, Sydney.

However Skid Row and Motley Crue liked the Jets and the Jets like them back.

As a warm up for their sophomore release, the label decided to release an EP called “Living in England” in June 1992. It included cover versions of Johnny Cash’s “Folsom Prison Blues” and AC/DC’s “Ain’t No Fun (Waiting Round to Be a Millionaire)” along the three album tracks. And we loved it. It wetted our appetite for more.

In October 1992, “Tear of Thought” dropped.

The band was unchanged with Dave Gleeson on vocals, Richard Lara on guitar, Grant Walmsley on guitar, Paul Woseen on bass guitar and Brad Heaney on drums. Continuing on from the debut album, bassist Paul Woseen and guitarist Grant Walmsley carried the bulk of the song writing.

And for some stupid reason the European release had a different cover.

Dream On

No, it’s not an Aerosmith cover. Written by Paul Woseen, it’s got this U2 vibe to start off, with backward sounding guitar effects and delays while the drums and bass slowly build it up, until the whole band kicks in.

And suddenly it feels like a post pop punk cut with a nod to The Angels and a 12 bar blues solo that George Thorogood would be proud off.

Here I Go

The intro riff. Heavy fucking Metal.

Please play just to hear it.

The song is written by Paul Woseen and its one of my favorites.

Especially the last 80 seconds, when they go into the main intro riff, the ohhs and ahhs vocal chants begin, the tempo increases, a lead breaks out and the tempo keeps on increasing until chaos reigns and the song ends.

Meet Anybody

Written by guitarist Grant Walmsley.

It has a vibe from The Angels, but man, the verses sit in the LA Sunset Strip style of writing.

When the Chorus kicks in, it’s got that Albert Productions sound. Press play and enjoy.

Alright

Another Grant Walmsley cut which reminds me of Cold Chisel and The Angels, with a head banging rocking solo section.

Night Child

Written by Paul Woseen, the songs music is rooted in the sounds of ACCA DACCA, however if you play the main riff with the distortion set to max, it sounds like it came from the fingertips of the NWOBHM bands.

Helping Hand

Written by Paul Woseen, this song was the unexpected hit.

It’s got this Crime Noir feel in the verses almost jazz blues, but when the bluesy Chorus kicks in, its singalong and infectious, remaining with you long after its finished.

Everytime

Written by Grant Walmsley and I feel like he channels Ian Moss from Cold Chisel with the main riff.

Living in England

Also written by Grant Walmsley, its two minutes of relentless punk speed metal power. It’s heavy and it has a Lemmy/Motorhead vibe all over it. I guess that’s what “Living In England” meant to them. You just become influenced by Lemmy. And Brad Heaney on drums is a powerhouse here.

Think

Written by Paul Woseen it’s got an Alice Cooper “Only Women Bleed” feel with a lot of pub rock decadence. For a ballad, it’s not wimpy and it rocks hard.

Press play to hear what I mean, or you can watch the film clip on YouTube with all the surrealism images.

Best of You

Written by Paul Woseen, this song makes me think of other songs but I can’t remember what they are right now.

Rich Bitch

Written by Paul Woseen, its an attempt to do Fat Rich Cunt Part 2. George Thorogood would be proud.

Tunnel

Written by vocalist Dave Gleeson and guitarist Richard Lara.

The riff from Lara is excellent. The horns in the Pre-Chorus and Chorus enhance the song. Think “Tangled In The Web” from Lynch Mob.

Musically it’s a cross between The Angels, Bad Company and AC/DC.

Hard Drugs

Written by Grant Walmsley its channelling The Angels.

Sick and Tired

Written by Paul Woseen it’s got that jazzy rhythm and blues feel that you hear on “Helping Hand”.

Shivers

Rowland Howard wrote a post punk masterpiece in the form of a ballad. For those that don’t know, it’s a cover from the band he was in called Boys Next Door who had Nick Cave as the vocalist for them.

The opening lyrics “I’ve been contemplating suicide / but it really doesn’t suit my style” immediately grab you by the throat and make you pay attention.

Feeble

Written by Grant Walmsley, the album closer is a different cut, moving between a post punk mood at the start, to a ballad like mid-section, before picking up the fast post punk feel. .

In Australia, it received a Platinum certification and charted as high as 3 on the ARIA chart.

The group supported Ugly Kid Joe on their European tour in 1993, when Heaney was fired mid-tour as he thought that all the band members had turned gay and that the girlfriends they had were just decoys to trick him that they were not gay.

Heaney was temporarily replaced by ex-Judas Priest drummer Dave Holland until former BB Steal drummer Craig Rosevear became the permanent drummer in July 1993.

For those who don’t know, BB Steal were meant to be Australia’s Def Leppard. Singer Dave Gleeson wasn’t too impressed to hear that a hair band drummer was being considered, but after meeting and jamming with Rosevear, he changed his mind.

And that wouldn’t be the end of the changes. In January 1994, after a US tour backing Def Leppard ended, guitarist Richard Lara was replaced by Melbourne guitarist Jimi “The Human” Hocking (ex-Spectre 7).

And a new chapter was to begin.

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1986 – Part 5.2: Billy Squier – Enough Is Enough

“Enough Is Enough” came out a few years after the music video for “Rock Me Tonite” hit MTV screens. The 2011 book “I Want My MTV: The Uncensored Story Of The Music Video Revolution” described it as the worst ever music video. And I’ve seen some bad ones in my time but to see Squier prancing around a bed and acting all feminine = a decline in ticket sales.

To show what a career killer that video was, the songs he made after the first three albums didn’t even make it to a guitar transcription book.

And Squier stayed out of the spotlight for the majority of 1985, taking some time off and preparing his next album with British producer Peter Collins, who was known for his work with Gary Moore and Rush.

The label, Capital Records spent a lot of money on the album. The personnel involved is a big list. Joining Squier is Jeff Golub and Robin Jeffrey on guitars, Jeff Bova, David Frank, Andy Richards and Alan St. John on keyboards/synthesizers. T.M. Stevens on bass and Jimmy Bralower, Bobby Chouinard and Steve Ferrone on drums. Jody Linscott is on percussion and Mitch Weissman on backing vocals.

Production is handled by Peter Collins as producer, Jimbo “James” Barton as engineer, Steve Boyer and Paul Wright as assistant engineers, Brian Gulland on arrangements and sound recording, David Thoener on mixing, Tim Leitner as the mixing assistant and George Marino on mastering.

All of the people involved would need to get paid. The recording studio would need to be paid. The label people would need to be paid.

And the cover. It’s more of an alpha male cover.

Released on September 27, 1986, it was the first album to be released under his second seven-year Capitol Records recording contract.

Shot o’ Love

Written by Danny Kortchmar and Billy Squier

The intro riff is feel good rock and roll. It’s like Bryan Adams with the influence of Mutt Lange.

Love Is the Hero

A Billy Squier track that sounds like a Queen track. And if you have a track that sounds like Queen, why not get Freddie Mercury to contribute vocals. This song deserves more attention.

Lady with a Tenor Sax

And then why not get Freddie Mercury to co-write a song with you.

This song has a cool blues groove and the horn section gives it a swinging rock feel. It was a minor hit, but it is largely forgotten.

All We Have to Give

Written by Squier.

A ballad, but then a section from 2.20 to 3.10 kicks in, and it rocks hard. Press play to hear it.

Come Home

Written by Bobby Chouinard and Squier and Squier is trying way too hard to rock hard.

Break the Silence

Written by Squier, a keyboard/synth riff kicks it off, with the guitar playing more of a decorative role. While the riffs sound cool, the melodies are lacking.

Powerhouse

Written by Squier and I am sure that CC DeVille was listening here as I can hear “Unskinny Bop”. It’s one of my favourite Squier tracks. Loud, funky and hard rocking.

Lonely One

Written by Squier, this track could have appeared on the “Top Gun” movie. It’s the pulsing bass line which reminds me of the movie.

Press play on this as it’s a melodic rock masterpiece.

Til It’s Over

Written by Squier, it’s the longest track on the album at 6 plus minutes long. It’s one of those 70’s style of tracks which percolates acoustically until it explodes.

Wink of an Eye

Written by Squier and I feel like it’s a complex pop hard rock for Squier. Ideas like these worked well in the hands of Eddie Van Halen.

Most of the music critics liked the album, but critics don’t buy albums. They get their review albums for free. It’s the fans who buy albums and there wasn’t enough fans buying it compared to the money spent on “Enough Is Enough” by the label.

So it was stamped as a commercial disappointment, selling about 300,000 copies in the United States, making it Squier’s first album since 1980’s “The Tale of the Tape” to not reach platinum status. Squier didn’t even embark on a tour in support of the album as no promoter wanted to touch him after the decline in ticket sales during the “Signs Of Life” tour.

Press play to hear “Powerhouse”, “Lonely One”, “Shot o’ Love”, “Til It’s Over” and the middle section of “All We Have To Give”.

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