All of my Thin Lizzy listening experiences happened well into the 90’s, when the second hand vinyl market was cheap and rocking, with most of it priced less than $5.
And I was snapping it up.
“Johnny the Fox” came out in 1976 and the last Thin Lizzy album to have guitarist Brian Robertson featured as a full member of the band. Clashes over songs and personalities led to Robertson being sacked, reinstated, and later sacked again.
It was an album of convenience as “Jailbreak” came out at the start of the year and due to Phil Lynott’s illness with hepatitis, they couldn’t really tour behind it, so “Johnny The Fox” was created.
Thin Lizzy was Phil Lynott on bass guitar and vocals, Scott Gorham on lead and rhythm guitar, Brian Robertson on lead and rhythm guitar and Brian Downey on drums.
Johnny
The intro is just so simple and groovy, how can you not like it. I swear it gave birth to the New Wave bands that came out in the 80’s.
And the iconic phrasing and voice of Phil Lynott is unique, it makes you pay attention to the story he’s trying to tell.
The lead breaks are excellent.
And the drumming is so underrated. Its powerful and make sure you check out the fills.
Rocky
“He’s got all the tricks to pull the chicks”, is Lynott at his best.
The harmony solos are nice and delicate before the angry and sleazy pentatonic licks start to wail away.
Borderline
It’s like a bluesy country rock song. Check out the bass lines on this.
Don’t Believe A Word
I was hooked from the opening riff which Robertson re-interpreted after Lynott presented the song in a slow 12 bar blues format.
The faster upbeat, was based on a Downey shuffle. If you want to hear Lynott’s original bluesy version, it’s on Gary Moore’s “Back On The Streets”, released in 1978.
The actual lead break with the wah wah sounds like it’s getting strangled out of the guitar.
Robertson wasn’t happy when the song was only credited to Lynott.
Fool’s Gold
The major key vibe is something that Thin Lizzy used a lot and man, they made it rock hard.
Johnny The Fox Meets Jimmy The Weed
Seriously what a great title for a funk blues rock tune. Phil Lynott was a fan of “The O’Jays” and their song “For the Love of Money.
Old Flame
It’s like a love rock song with a lot of harmony guitars.
Massacre
The best track on the album.
This could appear on an Iron Maiden album and not be out of place. It’s basically a metal cut.
The whole band is on fire. The drums are fast, jazz like, while the guitars and bass syncopate, to play some fast palm muted pentatonic grooves.
Sweet Marie
After the madness of “Massacre”, “Sweet Marie” is like “Love Boat” music, as you’re lying on a beach drinking Pina Colada’s. Vocally, John Sykes borrowed heaps from this song. In some sections, I believed I was listening to Sykes.
Boogie Woogie Dance
It’s got a musical feel similar to “Massacre” but with a stupid title. Then again, it goes with “Johnny The Fox Meets Jimmy The Weed”.
But it wasn’t strong enough to be on the album.
It didn’t get any certifications in the North American markets. But what it did do was put the band on the road. And as long as they could stay healthy, they would make coin.
But they didn’t.
Robertson was fired during the tour, replaced by Gary Moore and back in the studio they went.
Finally, drummer Brian Downey is the unsung hero on this album, delivering so many different rhythms and feels.
P.S. For their second album in the year it’s still solid and some stellar cuts like “Massacre” and “Johnny”.
I never heard “Castles” the debut album which came out in 2019.
So “Ruins” the “reimagined” album, which came out in December 2020, is my first album experience from Daniel Tompkins.
Tompkins was in Tesseract, then he left to be replaced by Ashe O’Hara, only to return again circa 13/14. In between and before and after, he’s lended his talents to many different projects and collaborations.
So the songs on “Ruins” are a reworking of the 7 songs on “Castles” with “The Gift” (featuring Matt Heafy from Trivium) as the only new track.
Wounded Wings
It feels like a soundtrack for the first 90 seconds as a piano plays an arpeggio like riff, while the synths swirl around, building in intensity. The drumming kicks in along with the ohhhs and ahhs from Tompkins.
Check out the head banging groove from 3.15.
At 3.54 it becomes quiet and it feels like the sad part of a movie, the death scene. And at 4.20 it picks up with a guitar lead.
Australian guitar hero PLINI is here to lend a helping hand. His biggest influence is Satriani and Steve Vai described him as “the future of exceptional guitar playing”.
Tompkins’s voice is hypnotic throughout.
Ruins
A synth riff on a loop keeps repeating and like “Wounded Wings” it keeps building in intensity.
How good is the section when Tompkins sings “We are the stars, the lords of a new age”, etc.
Stains Of Betrayal
It feels like a ballad as the synth plays chords. Then from the 37 second mark, it starts. A TesseracT style cut, progressive metal based on a feel and a groove.
It’s source material is the track “Cinders”.
The whole “my fire still burns, but was it ever really gone?” sections are essential listening.
Empty Vows
The albums standout track. It’s source song is “Saved” but it sounds nothing like it.
A looping synth is present, as the guitars chop in and out while the bass and drums set a poly rhythmic groove.
At only 4 minutes long, it packs a lot.
A Dark Kind Of Angel
A repeating guitar riff, that sounds like it’s on a loop kicks it off, as the bass and drums set a groove reminiscent of “A Perfect Circle”.
The lead break section from 2.58. It’s head banging and emotive. I’m all in.
The Gift
The closer.
The synth in the verses is excellent.
And that Chorus is anthemic.
It’s almost metalcore but it’s not.
And the closing 30 seconds. Wow. The only thing I could do is press play again.
For an album that’s reimagined from an album released a year ago, I’m a fan. And I didn’t think I would be, because I was not a fan of Lynch Mob’s reimagined “Wicked Sensation”.
Netflix had a debt problem. Spotify hadn’t turned a profit and neither had Pandora. Meanwhile, Soundcloud was for sale.
And they had expenses.
They had to pay for content either by creating their own for TV and Film providers, or by licensing content from the labels and movie studios.
The ISP’s then charge all the streaming providers a lot of money for them to use their fast channels without any buffering and then the ISP’s charge us to use the internet and access these streaming services.
But all of these streaming providers have the same issue every other service and artist has.
People can’t slow down their lives long enough to immerse themselves in their content at a rate they would like.
If Netflix has this problem, imagine every up and coming musician or established musician.
1983 was a revolutionary year and the year that metal and rock music became a commercial force and a massive influence on society. Along with the rise of MTV, culture changed dramatically.
Metal and rock music made governments introduce censorship stickers on new releases.
Preachers and TV evangelists became rich and famous when they condemned the art form and told their followers the devil is on the loose, only to be caught with their pants down in seedy motels.
Lawyers took artists to the civil courts because suddenly when records got played backwards people believe they found subliminal messages telling kids to kill themselves.
Band T-shirts had been around before, but nothing like the 80’s. A whole new billion dollar industry came about, because of the imagery. We wanted the T-shirts. It told the world we are a member of the club.
It was just unfortunate that the record labels abandoned these musicians for a newly created record label genre called Grunge.
8 Years Ago (2013)
It’s the music that makes “Learning To Live” from Dream Theater a classic.
“Learning To Live” was released in 1992 on the “Images and Words” album. The song is that good, that Dream Theater even rewrote it and called it “Breaking All Illusions” for the “A Dramatic Turn of Events” album in 2011.
I wrote about artists staying true to their artistic vision and doing what is valuable to them, using bands like Evergrey, Coheed and Cambria, Dream Theater, Digital Summer, Five Finger Death Punch and Protest The Hero as examples.
I compared 2011 and 2013 as it felt like déjà vu again.
In 2011, I was listening to “In Waves” from Trivium and “A Dramatic Turn of Events” from Dream Theater.
And in 2013, I was waiting for “Vengeance Falls” from Trivium and Dream Theater’s self titled album to drop.
We are living in the generation of kids born from 1997 onwards. A generation who consumes music and entertainment digitally. Their sense of community is all online. These kids weren’t alive when the Record Labels ruled the day, so they have no desire for that era, they are all about today and what lays beyond.
The music community has shifted to being a song centric community. We just don’t know it yet. The album format that used to make the most money for the record labels is almost a dead format. However artists still go back and release a collection of songs as an album.
But it’s what gets played over and over again and into the future that matters.
The band Bleak House have two highly-regarded releases out in the market and a loyal fan base. One of those releases is a single called “Rainbow Warrior”, that has a movable power chord verse riff that went from B to C to D over an E pedal tone which would go on to form the main riff in Metallica’s “Welcome Home (Sanitarium)”.
And Bleak House struggled to write new material and compete with the other acts releasing music consistently. Eventually they disappeared.
Any artist starting off you need to be creating and releasing. Forget about the 2 to 3 year gap between albums. That is the Record Label standard. It was never the artist standard.
Orianthi’s breakthrough was “Believe”, her second album, which came out in 2009 and the hit single “According To You” which she didn’t write as the album had a star studded line up of songwriters and producers either writing songs for Orianthi or working with Orianthi to write songs.
“O” was released in 2020, after her collaboration with Richie Sambora known as RSO finished up or put on hold.
It’s on Frontiers, produced by Marti Fredericksen and it’s great to see Orianthi back out on her own.
And from reading interviews it looks likes the drumming is created/programmed by Evan Frederiksen.
“Contagious”
It’s got a riff that reminds me of Sixx A.M and DJ Ashba like “Lies Of The Beautiful People”.
The song is written by Orianthi and Marti Fredericksen, who has worked with a lot of artists and since I was listening to Motley Crue a few weeks ago, he co write all the tracks on the “Saints Of Los Angeles” album.
And “Contagious” has that sound. It gets me rocking, as it amalgamates blues rock with a bit of Muse chucked in and a modern rock mix.
Lyrically it’s about hatred, and how easily we could all be infected with it.
“They shall not break us ‘cause hate is contagious”
Check out the guitar lead. It’s short but good.
“Sinners Hymn”
It’s is a nice amalgamation of the devils blues music with modern rock to create a sinners anthem.
Check out the section after the solo. It gets all quite with a riff that reminds me of “The Bleeding” and “Prayers Of The Damned” as it builds up again.
“Rescue Me”
This track could appear on a Rag’N’Bone album. It’s got that “Human” feel.
Orianthi is all soul in her vocal melodies on this and delivers an emotive lead break.
“Blow”
It’s a sleazy, sexy and sultry groove that percolates until it explodes in the Chorus.
“Sorry”
It’s a contemporary pop song with a funky hip hop beat. There are synths and a killer vocal delivery from Orianthi.
And I like the mix between merging hip hop beats with a melodic rock vocal melodies and in the Chorus it’s pop rock.
The solo is very Santana inspired and I like it.
“Crawling Out Of The Dark”
It’s on acoustic cut, quite, subdued and melancholic. It wouldn’t be out of place on a country rock record.
Lyrically it’s about a relationship break down and how she’s crawling out of the dark. And when she got out, she didn’t know she had fallen that far.
And check out the blues influenced solo.
“Impulsive”
It’s got this Rolling Stones/Free inspired riff that I like.
The lead break is very SRV influenced.
“Streams Of Consciousness”
It starts off with a music box.
It’s a co-write with Nikki Sixx and Marti Frederiksen. Modern rock at its best with some good rock riffs.
Nikki Sixx delivered lyrics about the glamorous but filthy side of Los Angeles.
The solo starts off with a Nu-Metal riff before she breaks out the wah-wah and it sounds very Slash like.
“Company”
It has blues guitar but the background foundation is very synth dance driven.
And a chorus that would not be out of place on an album from “The Cure”.
The best way to sum it up is an amalgamation of different music genres. And because the melodies sound melodic and soulful, it all works together.
“Moonwalker”
It’s got this Latin vibe with a bit of an Enya feel. And the song and overall album gets me thinking about Queen, who also incorporated so many different styles into their albums.
In other words there is a lot of variation here and a little bit for everyone.
“We Rock” (the DVD) was released in 2005. It collects two VHS releases from the early 80’s and brings them forth into the 2000’s. The sound is still rooted in the 80s with a bit of a clean up.
The early 2000’s became a period of re-invention for Dio. After experimenting with Nu-Metal in the mid 90’s, he went back to his roots, to his kind of metal and rock and re-established the “Dio” brand as a commercial force.
For studio albums, in 2000, we got the “Magica” studio album, “Killing The Dragon” came out in 2002 and “Master Of The Moon” in 2004. In addition, “The Devil You Know” from Heaven and Hell hit the streets in 2009.
For live albums, in 2005, we got the “We Rock” DVD and “Evil or Divine – Live In New York City”, “Holy Diver – Live” in 2006 and “Live From Radio City Music Hall” in 2007 from Heaven and Hell.
But it was the live show which brought in the money. His audience from the 80’s remained faithful and they turned up with their adult kids.
Through placement in movies and certain bands covering his songs, Dio was also generating revenue from licensing, sales and streams. And while artists have their views on piracy, having the Dio catalogue available to download for free, increased his supporter base, which led to an increase in the audience to the live show. This happened for a lot of bands who did it tough during the 90’s. Motley Crue and Twisted Sister come to mind.
In the link, the research suggests that every ten music albums pirated leads to three extra concert or festival visits. However, at the same time, it leads to a significant drop in physical album sales and digital downloads.
Dio – Live In Concert 1984
The show was recorded in Holland/The Netherlands on 4 December 1983.
The stage show is massive, with Vinny Appice sporting a very unpleasant looking red leather jumpsuit is sent up on the second level of the building. In other words, the drum riser is very high.
“Stand Up And Shout” is the opener, with Vivian Campbell playing a black Les Paul shaped guitar, running around like a madman on stage, while Jimmy Bain holds it all together, especially when Campbell drops out for the lead breaks. And of course, Dio is nailing his melodies, as the tempo at which they play the song live wouldn’t have helped vocally.
“Stand Up And Shout” feedbacks into the groove riff of “Straight Through The Heart” and I like it. Dio’s voice is like an instrument here itself, especially in the verses.
“The Pink Panther” like riff kicks off “Shame On The Night”, which gets the audience clapping along, before it moves into the doom riff. It’s slower tempo is perfectly placed in the set list.
How good is the bass and drums on the verses, as they carry the music along with Dio’s melodies?
And the outro riff reminds me of the “Escape From New York” main theme.
“Children Of The Sea” is next and a nice recognition of his Black Sabbath output. Dio and Appice really shine on this track, while Campbell and Bain carry out what needs to be done musically. Then the solo comes and Campbell shines, staying faithful for a bar or two and improvising after that.
“Holy Diver” is the pinnacle of the show. The band is on fire and the audience is loving it.
When the song ends, a “Drum Solo” starts.
I hate lone drum solos and guitar solos in concerts. I see no point in them, especially when the artist has enough material to play songs. But I do like it when a drum solo or a guitar solo is within the song, which I’ve seen some artists do.
After the “Drum Solo”, one of my favourite cuts starts in “Heaven And Hell”. As soon as Dio starts with the “sing me a song” line, the whole crowd is in the palm of his hand, singing along with him. It sounds like Claude Schnell came out of hibernation to add some synth licks but he’s nowhere to be seen on the stage.
Campbell is faithful to Tony Iommi as much as he can and when it comes time for the lead breaks he does improvise a lot, but then again so does Dio, adding new vocals over the jam grooves.
As they are jamming along, with Campbell soloing, the music stops and we get a “Guitar Solo”. As mentioned, I hate it when they take up time in a concert, however you do get to hear how accomplished Campbell is as he pulls out all the licks and tricks from his arsenal.
Bain and Appice then kick in with the “Heaven And Hell” groove and Campbell keeps soloing with music as the background and this I like.
Dio then comes in and gets the crowd involved in a sing-a-long.
The issue I have is that it does go on and on and on and on.
Finally the fast outro kicks in, however it is ultra-fast here, with my favourite lyrics in “the moon is just the sun at night”.
After about 20 plus minutes of the song, (including the guitar solo), the song ends. And the Dutch are screaming “Dio”.
Band introductions take place and Dio says something like “I like to introduce the next song, which has rainbow in it but nothing to do with the band of the same name”. Since no Rainbow songs are included on the release, you can presume the bad blood between Richie and Dio was still too much. But I do think he played a couple of em, but just didn’t include them.
“Rainbow In The Dark” cranks in and how can you not sing when Dio starts with “when there’s lightning”.
Once the song ends, the crowd chants again “Dio” over and over again.
It’s all black, then red eyes light up from Dio’s mascot and an encore is happening.
“Don’t Talk To Strangers” closes the gig, the embryo to “The Last In Line” and “We Rock”.
Dio – A Special From The Spectrum
The opening track “Stand Up And Shout” is not included in the DVD release, but you can see it on YouTube if you want.
The stage show is a bit different, going with the theme of “The Last In Line” album cover, however Appice still remains on the second floor, so high up from the rest of the band.
This time around Campbell is sporting the red leathers and his playing a Charvel/Fender style guitar. Dio as usual is nailing it vocally and Bain is always reliable with his bass rumbling away and then carrying the music when Campbell drops out for the lead break.
And the band is ferocious this time around. They have the “Holy Diver” album and tour behind them and their out promoting “The Last In Line”.
“Don’t Talk To Strangers” is song number 2 and it opens up the DVD concert version. On the “Holy Diver” tour, this was the closer. And it’s a great decision to open the album with two songs they have played a lot because their delivery is so fluent.
“Mystery” is up next, the first song played from “The Last In Line” album. It’s major key vibe and Hard Rock Mainstream style Chorus works well in the set, after the two metal cuts before it.
Then my favourite Dio song starts in “Egypt (The Chains Are On)”. That riff from Campbell and the slow “Heaven And Hell” drum groove from Appice is all I need. Suddenly I’m singing, “in the land of the lost horizon” and “when the world was milk and honey”.
Half way through the song, a “Drum Solo” starts and as you know, I hate these moments in concerts.
And like the previous show, they go into “Heaven And Hell” and this time Campbell is playing an Explorer shaped guitar. And like the previous show, as soon as Dio starts singing the first verse, the crowd is singing with him. The song is played similar to the previous concerts with a lot of jamming in the lead break.
And then the music stops and we get a “Guitar Solo”. You know my views on these lone solo pieces. I don’t know why Campbell would need to have this moment as he was wailing away on the “Heaven And Hell” groove and it sounded so good. Anyway, like the previous show, Appice and Bain then kick in with the “Heaven And Hell” groove and Campbell keeps soloing and this little piece I like.
Dio comes out, and yells, “Vivian Campbell and his magic guitar” and the crowd roars their approval. Then he gets the crowd involved a sing-along. And I’m bummed that the fast outro of the song doesn’t get played.
But they do go into “The Last In Line”.
The medieval fingerpicked intro hides the metal cut that the song would become.
“We are coming”, silence, “hoooooome” as the riffs kick in. The band is nailing everything and Appice is thundering. And for such a new song, the crowd is singing along with him. I guess you can’t keep a good song down.
Once the song ends, something unexpected happen. They go into the fast outro section of “Heaven And Hell” and I’m not bummed anymore as this is my favourite section of the song. Campbell is wailing away here on the guitar again, which makes me question why there had to be a lone “Guitar Solo” spotlight.
“Rainbow In The Dark” cranks in, with Dio sending out his devil horns salute at the end of every fourth bar. They know what needs to be done and they deliver.
Campbell’s playing is excellent and I like how he adds a few extra fills here and there in his lead break, letting the energy of the show take over and command his performance. And Appice can play a metal cut with just his snare, he’s that good on it.
“Mob Rules” kicks in. It’s full of energy, and Campbell goes all shred in the lead break, totally playing his thing, sort of like how Randy Rhoads did with the old Black Sabbath cuts.
The show ends, it goes to black, only for the band to come out and tell the audience they deserve another one.
And what a closer.
“We Rock” kicks in and that opening guitar riff is head banging, circle pit like. And there’s fireworks going off like crazy, lasers and did I mention that Appice can carry a song with a bass drum and snare. He can.
And the show is done.
If you want to see the classic era Dio band at its best, this DVD is a must have. Press play and enjoy, as half of the band has come home and I guess we’ll never know if they were evil or divine. RIP Ronnie James Dio and Jimmy Bain and thanks for the music and memories.
I was reading Guitar Legends and there was a feature on each decade from the 60s to the first 2000’s decade.
So in the 70s decades they covered some important and influential albums.
“Paranoid” by Black Sabbath, “IV” and “Physical Graffiti “ from Led Zeppelin, “Machine Head” by Deep Purple, “A Night At The Opera” by Queen, “Destroyer” by Kiss, Boston’s self-titled debut and “Never Mind The Bollocks” by The Sex Pistols are mentioned.
Thin Lizzy didn’t even get a mention. Written out of history. If there is a band that brought harmony guitars to the masses, it’s Thin Lizzy.
But they didn’t have a guitar hero in the band and a front man who wasn’t a pretty boy.
The band is Phil Lynott on vocals and bass, Scott Gorham and Brian Robertson on guitars and Brian Downey on drums.
“Jailbreak” is the only Thin Lizzy album which has a certification in the U.S, a Gold one for 500,000 copies sold. But they never really toured behind the album as Lynott was fighting hepatitis.
It was also their last chance as “Nightlife” and “Fighting” didn’t meet the commercial expectations their label had.
And while Robertson felt the production was too restricted which led to less improvisation, it was exactly the tight ship that was needed to push them into the arenas.
Press play and have fun.
Jailbreak
How good is the main riff?
When the sirens start, listen to the riffs under it, it’s like the rumble/fight riffs in stage play soundtracks. Alice Cooper did something similar with “Gutter Cats vs The Jets”.
It’s a 41.5 million streams on Spotify.
Angel From The Coast
Downey on the drums is a star. Listen to how he swings, not a beat out of place.
Great lyrics about the boys playin poker and the joker being their favorite card and the middle section reminds of Hendrix and the Lizzy boys are swinging with the best of em.
Running Back
It’s a blues melodic rock cut inspired by Van Morrison and the first single from the album.
And it’s the little things, like the keyboard, saxophone, and overdubbed guitar lines from Scott Gorham that all add up.
Romeo And The Lonely Girl
What a great guitar solo in a song dedicated to those right girls that come at the wrong times.
And the solo keeps going when Lynott starts singing again.
Warriors
Lynott’s way of defining heavy drug takers was by describing them as warriors.
The Intro riff shuffles along.
Great soloing from Brain Robertson with a lot of wah wah.
But the piece d’resistance starts from the drum improv section at 2.53 and continues to the end. It’s progressive rock and a wow moment.
The Boys Are Back In Town
The big hit single, at 247.2 million streams, which still gets played on radio and licensed to movies, TV shows and advertisements in 2021 generating millions in royalties.
But no certification in the U.S market, however you would be hard pressed to find a person who doesn’t know the song.
So do you really need a sale or a plaque on the wall to show off your success or the success of a song?
And it did something massive for songwriters, making twin guitar harmonies an actual thing in popular songs.
Fight Or Fall
It’s got this Rod Stewart “Maggie May” feel, a strummed soul blues number.
Cowboy Song
The slow acoustic intro doesn’t foretell the rocker to come. 14.7 million streams on Spotify.
Emerald
The embryo and foundations of what Iron Maiden would be is in this song.
The Irish influences are here as well, something that Gary Moore would use a lot of on the “Wild Frontier” album.
It’s one of my favorite Lizzy albums of the Robertson and Gorham era on guitars. Lynott is unique but it’s Downey who owns this album. His drumming is superb and very underrated.
“Diamonds – The Best of Dio” was marketed as a “greatest hits” collection. I remember the ads. But the title says, “best off”. I guess marketing people don’t know the difference between “greatest hits” and “best of”.
And Ronnie James Dio is one of those artists who didn’t sit don’t to write hits. He just wrote songs that he liked.
It was released internationally in 1992, and never released in the U.S. And there was no effort with the CD. Just check out the no frills booklet.
I got this compilation because of the track “Hide In The Rainbow”, which was never released on a Dio studio album before. A rare EP called “The Dio E.P” (original title) was released in 1986 with the song, but like all things physical, it wasn’t readily available.
Back then no one was really sure who played on the track.
Was “Hide In The Rainbow” Vivian Campbell’s last studio recording with the band or did Craig Goldy play on the track?
The booklet states Craig Goldy.
But, history and the benefit of hindsight has shown that the CD booklets notes and credits are not a good source of truth sometimes.
In relation to the album, it covers the well-known songs in chronological order based on year of release.
“Holy Diver”, “Rainbow in the Dark” and “Don’t Talk to Strangers” are from the “Holy Diver” album, released in 1983.
“We Rock”, “The Last in Line” and “Evil Eyes” are from “The Last In Line” album, released in 1984.
“Rock ‘n’ Roll Children”, “Sacred Heart” and “Hungry for Heaven” are from the “Sacred Heart” album, released in 1985.
“Hide in the Rainbow” is from “The Dio E.P” released in 1986.
Listen to the intro. I wish they continued it a bit longer.
And is it just me, or does the Chorus riff remind you of “No More Tears” from Ozzy. Then again this is 5 years before “No More Tears”, so maybe young Zakk was listening. Anyway, all music is derivative. Take what came before and make it a bit different.
“Dream Evil” is the title track, released in 1987.
“Wild One” and “Lock Up the Wolves” are from the “Lock Up The Wolves” album, released in 1990.
You could argue that “Stand Up And Shout”, “Egypt (The Chains Are On)”, “All the Fools Sailed Away” and “Born On The Sun” are better songs and should be included.
If you have the albums mentioned above, there is no need for this compilation. But if you didn’t have any of those albums, this collection is an excellent addition.
At the time I was still buying Dio product to keep my collection up to date, however this ended up being the last purchase for my CD/Vinyl/Tape collection.
The studio albums which came in the 90’s and 2000’s were not available easily in Australia and had to be imported in at a higher price. So I ignored em, but my mate “Nick The Stick” is a massive fan, so he had em and he burned em on a CD for me.
I did buy a couple of DVD’s in the 2000’s called “Holy Diver Live” and “We Rock”. Those reviews will be coming soon.
“Run With The Pack” dropped in 1976. Ron Nevison engineered it and Eddie Kramer mixed it. Two names who appeared on a lot of hard rock and metal release I acquired in the 80’s.
For Bad Company, this is three albums in three years but when Daniel Ek from Spotify said that artists need to release more frequently, there was an uproar.
Did anyone see the recorded output from Ronnie James Dio?
From Elf, to Rainbow, to Black Sabbath and his solo career, he was doing a release a year.
“Run With The Pack” is not as solid as the first two albums from start to finish, but there is still enough quality to get people’s attention and it also helps when the first two albums are still selling and being played on radio.
LIVE FOR THE MUSIC
Great title.
The chord and a vocal line, the chord again and another vocal line. And that funky riff in the chorus.
“But when the night time comes I’m ready to rock”
The night is my domain. I feel I’m at my most creative then.
Check out the guitar solo. It’s a simple three note melody, repeated over three bars, with just a small change on the last bar. So simple, but effective. And it pissed me off when writers in the 90’s wrote about how simple and effective the Seattle solos were. I guess they never checked out Bad Company.
Unsung hero here is Boz Burrell on the bass. His holding down the groove but also playing the melody and towards the end of the song, it’s just Simon Kirke and Burrell, grooving away.
SIMPLE MAN
As good as anything from the first two albums.
I love the way the song just rolls after those opening arpeggios. It’s an anthem. So many good lyrical lines like;
“I’m just a simple man trying to be free” “Freedom is the only thing that means a damn to me”
Ralphs use of acoustic and electric guitars is the same technique he employed on “Feel like Makin’ Love” from the “Straight Shooter” album.
HONEY CHILD
It’s “Can’t Get Enough” part 2.
LOVE ME SOMEBODY
A country blues piano ballad. Songs like these showcase the variation of the 70’s acts. An album purchase would give the listener so many different styles.
RUN WITH THE PACK
It starts off as a rocker and roller.
But the slow-down in the chorus. I love it.
Listen, especially when the violins come in towards the end.
SILVER, BLUE AND GOLD
It’s a fan favourite, with a sweet solo.
YOUNG BLOOD
A rock-a-billy cover. Not my favorite.
DO RIGHT BY YOUR WOMAN
Another country rock cut.
SWEET LIL’ SISTER
It’s “Movin On” part 2. The chord progression was overused. “Sweet Home Alabama” comes to mind.
FADE AWAY
The piano riff is excellent.
They tried to rewrite “Bad Company” and they did a good job with it. It has enough variation to make it sound unique. U.F.O sounded like this on the “Lights Out” album. And Check out the emotive solo.
“The Hymn Of A Broken Man” came out in 2011 and in 2021, we get “Songs Of Loss And Seperation”.
The band for the album is Adam Dutkiewicz on vocals, guitar and bass, Jesse Leach on vocals and Dan Gluszak on drums.
The Burden Of Belief
It’s got a blues country groove, more like southern country rock.
Fall down to your knees / Wash me clean of all my grief
Mend You
Taking its cues from alternative metal.
I lost a lot of sleep with my restless mind
There is no rest, when you’re left alone with your thoughts especially when your relationship is breaking down or if a loved one is doing it tough with addictions or mental illness.
The riffs in the last 50 seconds. It’s wall breaking time.
Rescue
Its classic Killswitch Engage.
After the screaming verses, the anthemic Chorus smacks you in the face.
Dutkiewicz is a great riff meister, who showcases his talents with each album release.
The last 50 seconds, with the swelling sounds and backwards effects, is haunting and soothing at the same time. A paradox but it works.
Far From Heavenless
A simple arpeggio guitar riff starts the song off, with Leach singing about feeling far from heaven. And there is an ascending guitar line underneath it all, which makes it feel like we are rising.
The power in the next section, when Leach is singing “I’m not heavenless”. And the power house drumming from Gluszak hammers the message home.
Then the dynamic shifts again to subtle and serene arpeggios.
At 3.30 there is just a clean tone guitar riff that reminds me of “Living On The Edge” riff from Aerosmith.
Then listen to how the distorted guitars, bass and drums build it up, over the spoken sermon from Leach.
It’s gloom and doom, but inspirational as well.
Bleed Me
Atmospheric cut about looking for the medicine to bleed you and satisfy the demons.
Medusa
How good is the riff to kick off Medusa?
It’s so Iommi and Zakk Wylde like.
And this nod to classic metal gives way to syncopated verses, more in the vein of Meshuggah and TesseracT.
Currents
The intro riff is familiar. The vocal melody very Maynard like in the verses, as the rage explodes in the Chorus.
Lost in a Dream / Dark waves crash over me
This tension between dark and light, carries the song.
To Carry The Weight
The intro arpeggios and vocal melody could have come from Aaron Lewis and Staind. Maybe even Brent Smith and Shinedown. And I like it.
The song percolates in that sombre mood until it explodes and Jesse Leach delivers a worthy vocal performance.
The riff from 2.25. So melodic, yet heavy.
Cold
It starts off like a country tune. A simple acoustic guitar riff and vocal melody. It’s campfire material.
And from the 3 minute mark, it explodes. The melodies are hypnotic and the music inspirational.
Have I mentioned that Dutkiewicz is a great riff meister?
Forever
The closer. 6.30 minutes long.
All different musical roads lead to here. A combination of country, blues, metal and rock.
For those looking about positive messages, this isn’t the album for you. It’s melancholy lyrics and metal like riffage is music to make you crash your car. You can feel the sadness, a pain at the world, society and the various demons within the mind.
The album title is indicative of the theme. And having gone through loss recently this album is becoming my companion, riding shotgun with me.
I was listening to “Promised Land”, which at that time was the new single from the Sweet & Lynch project.
For those that don’t know, Michael Sweet from Stryper joined forces with George Lynch to create Sweet & Lynch. They are supported by one of the best rhythm sections in the business in James Lomenzo on bass and Brian Tichy on drums. Underpinning or financing it all is melodic rock label Frontiers.
Their first album, “Only To Rise” was released in 2014. It’s a great throwback to the 80s style I remember well, but with modern touches and production.
3 years later, they are about to drop the “Unified” album.
The first thing that hooks me from “Promised Land” is the tempo. It’s basically a speed metal song.
A cross between Dokken’s “Lightning Strikes Again” and “Tooth And Nail” in some sections and Stryper’s “The Way” in other sections.
The lead break is one of Lynch’s finest metal moments in 2017. It’s got melody, hammer ons, pull offs, sweep picking and string skipping. All at 140 plus clicks a minute.
Unfortunately “Promised Land” is just another song lost in the 30 million plus songs on streaming services, along with other Sweet & Lynch gems like “Love Stays”, “Me Without You” and “Recover”.
Ed Sheeran writes songs which become popular. Then he gets hit with a lawsuit because his songs are making money and the family members of a departed artist, or the business entity that owns the copyright of an artist who is departed or has not creating anything worthwhile anymore wants a cut.
If Copyright terms remained how they were originally, this would not be a problem. First, the creator had a 14 year monopoly, with a chance to renew for another 14 years for a total of 28 years. However, once the creator died, all of their works became public property, free to be used by any other artist/creator to create derivative versions. So if the creator passed away during a term, the works ceased to be under copyright and went straight into the public domain.
The British 60’s Rock invasion happened because of these rules.
So who is copyright benefiting once the person who is meant to have the monopoly (the creator) to create works has passed on?
The corporations and estates who control the copyrights of long-dead artists. That’s who.
Frequency is a bad word for rock and metal artists.
Release music frequently is another bad phrase for artists.
It’s a concept artists are struggling with. It’s even more troublesome for bands. The singer/songwriter can make it happen, but for bands it’s a different story.
Netflix wouldn’t be able to grow their subscriber base if they released one TV show every two years?
It’s a streaming world. The youngsters, the ones who replenish the music base are signed up to streaming. And artists who don’t want to be part of the streaming group are still debating the payouts.
The money will come. But you need to control your copyrights so you get maximum royalties.
The paradigm is different. Your musical output lives online and the money is in what lasts. Success is based upon cumulative streams, not sales of albums, and the streams go on forever.
8 Years Ago (2013)
I watched Dream Theater in Australia on the “Systematic Chaos” Tour and they played for three hours (with an intermission of about 10 minutes in between). For some reason that was perfect, however when I saw them again on the “Black Clouds and Silver Linings” Tour, they played just over 2 hours and it was too much.
I think hitting the same market too quickly and the flow of the set list was the problem. The 2009 show took place almost 12 months since the 2008 show.
They did “Solitary Shell” with extended solos. It is not the strongest song in the Dream Theater catalogue, so what happens when you take a song that isn’t your best and make it longer?
You get a yawn fest, a toilet break or a beer/smoke break.
And at the time did we really need a live album from Metallica?
They had released four DVD packages of Live Concerts during the Death Magnetic tour, as well as the Six Feet Down Under EP’s plus all the stuff they release on Live Metallica.
When Metallica created the “Black” album, the main members were 27 years of age and the producer was 36. Life experiences were on their side.
The main classic rock bands were all about individuality. The Eagles, Boston, Styx, Deep Purple, Black Sabbath, Led Zeppelin, Kiss, Rush, Bad Company, Foreigner, Aerosmith and Cheap Trick all had a unique sound.
The Eighties gave us Metallica, Motley Crue, Guns N Roses, Bon Jovi, Def Leppard, U2, Duran Duran, AC/DC, Journey, Whitesnake, Van Halen (and yes i know that some of these bands formed in the seventies), Aerosmith again and Foreigner.
Metallica played fast speed metal that was labelled thrash, Motley Crue played a hybrid version of pop, punk, rock and metal. Van Halen wrote the book on the nuclear band, Guns N Roses rewrote the seventies classic rock period with a dash of punk and Def Leppard merged Queen, with Bowie with Mott The Hoople with their NWOBM leanings into a pop rock format. Each band spawned thousands of imitators.
Rush could have recorded a mainstream radio friendly album in 1976 just to please the record label. Instead they recorded “2112”, an album that set up a very lucrative future for Rush and an album that made the record label very nervous when they heard it. As guitarist Alex Lifeson has stated in numerous interviews, “2112” set up a career for Rush.
What happened to the uniqueness?
“Kill Em All” Metallica’s first album was celebrating 30 years in July 2013. At the time of its release it didn’t really set the world on fire, however if you look at the reviews and praises the album is getting now, it is like the album came out and created a movement called thrash metal right off the bat. In other words a lot of revisionist history was taking place.
Let’s put into context the lifespan of “Kill Em All”.
It came out on July 25, 1983. By February 1984, seven months after “Kill Em All” was released, Metallica was in the studio, writing and recording the “Ride The Lightning” album.
The victory lap of “Kill Em All” was seven months. That’s it. If the band wanted to have a career, they needed to get back into the studio and record a new album.
Motley Crue, Twisted Sister and Def Leppard had break through albums with “Shout At The Devil”, “You Can’t Stop Rock N Roll” and “Pyromania”. Quiet Riot’s “Metal Health” was the first American heavy metal debut album to ever reach No. 1 in the United States on the Billboard album charts.
But RNR history is written by the winners. Since Metallica is now inducted into the Hall of Fame, everyone that can put fingers to letters on a keyboard is rewriting their back story.
Bands like Quiet Riot will be written out. Artists like Vinnie Vincent and Jake E.Lee will be forgotten. The impact of other bands will be diminished because Metallica won.
History is written by the winners.
And does anyone know what the Metallica movie, “Through The Never” is about.
Dream Theater were promoting their new album with webisodes which didn’t feature any musical snippets from their new album.
Has anyone purchased a Dream Theater album because Billboard Magazine rated it highly or poorly or from a Village Voice review?
The answer would be a definite NO.
Dream Theater built their career outside of the mainstream. It was the mainstream that came knocking on the door for Dream Theater and they let them in.
Remember back in 1991, Metallica had arena sized listening parties for their fans before the release of the Black album.
Connect with fans first and they will support you.
destroyerofharmony 