Category Archives: My Stories

Music, My Stories, Classic Songs to Be Discovered, A to Z of Making It, Influenced, Derivative Works, Unsung Heroes

Durbin – The Beast Awakens

James Durbin’s covers of Judas Priest on American Idol got me interested. The YouTube videos got some traction here in Australia. His debut album released in 2011, “Memories Of A Beautiful Disaster” rocked hard and I was a fan. “Celebrate” in 2014, lost me as it went way to poppy.

Then he hooked up (surprisingly) with Quiet Riot and he made me a fan again with the very underrated and forgotten “Road Rage” album released in 2018. “Space Cowboys” came out a year later but shit was going down in the Quiet Riot camp, as Durbin left the band before the album was released and drummer Frankie Banali was fighting for his life but we didn’t know it at that point in time.

And here we are with Durbin.

Joining James Durbin who does all vocals and guitars, is Mike Vanderhule on drums and Barry Sparks on bass. And from what I have read, different guitarists appear for the lead breaks.

The album came out in February, 2021 on Frontiers.

The Prince Of Metal

A perfect title to introduce his “Metal” album.

It’s like “Phantom Of The Opera” from Iron Maiden in the first few minutes and I’m all in.

James Durbin is killing it vocally and the guitar lead is also excellent. After the solo there is this slower “Heaven And Hell” groove and I’m banging my head to it.

The prophecy says / Raise Thy Horns / Bang Thy Heads / The Prince Of Metal

A QR reference. Perfect.

Kings Before You

Phil Demmel and Fozzy guest on this very Savatage sounding track, ala “Edge Of Thorns” in the verses.

I’ve always enjoyed Demmel’s playing in Machine Head and he delivers another guitar hero lead on this.

From the sky descends the wizard – As he spreads his hands apart / Manifesting right before me – Holding out the sacred heart

A Dio reference.

Into The Flames

It feels like it’s inspired by “Dance Macabre” from Ghost BC and I like it. Then again the riff is an overused riff from the 80s.

If anything the embryo of that riff can be traced back to “Don’t Fear The Reaper” from Blue Oyster Cult.

The Chorus is anthemic.

Now break the chains / Release the spell that you are under / This darkness will pass & give way to the light

The Sacred Mountain

It’s inspired by Dio and Sabbath’s “Heaven And Hell”. Durbin, Sparks and Vanderhule are firing on all cylinders here.

The vocal melody from Durbin is memorable and the guitar lead is fast and excellent.

The Beast Awakens

Great title track. More Metallica and Judas Priest like.

Killer vocals and killer leads.

Demons drawing nearer / Is your life forsaken / Time to face your fears / For The Beast Awakens

Evil Eye

Malmsteen has a song with this title.

Great riffs and the lead break is guitar hero worthy.

I’ll walk through hell alone & swear as long as I’m still breathing / I’ll live to overthrow the hellion & blind the Evil Eye

A Judas Priest and Malmsteen reference.

Necromancer

A power metal cut.

Riders On The Wind

One of my favorites, buried deep in the album.

It’s got Dio and “Heaven And Hell” influences all over it and I’m all in.

Check out the lead break as well.

Riders On The Wind / Searching for the sacred night

Calling Out For Midnight

It’s speed rock, Saxon like with a typical Durbin anthemic chorus.

Battle Cry

After the supercharged tracks, we get a slower tempo track, but don’t call it a power ballad. Because it’s not.

And the lead break is so Gilmour like with a bit of Michael Schenker added for spice.

By The Horns

It’s almost Megadeth like, a more rockier version of “Symphony Of Destruction”.

Rise To Valhalla

The closer and a cut for all those power metallers.

I’m ready to ride out and fight for Durbin.

Great lead playing and harmonies.

Also the bass playing from Barry Sparks is excellent on this song and throughout the album.

Durbin possesses a great vocal range and his prowess on the guitar is evident on this album. As a songwriter, all songs are written by Durbin.

If this is his first entry into the realms of Metal, then I will eagerly await his next.

Check it out.

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

1986 – Part 2.5: Tesla – Mechanical Resonance

In the early 80s, Frank Hannon and Brian Wheat took a band name from a Y&T album and started playing UFO, Scorpions and Def Leppard covers. Jeff Keith, Troy Luccketta and Tommy Skeoch joined after and the band became known as City Kidd.

A three month residency at a U.S Army base would give them the opportunity to write songs and then play them live. Most of the songs written for the debut and some of the songs for “The Great Radio Controversy” were written during this period.

Jack Russell from “Great White” became a fan and he got Tom Zutaut to check em out, who then promised em a recording contract, but they had to wait until the end of 85, as he was moving from Elektra to Geffen.

They got a Q Prime deal but couldn’t get a producer to work with them. Rick Rubin, Max Norman and Bruce Fairbairn rejected them. Zutaut brought in Steve Thompson and Michael Barbiero but their background was dance music and they did some time mixing rock albums. Hardly an ideal choice and they also tried to get out of the gig.

Mid 86, City Kidd changed their name to Tesla and “Mechanical Resonance” was released on November 24, 1986, by Geffen Records.

It’s on Spotify, but they took off “The Great Radio Controversy”. Why they removed it, I guess we’ll never know.

“EZ Come EZ Go”

The funky groove to kick it off hides the rocker the song really is.

The verses are very Def Leppard like (first two albums Lep), in the sense of dynamics (soft and loud), the pulse like bass/bass drum and vocal melodies. But the Chorus rocks hard, like AC/DC and Aerosmith hard.

Then the lead breaks show a guitar hero aspect to the band.

In essence, if this was the first song you heard and it didn’t move ya, then you need to check yourself for a pulse.

There comes a time when you’ve got to let things go as fast as they come
Wait and see what tomorrow may bring you, get it all while you can

I know it sounds clichéd today, but to a kid growing up, it was eye opening.

Like a new creed, a new truth.

“Cumin’ Atcha Live”

Written by Hannon, Keith and Wheat. If feels like a band jamming in the style of Van Halen. Even one of the riffs you hear in the first 30 seconds comes from a Van Halen song. The whole solo section feels like an improv jam.

My favourite part is between the 3.18 to 3.53 mark in the leads.

“Gettin’ Better”

Written by Hannon and Keith. One of my favourites.

As soon as I heard the arpeggio intro I was racking my brain as to what song it reminds me of. The D to A to Bm chord progression reminds me of “Goodbye To Romance”. Tesla would use this chord progression again in the “Love Song” intro. Mark Tremonti was a fan, so it was no surprise to hear it in “One Last Breath”.

And when the distorted chords kick in, again I am reminded about something familiar. Maybe “Highway To Hell”.

I’m a hard workin’ man, doin’ all that I can, tryin’ to make ends meet
Just a-makin’ my way through the jungle today, it’s gettin’ the best of me

But it’s only gettin’ better, and a change is gonna come my way

My Dad worked two jobs to survive in Australia. My mum never worked as she was tasked with raising the family and keeping the house running. And I’m thinking did it get better for him. He believes so, but my Mum doesn’t. And for me, both my wife and I are working jobs so we can survive in this country and go on some holidays. We don’t know anything different.

“2 Late 4 Love”

Written by the band again, the embryo to “Hang Tough” is right here in the Intro.

I can’t believe this fucked up world in which we’re livin’ in
Still I do the best that I can
Always got me on the lookout for a getaway
Runnin’ hard, I’m a rock ‘n’ roll man

Work to live and don’t live to work. The world will always disappoint you, so just do your best to get bye.

“Rock Me to the Top”

It’s a Keith and Skeoch composition. One of my favourites. It just rocks and rolls its way through my brain. A totally different style.

Rock me, rock me (rock), rock me to the top, to the top, baby

How can you not sing-along to it?

“We’re No Good Together”

Written by Hannon, Keith and Luccketta and I’m a fan of its slow bluesy feel. Very Bad Company’sih and Led Zeppelin’ish. Aerosmith wrote a similar track on “Pump” called “What It Takes”.

And it picks up for the lead break and outro, like “Free Bird”, only shorter.

“Modern Day Cowboy”

It kicks off side 2. A Hannon, Keith and Skeoch composition.

When the verse arpeggios kick in, it’s like the “Kashmir” riff, as each note moves up chromatically.

Also check out the lead breaks on this.

Foreign lands
With their terrorist demands
Only cause the good to hurt

Like so many others we have grown up with terror in our lives. Some experience it closely and it’s on the news when it happens and the innocent are always the ones to suffer.

The U.S.A., the U.S.S.R. with their six-guns to the side
I see the message written on the wall. Too much anger deep inside

This was a thing once upon a time. Communism versus democracy. It looks like the scars never really went away because it’s still a thing. And people thought that once the Berlin Wall fell down, democracy would rule. But the older ones from Eastern Europe like my grandfather, they knew that a new dictatorship, probably worse than the one before, was just a few years away from resurfacing.

Bang bang, I shoot ’em up
Bang bang, blow you away
It’s a showdown in the no man’s land for the cowboy of the modern day

It’s a showdown!

“Changes”

Another band composition. One of my favorite Tesla songs ever, as it moves from an emotive piano intro into a vibrato style riff.

Changes, time’s makin’ changes in my life
Rearrangin’, can’t seem to stop the hands of time
I remember, I was so young, I was much too young to see
Now I’m older, growing older, and I see things differently

A commitment to self-development and self-learning makes me question a lot of things that I once held as truth. But it all takes time. As time moves forwards, so do the changes. We don’t have three channels anymore. We don’t have dial up internet.

“Little Suzi”

A Ph.D. cover, written by Jim Diamond and Tony Hymas.

The “Albatross” intro was written by Hannon. The original version of the song had synths and was electronic, but Tesla made it an acoustic country rock style cut. In other words they made it awesome.

“Love Me”

It’s day and I’m feelin’ high, what’s the chances for you and I

What kind of high was Jeff Keith on?

Written by Hannon, Keith and Wheat, I can hear UFO and Bad Company in this. I reckon CC DeVille was also listening closely as I can hear “Nothing But A Good Time” in this.

Also check out the lead break, just for the soul and blues rock licks.

“Cover Queen”

A Hannon and Keith composition.

The “Blackout” from Scorpions inspired intro gets me interested. The verses swagger like Aerosmith. And in the last minute of the song it’s pure EVH style jamming.

“Before My Eyes”

It’s a darker cut, almost Dio like, written by Hannon, Keith, Luccketta and Skeoch composition.

If you like Van Halen and Aerosmith, there is enough here to keep you interested. If you like 70’s British acts like Bad Company, Led Zeppelin, Free, UFO, Thin Lizzy and Deep Purple, there is enough here to keep you interested.

If you like the Sunset Strip sounds of Motley Crue, RATT, WASP, Quiet Riot and Ratt, there is enough to keep you interested. If you like acts like Y&T, Triumph, Sammy Hagar and Montrose, those sounds are also here. And if you like the sounds of European acts like Def Leppard, Iron Maiden, Scorpions and Judas Priest, then they are also present.

Tesla basically rocks.

Standard
A to Z of Making It, Influenced, movies, Music, My Stories, Unsung Heroes

Australian Method Series: Parkway Drive – Viva The Underdogs

I watched the documentary/movie on Netflix last night.

How did a self-managed band from Australia come to headline the largest metal event ever, in Wacken?

To play to 90,000 screaming metal heads.

Watch it.

The realities of touring are laid bare.

Even all the months of planning in Berlin couldn’t prepare the band for the gastro bug that got em on “opening night”.

There is a part in the movie towards the end of the first leg of their tour.

The band is coming back out for their encore. The way its meant to go, is that vocalist Winston McCall would step out, light up a Molotov cocktail and throw it at the band logo behind the drums. And that is meant to trigger flames to rise up from the bottom and burn the logo. It looks cool if it works. But on this occasion someone in the road crew dropped the ball and it didn’t work out. No flames came from the bottom. It was almost Spinal Tap’ish.

Afterwards McCall is not happy. It’s towards the end of the first leg and they haven’t had a show go smooth. He’s questioning why the crew can’t get it right this far in. There’s always a problem. If it wasn’t with the pyro or the flames or lights, it was the sound board blowing up at a gig in L.A. Also an outdoor gig in Spain was almost canned due to lightning and strong winds.

When they returned back to Australia, bass player Jie O’Connor would destroy his knee playing football, so he played “Wacken” in a wheelchair.

And for a band that is self-managed, the buck stops with them. They fund the tour, they pay the road crew and they are putting every cent they make into the tour, so they can establish themselves as an “arena” act.

Most of the management is handled by Rhythm Guitarist Luke Kilpatrick and there are days when he’s tired or fried but he’s still going.

Regardless if you like the music or not there are a lot of lessons learned here.

That if you don’t risk, you don’t gain. But you could also lose as well. The band could have been comfortable playing smaller venues but they wanted to take the next step.

They had the perfect album for it, as “Reverence” was really accessible compared to earlier albums. Tracks like “Prey” are at 45.5 million streams on Spotify and “The Void” is at 35.8 million streams are selling it but “Chronos” is my favourite.

And as the band grew so did their road crew.

Of course the best thing is seeing the guys back in Byron Bay. Guitarist Jeff Ling is walking his dog on the beach and the dog is shitting everywhere so he needs to pick it up in a doggie bag. That’s big world problems right there. Drummer Ben Gordon is catching waves and is so underrated.

And they jammed but we didn’t hear any sound that the cameras could pick up. It was all in their headphones as they all plugged in to some device.

The biggest thing the documentary shows is that the band is huge both here and overseas.

Standard
A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Dokken – Lightning Strikes Again

It came out in 2008.

It’s not on Spotify but YouTube has various videos of the album and it is the last Dokken album I purchased.

By the time “Broken Bones” came out, I was a streamer. But I’ve always had that album, along with “Return To The East” and “The Lost Tapes” in my “saved for later” shopping cart, waiting until the price is right.

This album is also the last to feature bassist Barry Sparks and drummer Mick Brown.

Like previous records, Don Dokken had to organize various labels for a worldwide release.
Rhino for the North America market, Frontiers for Europe and King for Japan.

Production is handled by Don Dokken and Tim David-Kelly.

Standing On The Outside

A riff from “It’s Not Love” kicks off the album and I’m tapping my foot along with it.

The verses are better than the Chorus.

And the lead break from Levin is excellent.

Give Me A Reason

It starts off with clean tone arpeggios that remind me of “Walk Away”. But that was hiding the rocker to come.

Musically the song is excellent, while the melodies are stuck in the lower bass/baritone range and sound a bit monotonous.

Heart To Stone

A feel from “Into The Fire” kicks it off before it moves into a “Stop Fighting Love” vibe. It’s basically Dokken sounding like Dokken.

Jon Levin doesn’t get the respect he deserves He’s the longest serving guitarist in the band and he’s become a great co-writer with Don. Plus he respects the past.

How I Miss Your Smile

A simple repeating two chord arpeggio Intro kicks off the song and Don’s heartbreak lyrics take over.

It’s a run of the mill power ballad, but the lead break from Levin makes it worthy. He’s emotive and bluesy.

Oasis

A classic metal riff kicks off the song, straight from the grooves of the “Tooth And Nail” album.

The guitar solo reminds me of “Alone Again” and I like it.

But it suffers from a lack of dynamics vocally.

Point Of No Return

My favorite track.

The Intro reminds me of “Seven Nation Army” but once the song picks up it’s got a “Paris Is Burning” vibe.

Mick Brown and Barry Sparks lay down an energetic tempo.

Jon Levin has done a great job continuing the Dokken guitar brand in the 2000’s and he continues to shine on this track, showing his Lynch and Schenker/Jab influences.

Don Dokken is gravelly in his vocals and I like it as it works for this song.

The Chorus is anthemic and check out the lead break. It’s guitar hero worthy.

I Remember

Another ballad which could have come from Klaus Meine.

Judgement Day

Another favourite.

Levin is inspired by old Dokken.

It feels like “Cry Of The Gypsy” merged with “Lost Behind A Wall” and I like it.

And Don’s lower range singing works perfectly on this while Levin shines all over this track.

It Means

This is good and I like it when artists merge their old way with new influences from modern rock artists.

Release Me

Musically it’s modern rock, like a bit of Tool and a bit of Chevelle.

But it’s the lead break from Levin that captures my attention.

This Fire

An energetic rocker and the riffs are excellent.

Sunset Superstar

The bonus track on the Japanese edition. A speed metal cut like “Tooth And Nail”. It should have been on the album and Don’s gravelly vocals work.

If you like the 80s version of Dokken, you will like this. It’s the best album of the Jon Levin era.

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

1986 – Part 2.4: Stryper – To Hell With The Devil

I like Stryper. I never understood the crap they got because of their views on Christianity. Most interviews focused on that aspect and very rarely on the music.

“To Hell With The Devil” was released in 1986. It went platinum in the U.S, and it remained the best-selling Christian metal album until P.O.D.’s “Satellite” in 2001, which I also have.

To Hell With The Devil

The drum beat from Robert Sweet is simple but powerful. The chord structure is standard Am to F to G, but the guitar leads and harmonies make it unique.

How good are just the vocals and drums in the first verse?

And make sure you check out the leads from Oz Fox and Michael Sweet.

Calling On You

The lead break reminds me of “Sweet Child O Mine” but this was released before.

I’m always a sucker for melodic rock songs like this.

Free

It’s the same message as “We’re Not Gonna Take It”, “Stand Up And Shout” and the like.

The Intro lead break gets me playing air guitar and they end the song with it, just in a different key.

They even borrowed from “Reason For The Season” for the vocal melody.

Honestly

It just wasn’t my thing. The sound of the piano reminded me of the music in TV shows I didn’t like.

But it sold the album.

The Way

The Judas Priest and Iron Maiden influences of Oz Fox are shining through on the riffs here. A metal tour de force.

Sing-Along Song

It’s got that “Turbo Lover” feel in the Intro/verse.

Holding On

It’s “Hungry For Heaven” in the Intro and the Chorus harmonies are straight from the grooves on the Boston record.

Rockin’ The World

The Intro/Verse is familiar, but I can’t remember from where.

All Of Me

My least favorite track leads into my favorite track.

More Than A Man

If you like “Lights Out” from UFO, you will like this. The F#m groove is at the heart of both songs.

The lead break at the start also borrows from “Soldiers Under Command”.

And the main lead break is guitar hero worthy.

To Hell With The Devil I say.

Check em out.

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

The Record Vault: Dokken – From Conception Live 1981

“From Conception: Live 1981” was released in 2007. It’s not on Spotify but YouTube has it.

Like all things Dokken, there is a lack of transparency.

The album is advertised as 1981, but the band for the recording is Don Dokken on vocals and Rhythm Guitars, George Lynch on guitars, Mick Brown on drums and Jeff Pilson on bass. But Jeff Pilson didn’t join the group until 1982. Juan Croucier from Ratt is the bass player prior to that.

Regardless of the story behind it, it’s one of Dokken’s best live albums and it is virtually ignored. Maybe because it came out in 2007 or maybe because it’s early Dokken, pre “Tooth And Nail”. I

t’s early Dokken. Even Don Dokken is playing guitar on stage and apart from rhythms, Lynch and Dokken are doing harmonies together.

Paris

It kicks off the show. The energy drips from the speakers. I feel like I’m at the show. Acts today will not know this, but back then, acts would live or die based on their live show.

Listening to “Paris” and it’s easy to hear why they got signed to Elektra Records.

Goin Down

I like the AC/DC and UFO groove.

In The Middle

The groove from the bass and drums gives Lynch and Dokken a chance to decorate and decorate they do.

Finally after three sings Don addresses the crowd and tells em to “make some noise” as they have the mobile set up outside and they are recording the show.

Young Girls

The L.A Sunset Strip riff kicks off “Young Girls”. Listen to Motley Crue and Ratt and you’ll know what I mean.

Hit And Run

It’s got a similar groove to “In The Middle”, just a bit faster. And lyrically it feels like a Saxon song about a soldier fighting.

Nightrider

The best song on the album. A speed metal song. It’s played that fast, it feels like a NWOBHM cut.

All the critics that called em a “poor man Scorpions” needs to listen to this version.

Check out the harmony guitar playing between Dokken and Lynch. I keep repeating the song just to hear it. And you’ll be surprised by Dokken’s prowess on the guitar.

And there is a sing-a-long with the audience, think “Running Free“ from “Live After Death” but this was recorded before.

GTR Solo

Then we get a 3 minutes of George Lynch shredding away.

Live To Ride

It’s fast and it gets me playing air guitar. It also reminds me of “Ace Of Spades”.

Breaking The Chains

Don mentions that the song is doing the rounds on MTV so I don’t think it’s a 1981 recording because of that.

It sounds heavy compared to the recorded version.

There’s a “thank you, good night” and the crowd screams “more” for 2 minutes

Liar

Speed metal and the lead break is electrifying.

“Beast From The East” is the Dokken live album and then there is “From Conception”.

Crank it.

And in the CD there was some promo about the upcoming new album and release of a classic VHS tape on DVD.

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

1986 – Part 2.3: Van Halen – 5150

I can’t believe I haven’t written about this album yet.

“5150” achieved what “1984” couldn’t.

The Billboard Number 1 spot.

Actually all of the Sammy Hagar albums achieved what the David Lee Roth albums couldn’t.

Then again DLR needed to contend with Michael Jackson and “Thriller” and Adele with “21”.

Songs like “Why Can’t This Be Love”, “Best of Both Worlds”, “Dreams”, “Live Walks In” and “Summer Nights” take up most of the press and listens on steaming services but it’s tracks like “Good Enough” and “Get Up” which get me really interested.

Good Enough

Check out the head banging riff on “Good Enough” after Sammy screams “Hello Baby”.

It sounds like AC/DC on steroids but if you listen to the 1983 demo, it actually sounds like ZZ Top.

It was one of the first songs Sammy Hagar jammed with the band and he is at his creative best, telling us that a good looking women is like a good piece of prime grade beef.

Why Can’t This Be Love

Then they hit us with this.

Infectious and catchy. Almost funky.

Play that synth riff on guitar and it rocks your socks off.

Get Up

Speed rock. I love it.

Dreams

If the synth riff doesn’t get you singing out loud, then Sammy’s vocals would.

Summer Nights

Along with “Good Enough” this was the other song that Sammy Hagar jammed on.

It’s winter in Australia right now but this song is timeless, gets me thinking of good times. Almost nostalgic like.

Best Of Both Worlds

It’s “Highway To Hell” and I like it.

Check out the dynamics from EVH as he goes from loud to soft to loud again.

Love Walks In

It’s a great ballad. Play that riff on a guitar and you’ll hear how much it rocks.

5150

There’s a lot of guitar on this, but it’s the Chorus riff and vocal melody which hooks me.

Inside

Another funky and groovy rocker. Never played live.

Crank it and let 1986 intoxicate you.

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

The Record Vault: Dokken – Hell To Pay

It probably didn’t make a big impression on me, because I forgot I had purchased it, so I purchased it again and now I have two CD’s.

The most dangerous job in the world at that point in time was the Dokken guitar player spot. After George Lynch, the band went through Reb Beach and John Norum.

For “Hell To Pay”, released in 2004, there was another newbie, Jon Levin on guitars.

Production was once again handled by Don Dokken.

The Last Goodbye

The song is written by Don Dokken, Mick Brown and Jon Levin, who quickly announces himself with a bone crunching riff inspired by “Kashmir” over a rock steady groove by Brown.

Dokken has been dabbling with exotic sounds on previous albums and that spirit has carried through on this.

Make sure you check out the lead break from Levin.

Don’t Bring Me Down

Written by Dokken, Barry Sparks and Levin.

It’s fast.

This is Levin’s statement.

That lead break.

Wow. Just listen to it.

And he did something on that lead break, not heard on a Dokken album, a harmony solo.

Escape

Another Dokken, Brown and Levin cut.

This one is like a dark rock song, almost alternative but still delivered with hooks from the 80s, something they copped shit for, but to me that’s what’s special about the album. Sounding current and modern with a sense of pop melody in the vocals.

Haunted

Another Dokken, Brown and Levin cut and one of my favourite Dokken cuts from this version of the band.

Levin goes a bit high octane bluesy in the lead break and I like it.

Prozac Nation

It’s written by Kelly Keeling, Dokken and Levin.

A familiar riff and vocal melody rule this song.

Levin goes all chromatic for his brief solo spot light.

Care For You

Written by Dokken and Keeling.

Yeah I didn’t care much about this song and I was disappointed when the bonus track was this song in an “unplugged” setting.

Better Off Before

Another Dokken, Brown and Levin cut.

A groove metal riff kicks it off, very Disturbed like.

Dokken is bringing his sense of melody to it and the 2004 version of the band is definitely rocking.

Still I’m Sad

No relation to the Rainbow song.

It’s a cut penned by Don.

It’s got groove and I like it’s three distinct parts, the clean tone verses, the distorted melodic pre chorus and the anthemic Chorus.

I Surrender

Again, no relation to the Rainbow song.

This one is also a penned by Don. It percolates with a hooky riff as Don builds it vocally.

The Chorus riff reminds me of “Unchain The Night” and I like it.

Levin is also channeling Neal Schon on the lead break.

Letter From Home

Written by Keeling, Levin and Dokken.

The band is channeling The Beatles and Led Zeppelin on this one.

The lead break from Levin is excellent. Very Jimmy Page like.

Can You See

A Dokken and Levin cut. it’s got that Dokken 80s spirit from “The Hunter” but Don’s voice is low, almost monotone like which was slowly becoming his style.

And Levin brings it again for the lead break.

If this is your first Dokken experience, there is enough here to get you interested to hear more.

If you grew up with Dokken in the 80s then this is a good listen.

C

Standard
Influenced, Music, My Stories

The Week In Destroyer Of Harmony History – June 28 to July 4

4 Years Ago (2017)

I was away for a football tournament during this period in Canberra, Australia’s capital so no posts happened.

8 Years Ago (2013)

I was showing my appreciation to Dee Snider and “You Can’t Stop Rock N Roll”.

We walk the streets
In tattered armies
We got the lion in our heart
We’re not lookin’ for trouble
Just for some fun
But we’re all ready if you wanna’ start

Truth from “The Kids Are Back”.

We just wanted to have fun, and having fun got us into trouble sometimes, but, if someone wanted to fight with us, we didn’t take a backward step.

Who are you to look down
At what I believe?

From “I Am (I’m Me)”.

I didn’t want to work in the steel mills. I wanted something different, but I didn’t know what. And my parents didn’t like that. While they supported me, they still expressed disappointment at my lack of motivation to be a steelworker.

it’s an angry steed,
on a never ending course
with grace and speed
it’s an unrelenting force
his head thrown back, defiantly proud
under constant attack,
it’s blasting, fast and loud

From “You Can’t Stop Rock ‘N’ Roll”.

I love how Rock N Roll is referred to something which is unseen. Like the force, binding all living things. I lift up my hands in praise.

Amen.

What metric is more important?

A sale of a record or whether people LISTEN to it.

Music is a service. People heard music by going to a live performance of it. Then music evolved into a product. I grew up in an era were I purchased a product to hear the music I liked.

If people want to know if an album or a song is a hit they need to look at more metrics.

It’s a combination of everything from YouTube views, steams, torrent downloads and sales.

Music obtained for free via illegal means can also be good for you. I remember watching the Iron Maiden 666 movie and Nicko McBrian was saying that they haven’t sold a single record in Costa Rica, however they have 40,000 kids coming to the show.

Because there isn’t that much difference between success in the past and success today.

Thanks for reading.

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

Australian Method Series: AC/DC – Highway to Hell

Who would have thought that six months after the album release date, Bon Scott would be dead. There is no denying what a massive force he was in the band and since his departure, AC/DC got stuck in recreating the formula that Bon’s intensity brought to the band.

While Bon wrote about sex, parties and relationships, he was also very conscious of what was happening in society and how society was structured and the power struggle between the haves and have nots. AC/DC post Bon, eventually just wrote songs which had knees rhyming with please.

Eddie Kramer was brought in by the label to produce. Malcolm was less than pleased because it meant older brother George, was no longer involved. But the the pressure was on and the band was not delivering what the label wanted.

Malcolm and the bands new manager Peter Mensch then fired Kramer and hired Robert ‘Mutt’ Lange, who wielded his iron fist straight away and made the band work hard for three months. He even made Bon take vocal lessons.

And it was the start of the holy trinity of albums.

I never purchased this album until the early 2000’s. I just went over to a friends place with a bunch of blank cassettes and I taped every album he had, while we drank beers.

“Highway To Hell”

“Highway To Hell” is a rite of passage. It might have been about touring, however timeless songs have lyrics that can be interpreted in many different ways. The riff to kick it off is iconic. Credit Malcolm.

Livin’ easy, Livin’ free

Those words are exactly how we want to live life. Easy living. Free living. But it isn’t so. Nothing is free in life and nothing is easy. The people born between 1948 and 1962 inherited a rich country and bankrupted it. They first got into government by the early 80’s and by the mid 90’s they were all in positions to make decisions.

They passed laws and regulations to benefit their bank accounts and the bank accounts of their sponsors. If they did something wrong, the taxpayer would bail them out.

And in these pandemic times, living easy and living free is impossible. Free democratic countries are passing laws to enforce lockdowns that dictatorships don’t even have.

I’m on the highway to hell
On the highway to hell

The Satanic panic begins. If this was played backwards, the subliminal message would say, “lleh ot yawhgih eht no”.

It’s so dangerous.

No stop signs
Speed limit
Nobody’s gonna slow me down

Nobody does this anymore. I tell my kids they go to school to learn, not to get a job. But people I speak to always tell me that schools are there for people to get a job. You see, money is more important than developing yourself and experiencing life. You should be free to spread your wings.

Payin’ my dues
Playin’ in a rockin’ band
Hey, mamma
Look at me
I’m on the way to the promised land

It’s why music was great. People paid their dues. It didn’t mean they would make it, or be global superstars. Hell, it didn’t mean they would make a living wage. But they could have. Bon’s lyrics are a lifestyle and six months later, Bon Scott, would be on his way to the promised land.

“Girls Got Rhythm”

If the intro riff doesn’t get you moving, check for a pulse.

I been around the world
I’ve seen a million girls
Ain’t one of them got
What my lady she got

Only Bon could get away with confessing his cheating ways to his real love back in Oz via a song and still be in a relationship.

Love me till I’m legless
Achin’ and sore

Is this even possible anymore?

Everyone is too busy parading on social media, joining movements of empowerment. There is no time for loving until the morning light, unless your on a Netflix TV series.

“Walk All Over You”

After the slow dirge Intro, a riff kicks in that The Romantics would use for “What I Like About You”.

“Touch Too Much”

How good is the Intro?

Seems like a touch, a touch too much
Too much for my body
Too much for my brain

Only Bon can put his bedroom ways into a song like this. In this case, the woman is just too much for him. He can’t handle her.

“Beating Around The Bush“

It’s the usual fast blues from “Let There Be Rock” which was inspired by the Peter Green Fleetwood Mac version. Check out the song “Oh Well”.

“Shot Down In Flames”

A few chords over a standard drum and bass canvas. It’s the AC/DC way.

“Get It Hot”

It’s like “Rock N Roll Ain’t Noise Pollution” merged with Chuck Berry.

“If You Want Blood (You’ve Got It)”

The Intro gets me playing air guitar. And the drum build, so simple and so sublime.

It’s animal
Livin’ in the human zoo
Animal
The shit that they toss to you
Feelin’ like a Christian
Locked in a cage
Thrown to the lions
On the second page

Quick, call in the political correct activists.

Life is like living in a cage that you pay for, your whole life and you never really own it.

The crap they toss at us, is the wage we get for building someone else’s dream and we have three options, leave and try to build our dreams, stay and work on the side to build our dreams or just stay and be a slave. Because the system is designed to benefit the companies. If you don’t have a weekly wage, you cannot get a loan.

“Love Hungry Man”

It’s funky for an AC/DC song which Angus Young called as the worst AC/DC song ever.

“Night Prowler”

While this song would become popular for all the wrong reasons, in its essence it’s a slow blues dirge and a favorite.

5x platinum in Australia, 7x platinum in the U.S and various other certifications around the world is proof of its longevity.

Standard