Category Archives: Unsung Heroes

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

1976 – Part 4.3: T-Rex – Futuristic Dragon

I didn’t know who T-Rex or Marc Bolan was until Nikki Sixx kept mentioning him as an influence between 1987 and 1990. And I had heard “Get It On” and “Children Of The Revolution” on radio before but the radio announcer never announced who the artist was and with so much hard rock coming my way, T-Rex just kept slipping from my mind.

“Futuristic Dragon” is studio album number 11 released in January 1976 everywhere else in the world except the U.S. The U.S release didn’t happen until 1987.

It’s listed as a T-Rex album, however when Mickey Finn left the band the previous year, Bolan said that “T-Rex no longer exists”. But the labels are always wise and they wouldn’t release it unless it was T-Rex.

The band is Marc Bolan on Vocals, Guitars and Moog, his partner Gloria Jones on Backing Vocals and Clavinet, Steve Currie on Bass,
Davy Lutton on Drums, Dino Dines on Keyboards and Jimmie Haskell on Strings.

George Underwood did the cover artwork who also covers for other T-Rex albums, along with Bowie, Mott The Hoople and alot of book covers.

Here is a snapshot of some from his website.

All tracks are written by Marc Bolan.

Futuristic Dragon

It’s almost two minutes of a bass groove like the one in “Crazy Train”, guitars on cocaine and a voice over from Marc Bolan. But part from the bass groove, I was like “what the…”

Jupiter Liar

The “Get It On” style riff is back as Bolan is vamping on a F5 power chord.

But this time there are gospel/soul like backing vocalists. And Marc Bolan has a talent for creating a catchy song without a proper Chorus.

Chrome Sitar

The groove on this song is addictive. It’s almost metal like in the riff, however the horns give it a blues/soul rock vibe.

All Alone

It’s a Blues Rock Soul cut, very Rolling Stones like in the blues rock department.

If the verse vocal melody and progression sounds familiar, it should as Nikki Sixx took for when Frankie died. “On With The Show” I say.

New York City

It was a single, a blues rockabilly tune with catchy gospel like backing vocals.

And there is a vocal melody here (the “I did, don’t you know” lyric) which reminds me of another song from another artist, which I can’t remember right now. I like it when that happens, but also hate it when I can’t remember the other artist.

My Little Baby

Another catchy tune, mixing blues rock with soul and a bit of ELO like strings. The vocal melody was definitely used by other artists in the 80’s and beyond.

Calling All Destroyers

The verse vocal melody inspired Phil Lynott for the verse vocal melody on “Cold Sweat”.

Theme for a Dragon

It’s soundtrack like with the strings carrying the melody.

Sensation Boulevard

This could have been on any 80’s pop album it’s that catchy. Press play to hear to bass groove that rumbles throughout the song.

Ride My Wheels

This one has too much soul and less rock. The first slip up on the album, but I still appreciate it for the experimentation of soul based rhythms.

Dreamy Lady

Another experimenting song, however the sugary 60’s pop works here. It’s even disco-esque. Was disco even a thing in 76.

Dawn Storm

It’s a perfect blend of soul and rock.

Casual Agent

A small misstep with too much soul and not enough rock and blues.

Overall, the album is enjoyable to listen to. Marc Bolan is very underrated as an artist and on this album, you will hear a lot of melodies and riffs that other artists have used afterwards.

The blend of rock and blues was always there in T-Rex’s music, and the strings also appeared, however with the addition of soul and a bit of disco, the album was definitely ahead of its time.

Futuristic. Yes.

But it was no match against “A Night At The Opera” from Queen. While T-Rex toured on this album, the overall turnout at the gigs was poor and the album didn’t do that great on the charts either. The glory days of just a few years ago seemed like decades ago.

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The Record Vault – Coheed And Cambria (with Rick Springfield)– Jessie’s Girl 2

“Jessie’s Girl 2” was released as a standalone single on August 21, 2020 by Coheed and Cambria featuring Rick Springfield.

The original “Jessie’s Girl,” tells the story about jealousy and the song went huge in 1981, turning Springfield into a superstar. And the song is still played today, generating a nice income stream for Springfield or for the Corporation who holds his Copyrights.

Like all hits, it felt that someone should write a sequel.

Enter Coheed And Cambria.

Coheed and Cambria have this power pop rock vibe in their music. So back in 2019, the band was jamming on a riff, when Sanchez sang the melody from “Jessie’s Girl”.

Claude Sanchez said in the press release;

“Has anyone ever written a sequel to another artist’s song?

I don’t think so.

As a fan of movies, it just seemed like a really interesting idea… It’s kind of like a “National Lampoon’s” movie meets “So I Married an Axe Murderer”.

And this also triggered an idea to do a sequel to a famous song, and a grander idea to do an album called “Sequels”. They reached out to Springfield and he was keen to be involved.

This song is from the perspective from “Jessie’s Girl” narrator and things just didn’t turn out the best for him.

While he did get the girl, he regrets it. The girl is out of her mind, has a sinister side as she stalks him and wants to kill him for leaving him, has dirty habits and he regrets burning a friendship to get her.

As I was doing my Super Deluxe pre-order for the new album, I saw the 7 inch vinyl single, so I added it to the cart.

Oh, so I changed my number
To 867-5305
That didn’t, that didn’t, that didn’t stop her
She wouldn’t let me leave her house alive
She’s out of, she’s out of, she’s out of her mind

Press play and let the stalker rock ya.

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Australian Method Series: Karnivool – Asymmetry

Atonal. It means not written in any key or mode.

It’s one way to describe this album musically.

But it’s not the correct word either as the album is full of melody and atmospheric melodic passages.

The voice even acts as an extra instrument in some songs with the Ohhhs and ahhs.

Karnivool are pushing boundaries here. There are no genres you can use except the word progressive.

But progressive in the sense of how the songs are stuctured and arranged. Because when people think of progressive rock, they think of virtuosos playing super fast passages over complex time changes.

Even progressive is not the correct word.

The band was burnt after a massive worldwide tour in support of their second album, “Sound Awake”, so they took a break in 2010.

Vocalist Ian Kenny started work on his, Birds of Tokyo project.

The band would get together on occasions over a two year period and write the album.

“Asymmetry” is the third studio album by Karnivool released in 2013.

Produced by Nick DiDia, he got the band of Ian Kenny (Vocals), Drew Goddard (Guitar), Mark Hosking (Guitar), Jon Stockman (Bass) and Steve Judd (Drums) to fire on all cylinders and record the album in 3 months.

It divided people.

One review I read said that the band needed someone to tell them “No”. Another review said to “listen to this album with headphones to fully appreciate the album”.

Aum

It’s a short atmospheric ambient introduction that’s hard to even hear.

Nachash

The words “Hash” and “Nac” is backwards for Can and it sounds like they used hash writing this.

A.M.War

The drumming is dominant, the bass is distorted and progressive while the guitars feel jagged and grey.

Vocally, Kenny is channeling his love of Maynard from Tool.

At some stages it’s hard to keep track of the beat as the tempo competes with the other instruments.

There is a lot happening so press play.

We Are

The single.

If you like funk and the kind of funk that Omar Rodriguez is known for, then you will like this.

Stockman rumbles throughout on the bass and Kenny is singing with passion.

Goddard and Hosking are going nuts decorating on guitars.

Like all albums that are classed as progressive, this song is like the commercial song. If you want to call it that.

The Refusal

Bass guitarist Jon Stockman does the screaming vocals. It feels dystopian and industrial. Almost like early Tool.

Aeons

It’s atmospheric and echoey with fast picked guitar notes in the beginning.

The song moves between full heavy sounds and clean tone sounds. And by the time the 6th minute rolls around and Kenny is singing about chemical fires signaling our death, you can only press repeat.

Eidolon

It’s like Muse but like the other songs, there is so much going on.

Sky Machine

This is how the live child of Tool and U2 would sound like.

Amusia

A little interlude that sets up the next song.

The Last Few

The love child of Tool and The Mars Volta.

It feels frantic yet restrained.

Float

Psychedelics are back. Kenny’s vocal is like an instrument throughout the song.

Alpha Omega

Tool and Led Zeppelin this time get together and out comes “Alpha Omega”.

Om

A weird way to finish the album with a spacey instrumental

In Australia it went to number 1 and a Gold certification.

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1976 – Part 4.1: Peter Frampton – Frampton Comes Alive!

Its listed as one of the definitive live albums ever.

“Frampton Comes Alive!” was released in 1976. It’s weird how his trajectory is so similar to Kiss. Following four solo albums with little commercial success, “Frampton Comes Alive!” was a breakthrough for Frampton, the same way “Alive” was for Kiss.

The album is mostly live except for the first verse of “Something’s Happening”, the rhythm electric guitar on “Show Me the Way” and the intro piano on “I Wanna Go to the Sun”. These were fixed in the studio.

In a genius marketing move, the double album was released in the US with a reduced list price of $7.98, only $1.00 more than the standard $6.98 of most single-disc albums in 1976.

And the band is on fire.

Peter Frampton is on Vocals, Lead guitar, but Bob Mayo fills up a lot of the space with his Rhythm Guitar work, plus he plays the Piano and Hammond Organ. Stanley Sheldon on Bass Guitar and John Siomos on Drums provide a solid foundation.

There is crowd noise, fake or real, I’m not sure and the GM of Winterland, Jerry Pompili starts off the concert with the words “If there was ever a musician who was an honorary member of San Francisco society, Mr. Peter Frampton”

Somethings Happening

The blues rock groove is clichéd and heard in many different songs, but it’s always cool to hear it.

This track and the next are from the “Something’s Happening” album released in 1974.

Doobie Wah

It follows on from the blues rock groove from the opening song. And with Doobie in the title, it does sound like Doobie Brothers.

Show Me The Way

From the “Frampton” album released in 1975.

When people talk about talk-boxes, this is the song that was listed as the definitive talk-box song, until an Italian American called Richie Sambora changed the game with “Livin On A Prayer”.

Musically, its excellent, a strummed guitar progression, a hooky vocal melody and that talk-box melodic lead.

It’s a Plain Shame

A blues rock dirge from the “Wind of Change” album released in 1972.

At this point in the set, it sounds okay and fresh.

All I Want to Be (Is by Your Side)

The album goes into ballad rock territory for the next three songs. This one is from the album “Wind of Change” released in 1972.

Wind of Change

An acoustic folk rock song.

Baby, I Love Your Way

From the “Frampton” album released in 1975.

It’s a song that I’ve heard on radio and TV commercials and movies and when I heard it here, I was like, ahhh, it’s from Frampton.

The song flopped when it was released in 1975, but it took on a new life when it was released as a single from this live album a year later.

I Wanna Go to the Sun

From the “Somethin’s Happening” album released in 1974, it could have come from any Southern Rock album released at the time. And Frampton is wailing away throughout the song in various solo spotlight moments.

Penny for Your Thoughts

The shortest track here at 1:23 and along with the next track are from the “Frampton” album released in 1975. It’s one of those major key finger picked campfire tunes. It doesn’t sound like “Albatross” from Fleetwood Mac, however it has this feel.

(I’ll Give You) Money

From the album “Frampton”, released in 1975 and its back to the hard blues rock.

I dig the “Stormbringer” and “Mississippi Queen” feel in the song. And 80’s Y&T comes to mind when I listen to this.

Check it out.

Shine On

From the “Rock On” album released in 1971. The blues rock dirge is sounding too much same/same.

Jumpin’ Jack Flash

A Rolling Stones cover which was released on “Wind of Change” from 1972 and given the 7 minute live treatment here. .

Lines on My Face

From the “Frampton’s Camel” album released in 1973. The fingerpicked clean tone intro hooks me. It’s very Eagles like when they played Folk Rock.

Do You Feel Like We Do

From “Frampton’s Camel” album released in 1973. The 14 minute closer of the album.

The intro riff will grab ya straight away. It’s Santana like, its bluesy and its rocking. But that whole section in the middle is unnecessary.

In Australia it charted to the top spot and was certified 3x Platinum. In the U.S, it also went to Number 1 and is certified 8x Platinum.

There is a theory that this album became so big in 1976, because the year was insignificant when it came to rock music and most of the artists who had fame prior to 76 had either stalled their careers with drugs or breakups or if they were still together they were running on fumes.

And Frampton never captured this glory again and the subsequent albums didn’t do anything great either.

It’s because his face and looks got more time than his guitar skills. Suddenly, his audience was more female than male and his musical credibility was questioned. All of those years honing his guitar chops and song writing abilities were ignored by a vicious press who saw him as a disposable teenage idol.

And while this was happening, he was hooked on morphine and his manager was ripping him off, leaving him bankrupt, along with a terrible decision to star in a film version of “Sgt Pepper” and to pose a certain way for the album cover of the follow up, “I’m In You”.

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1986 – Part 4.7: Ratt – Dancing Undercover

I missed this album in 1986, picking it up a few years later. I’m glad I did pick it up, because as soon as I dropped the needle I liked what I head musically.

It had groove, it was heavy and it was music I was familiar with, like the “Van Halen II” album.

“Dancing Undercover” is the third studio album.

Ratt was on an album per year cycle, as the label knew that time at the top is fleeting, so they capitalized as much as they can.

Produced by Beau Hill, he kept the Ratt’sters of Stephen Pearcy (Vocals), Robbin Crosby (Guitar), Warren DeMartini (Guitar), Juan Croucier (Bass) and Bobby Blotzer (Drums) in line to deliver another Platinum album.

However it’s important to remember that Platinum awards were given out to artists based on shipments alone before Soundscan became a thing.

Did they really sell a million?

I don’t think they did. Then again in a country of 332 million, what is a million in sales.

It’s less than 1 percent. 0.3 to be exact.

That’s the reach.

Anyway.

Dance

Written by Crosby, Pearcy, DeMartini and producer Beau Hill.

Before “Girls, Girls, Girls” there was “Dance”.

Check out the digital delay melodic lead at the start is perfect.

Does it remind you of the piano riff on “Bat Out Of Hell”?

One Good Lover

Written by Crosby and Pearcy.

Check out the “Somebody Get Me A Doctor” riff in the Intro and Chorus. Crosby was a master at taking something that came before and making it Ratt’N’Roll material. And he also took the feel, the key and groove of “You Really Got Me” in the verses as well.

Drive Me Crazy

Written by Crosby, Pearcy, DeMartini and Blotzer.

The dudes borrow from another L.A shredder in Mr George Lynch with the Intro/Chorus riff and a certain EVH in the Verses and Pre.

Slip Of The Lip

Written by DeMartini, Croucier and Pearcy.

Its blues rock groove was better than anything that AC/DC was releasing and DeMartini was in pentatonic heaven with his leads.

Body Talk

“Light Up The Sky” comes to mind immediately.

So press play and enjoy that main riff from DeMartini, which is something he had written a while ago, but never knew what to do with it.

Until Croucier heard it, wrote some more music for it and arranged the song, with Pearcy contributing lyrics.

A perfect Side 1 closer.

Looking for Love

The Side 2 opener written by Crosby, Croucier and Pearcy.

How catchy is the vocal line in the Chorus on this?

But press play to check out the NWOBHM riff in the intro.

It’s heavy fucking metal.

7th Avenue

Written by DeMartini and Pearcy.

The metal blues groove on this is perfection, something which Izzy and Slash would use a lot on the debut GNR album.

It Doesn’t Matter

Written by Croucier and Pearcy.

Musically it’s very VH like.

The Chorus lyrics are great with the message to let your individual freak flag fly, as it doesn’t matter at all the clothes you wear.

But the Verse lyrics are not in sync.

Take a Chance

Written by DeMartini, Croucier and Pearcy.

CC DeVille would be inspired for “Unskinny Bop” and DeMartini would re-use some of the riffs for “Way Cool Jnr”. It could even pass as a derivative version of “Slip Of The Lip” or a track on a David Lee Roth album.

Enough Is Enough

Written by DeMartini, Crosby, Croucier and Pearcy it’s basically “You’re In Love” in clean tone.

Croucier is all over this album, with co-writes on almost every track. Pearcy was never Shakespeare when it came to lyrics, but there is always room for dumb party sex songs.

Then again, not if your Eddie Vedder.

Press play.

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The Record Vault: Def Leppard – Hysteria (7 inch US Version)

“Hysteria” is the title track of the album, released in 1987 as the third single. Its perfection was lost in Australia as a single.

But we became reacquainted with it after the album started to get traction on the back of “Pour Some Sugar On Me”.

“Ride Into The Sun” is an oldie, originally released on the rare Def Leppard EP from 1979. The song just kept coming back into the mix for an album release, but never officially made it.

And that rare EP from 1979 is still rare if you have the original pressing, however if you don’t have the original pressing, the EP has been released on various Def Leppard Box sets and reissued as a RSD purchase in 2017.

Riff wise, its Def Leppard at their metal best. The riff actually reminds me of “Aint Talking Bout Love”, just beefed up.

There is this little riff in G major, in between the E minor riffs that I like. When you hear it, you will know what I mean. It’s those little things that hook me in.

And the Chorus is very British rock, like Sweet and Slade, something which Def Leppard wear on their sleeves with pride. There’s even a pretty unflattering photo of the band in Union Jack T-shirts and small shorts around the “Pyromania” period. I’m surprised a testicle didn’t pop out, that’s how short the shorts were.

For the song “Hysteria”, well it’s one of those songs that can be classed as a perfect mix of hard rock and soft rock. I mentioned in the album review one word for the song.

Perfection.

Press play and enjoy.

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1986 – Part 4.5: Krokus – Change Of Address

“Change of Address” came out in 1986 and its listed as album number 9 for Krokus.

The band for the album is Marc Storace on Vocals, Fernando von Arb on Lead Guitar, Mark Kohler on Rhythm Guitar, Tommy Keiser on Bass and Jeff Klaven on drums. Paul Fox and Jan Winding contribute keyboards.

Production is handled by Tom Werman as Producer and Mixer, with Duane Baron as the engineer and von Arb as Co-Producer.

A special mention to the outfits on the back cover. The 80’s are well known for the wardrobe choices of artists. And Krokus play into this as well.

Check em out in jump suits that mechanics would wear at a Formula 1 race. But they are in a bunker, to highlight the demolition of a building that looks like the White House.

Now (All Through the Night)

Written by Fernando von Arb, Jeff Klaven and Marc Storace.

How good is the Chorus?

It’s like Journey vocally and melodic hard rock musically.

One of my favourite tracks on the album but the midi drum sounds bother me.

You can blame ZZ Top for this, but at least when ZZ did it, it was still sounding like it belonged in the rock domain, whereas, the drum sound here feels like it belongs on a Gloria Estefan and Miami Sound Machine album.

Hot Shot City

Written by Tommy Keiser, Mark Kohler, Jeff Klaven and Marc Storace.

I’m not sure what’s happening with this song.

It’s like they wanted to bring in influences from Robert Palmer and Huey Lewis into their sound. It could have worked.

School’s Out

This is like old school Krokus and after hearing AOR Krokus on the first two tracks, this is a welcome relief of rock and roll.

For those that don’t know, this is a cover of the classic Alice Cooper cut.

But it’s also not necessary to have this on the album. Then again, most 80’s album had a cover of a 60’s or 70’s track on it. For some bands it was pure filler and for others, it was their biggest song.

Let This Love Begin

Written by von Arb and Klaven.

An acoustic guitar arpeggio riff starts it all off, very Malmsteen like with a bit of Vinnie Vincent and “I Still Love You” from Kiss. Once the distorted riffs kick in, its more Foreigner than Malmsteen.

Check out the lead break, bluesy and emotive, which reminds me of Jimmy Page and “Stairway To Heaven”.

Burning Up the Night

The side 1 closer is written by von Arb and Storace.

Its AC/DC “Long Way To The Top” like in the verses and the Chorus could have come from a REO Speedwagon album.

Say Goodbye

Side 2 opens up with this track, written by Fernando von Arb, Jeff Klaven and Marc Storace.

At 5.18, its length shows that it wasn’t written for radio. It has this reggae feel in the verses which I like and the backing vocals remind me of “Black Diamond” from Kiss.

The major key Chorus is like those major key Power Metal choruses.

This is the side to listen to first if you are a Krokus fan. There isn’t a bad song on this side.

And if the intro riff sounds familiar, it should as it was used by Krokus on “Tokyo Nights” from the “Metal Rendezvous” album.

World on Fire

My favourite track of the album at 6 plus minutes long, written by Fernando von Arb, Jeff Klaven and Marc Storace.

While the riffs are metal and hard rock like, the vocal delivery in the verses is very Robert Plant like and I like it.

If you want to press play on a track from this album, start with this track.

Hard Luck Hero

Written by Fernando von Arb, Jeff Klaven and Marc Storace it feels like it’s a cross between Bryan Adams, Night Ranger, early Foreigner and Autograph.

And I like it.

There is this section just before the solo, when Def Leppard also comes to mind.

Long Way from Home

5 plus minutes long and written by Fernando von Arb, Jeff Klaven and Marc Storace.

It’s another Krokus classic song, rooted in their past and perfect to move with into the future.

The Chorus has this Kiss feel which I like and Allan Holdsworth also does the guitar solo a fusion of string skipping and whammy bar madness.

The album did decent business in Switzerland and Sweden, but in the U.S it was up against some decent competition and it failed.

The band would later admit the change in style and sound was due to the label Arista not approving the recording until they heard more radio friendly songs.

But this wasn’t a problem tied to Krokus alone.

All of the bands during this period had albums that sounded radio friendly.

Judas Priest and “Turbo”.

Quiet Riot and “QRIII”.

To name a few.

Overall, the album still sounds like a hard rock album once you get past the first two tracks.

Werman has copped some flak from artists he’s worked with, but one thing is certain. The bands he produces, sound good. Even though I don’t like the midi drum triggers, the album still sounds good.

And if you purchased a Krokus album expecting to hear Shakespearean lyrics, well, it ain’t going to happen.

Enjoy Krokus for what they are, a hard rock band trying to survive in an ever changing market place.

And Krokus does change well.

When all the rage in the scene was about the NWOBHM and AC/DC they gave us “Headhunter” and “The Blitz”.

And when the rage shifted to AOR and midi triggers and synths, well they gave us “Change Of Address”.

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The Record Vault: Def Leppard – Pour Some Sugar On Me (7 inch Australasia Single)

I didn’t buy the “Hysteria” album when it came out. I know its sacrilegious to say it, but Def Leppard was out of the news cycle and the magazines for quite some time. You know the saying, Out of mind, out of sight. I had heard about Rick Allen’s car accident and the troubles the band had with producers. Plus I was still spinning “Pyromania” so I didn’t feel like I needed a new Def Leppard album.

When “Woman” came out as a single, it didn’t do any real business in Australia. Then came “Animal” and it just cracked the Top 50, but like “Woman”, it was largely ignored. I do wish I purchased the 7 inch singles for these releases at the time, as getting singles with B sides that had unreleased material moved you into the “cool” crowd amongst your mates. Well that’s how it was in Australia. Plus I was a collector.

Then came “Pour Some Sugar on Me”.

It had this “I Love Rock N Roll” riff with a bit of “Since You’ve Been Gone” and I was all in. It was the last song recorded on the album, featuring a signature riff written by Joe Elliot and a vocal line inspired by the mash-up of Aerosmith and Run-DMC on “Walk This Way”. Mutt Lange, always the song doctor, heard “hit potential” and within two weeks, the song was recorded and added to the album as the twelfth track.

The 7 inch single I have has “I Wanna Be Your Hero” as the B-side which as I understand is the UK and Australasia version, however the USA version has “Ring Of Fire” and the 12 inch version of the song has “I Wanna Be Your Hero”.

“I Wanna Be Your Hero” was originally called “Love Bites”. As we all know they used the title for a completely different song.

I was hooked as soon as the arpeggio guitars start. The vibe and feel reminds me so much of the “High N Dry” and “Pyromania” albums. Songs like “Comin Under Fire”, “Foolin”, “Too Late For Love” and “Another Hit And Run”. Maybe that’s why it became a B side as the band felt like they were re-writing their past, which according to Angus Young is totally fine to do. And AC/DC don’t look like they are losing doing it.

Check out the song structure, with verse, pre, verse, pre and then the CHORUS cranks in. And the music behind the Chorus, is very “Photograph” like.

Going back to “Pour Some Sugar Of Me”, in Australia it was played regularly by music television, and suddenly I was interested in the album.

Def Leppard was everywhere again and “step inside I did”.

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Australian Method Series: Jimmy Barnes – Bodyswerve

I always saw Barnesy as indestructible, taking the world head on, with no fucks given.

But there was fear. He was like all of us. Unsure of choices and decisions.

He had the uncertainty and fear of going it alone after Cold Chisel broke up. He had fear incase he couldn’t come up with songs for his first solo album as Don Walker was the main writer in Cold Chisel.

But he persevered and he wrote and wrote and delivered.

Once the songs were written he had to assemble a band.

He got people he felt “safe with”.

Drummer Ray Arnott recorded with Barnes on Cold Chisel’s final album, Twentieth Century.

Bruce Howe was the bass player in Fraternity a band that Barnes had sung in for a short time in 1975 after Bon Scott left to join AC/DC.

Bruce Howe was a hard taskmaster and he should be credited for pushing Bon Scott and Barnesy vocally, as they did develop their high octane vocal style with Howe.

Mal Eastick had played with Stars which was a Country Rock band in Australia who did the rounds in the late 70s.

Seeking a second guitarist to make the band more “hard rock”, Barnes chose ex-Dingoes guitarist Chris Stockley, who played, “old-style rock, like Little Richard and Gene Vincent”. The Dingoes are also a country rock band.

And then they went on the road, playing small pubs. Something unheard of these days for a band to road test songs.

The more shows they played the better the songs became and when they went into the studio to record, the energy of the band and their tightness transferred onto the tape.

And the rest is history.

The album dropped in 1984 and went straight to Number 1 in Australia. Jimmy Barnes was reborn as a solo artist.

Listen to the riff and groove of “Vision”.

Or check out the Soul Rock style of “Daylight” which reminds me of songs like “Mustang Sally” but with a hard rock guitar riff that wouldn’t be out of place on an AC/DC album.

“Promise Me You’ll Call” is a slower tempo song, ballad like with a soul rock vocal melody. And that Chorus with the Gospel like backing vocals. Press play to hear it.

“No Second Prize” has that “Stand By Me” progression, all rocked up, 80s style. And it became an Aussie pub rock classic.

“Boys Cry Out For War” has a riff which reminds me of “Let’s Stick Together” from Bryan Ferry and a little bit of “Get It On” from T Rex. And I like it.

“Paradise” is a rewrite of the song “Rising Sun” song from his Cold Chisel days. A 12 bar rockabilly blues romp.

“A Change Is Gonna Come” is a cover, a blues like ballad written by American singer-songwriter Sam Cooke. It came out in 1964 as a B-side and then became part of the Civil Rights Movement.

“Thick Skinned” is a southern country rock cut.

“Piece Of My Heart” is another cover. It feels misplaced here.

“Fire” has this “Strutter” vibe in the verses and a Melodic Rock chorus.

And “World On Fire” is another rocker to close the album with a bass groove which thunders along while the guitars decorate.

Crank it loud.

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

1986 – Part 4.4: Steve Earle – Guitar Town

Steve Earle didn’t exist until “Copperhead Road” came out in 1988. But that album was number 3 and he had two albums before.

So say hello to the country rock of “Guitar Town”, released in 1986.

Guitar Town

It’s a country rocker.

The acoustic guitar gives it this Tom Petty and Steve Ray Vaughan feel and the vocal line reminds me of Springsteen.

Goodbyes All We Got Left

Great title, a slow country rocker.

Hillbilly Highway

It’s a skip for me.

Good Ol’ Boy (Gettin’ Tough)

It’s a good easy listening, a combination of The Rolling Stones, Bruce Springsteen and “Desperado” Eagles.

My Old Friend The Blues

Great title but it has no blues and it’s way to country-ish for my liking.

Someday

I like this one, a combination between Bryan Adams and Bruce Springsteen. And there wasn’t a teen alive who didn’t want to get out of their hometown someday.

Think It Over

It’s got this 60s rock feel like Elvis Presley and Roy Orbison. But it’s a skip from me.

Fearless Heart

A 60s country and rock vibe on this. More Tom Petty like.

Little Rock ‘N’ Roller

Not a lot of rock and rolling on this, as it’s a country ballad. The lyrics are descriptive about a truck driver who won’t be home for a while. It’s like a lullaby.

It’s a skip for me.

Down The Road

The embryo of his biggest hit is right here.

Earle was 31 years old when his debut album was released. The dude paid his dues on the live circuit.

And the album had some legs, crawling to a Gold certification in 1999 for sales in the US. Yep, 13 years later.

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