Category Archives: Unsung Heroes

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

The Record Vault: Deep Purple – Stormbringer

“Stormbringer” came out about 9 months after “Burn”. In the space of a year, Deep Purple were busy writing and recording frequently.

What a novel idea.

Try and tell that to a lot of acts, who want to record an album every three to five years. And the usual argument of ‘no money from recordings’ doesn’t work, because even back in the 70’s, the acts were getting ripped off on the sales part. So they had to tour to make coin. Then again it was normal in the 70’s to release an album a year. It was expected.

The album cover also has a story, about a tornado in a U.S town during the 1920s which was photographed and added to the Copyright free archives, which allowed the image to be used.

And the same photograph was used for Miles Davis’ album “Bitches Brew” in 1970.

And Siouxsie and the Banshees’ album “Tinderbox” in 1986.

MK3 Deep Purple is Ritchie Blackmore on Guitars, David Coverdale on Vocals (except “Holy Man”), Glenn Hughes on Bass and Vocals (except “Soldier of Fortune”), Jon Lord on Organ and Keys and Ian Paice on Drums.

Its Produced by Deep Purple and Martin Birch again.

Stormbringer

Another thunderous opener written by Blackmore and Coverdale.

If there wasn’t a Heavy Metal movement before, well there was one now. By 1974, each major rock act like Led Zeppelin, Free, Bad Company and Black Sabbath had a heavy song or two on each album that young blue collared youths would take and run with to create even heavier tracks.

I like the exotic flavouring in the solo. It’s not fast, but goddamn, it sounds progressive.

Love Don’t Mean A Thing

Written by Blackmore, Coverdale, Glenn Hughes, Jon Lord and Ian Paice.

This is the whole funk blues soul jam that Glenn Hughes brings. In saying that, the riffs here work so well within the Deep Purple sound.

Holy Man

The Bad Company/Free brand of hard rock had caught on and suddenly Deep Purple was doing a cut that wouldn’t be out of place on the first two Bad Company albums or Free albums.

If the intro sounds familiar, it should, as it’s a common progression used throughtout the 70s, but it went missing a bit in the 80s and came back in the 90s.

I recall Motley Crue using it for “Misunderstood”.

And Blackmore was not the main writer anymore as this song was written by Coverdale, Hughes and Lord.

Hold On

The funk blues rock in the verses grooves and the Chorus is like Soul Rock Music. Blackmore again is missing from the song writing credits, with Coverdale, Hughes, Lord and Paice listed as the writers.

Coverdale and Hughes share vocal duties here and Blackmore brings out his rockabilly Chuck Berry licks which gives way to a Jon Lord solo.

Lady Double Dealer

It’s that fast blues rock that Deep Purple was known for and something that David Coverdale would do a fair bit with the early versions of Whitesnake.

There is a cool Blackmore solo as well.

You Can’t Do It Right

Play that funky blues music white boys.

High Ball Shooter

I like the Intro as it always reminds me of another song which I can’t thing off right now.

The Gypsy

The riffs on this are metal like, but the way Blackmore delivers em, it’s almost progressive like, with a fusion of blues, southern rock and metal like grooves.

Soldier Of Fortune

A great acoustic ballad to end the album, something which David Coverdale would recreate with “Sailing Ships”.

The long jam sessions from the past had disappeared. Replaced with a more structured song arrangement. It’s a bridge between this album and their next album.

Blackmore obviously didn’t like this new direction and left after the tour. And he wasn’t one to keep his thoughts to himself, so he publicly declared his dislike for the funky direction the band was taking and made it clear that was the reason why he left.

But Scandinavian Melodic Rock and Metal was being born with the MK3 albums as they did big business in Sweden, Norway, Denmark and Finland. Austria and Germany also liked this era, along with the UK, France and the U.S.

Check it out.

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1996 – Part 4.2: Slayer – Undisputed Attitude

“Undisputed Attitude” is the seventh studio album by American thrash metal band Slayer, released on May 28, 1996.

The album consists almost entirely of covers of punk rock and hardcore punk songs. It also includes two tracks written by guitarist Jeff Hanneman in 1984 and 1985 for a side project called Pap Smear and its closing track, “Gemini”, is the only original track.

The album was largely the brainchild of guitarist Kerry King, who stated that the songs chosen were from highly influential bands who “made Slayer what it is”.

The album was initially to feature material from classic heavy metal artists such as Judas Priest, UFO and Deep Purple. However, after several rehearsals “things didn’t pan out” according to King, so the band instead elected to cover punk songs. Then again, maybe Tom Araya’s rough bark just didn’t suit the Judas Priest, UFO and Deep Purple style of songs.

The band for this album is Tom Araya on Bass and Vocals, Kerry King on Guitars, Jeff Hanneman (RIP) on Guitars and Paul Bostaph on Drums. The way Araya sounds vocally on this is how James Hetfield would sound on “St Anger” in six to seven years’ time.

The album is produced by Dave Sardy with Rick Rubin listed as an Executive Producer, whatever an Exec Producer means.

“Disintegration/Free Money”

The original artist is Verbal Abuse and its 1.41 of fast and aggressive metal punk.

“Verbal Abuse/Leeches”

And its followed up by another Verbal Abuse cover, which clocks in at 1.58. While its fast and aggressive punk, there is a small breakdown section which slows things down a little.

“Abolish Government/Superficial Love”

A T.S.O.L. cover and it’s a full 1:48 in length.

Three songs in and it’s like listening to one song.

“Can’t Stand You”

Written by Jeff Hanneman and listed as a Pap Smear cover which clocks in at 1:27. And Tom Araya doesn’t take a breath as he spits out the verses.

“DDAMM (Drunk Drivers Against Mad Mothers)”

Another track written by Jeff Hanneman and listed as a Pap Smear cover which clocks in at the super long length of 1:01.

“Guilty of Being White”

A cover from Minor Threat and it clocks in at another super long time of 1:07.

When the album was released in 1996, there was no controversy over the song or any possible message of white supremacy.

But the internet and social networks are different beasts and people take a moral high ground.

The other controversy was changing the lyrics in the songs ending from “guilty of being white” to “guilty of being right”.

This little changed didn’t go down well with Minor Threat front man Ian MacKaye, who found this change “offensive”.

“I Hate You”

Verbal Abuse makes another appearance on this album with a song that goes into the 2 minute range. This one is more punk like, with a rock tempo and Sex Pistols “Anarchy” style attitude.

“Filler/I Don’t Want to Hear It”

And Minor Threat makes another appearance with a super-fast punk hardcore song.

“Spiritual Law”

A cover from D.I. and its pushing at being the longest song on the album at 3 minutes long. Press play to hear the intro which is very Metal like, otherwise the rest is stock standard fast beats, vocals that cover the microphone in spit and fast alternate picked punk metal riffs.

But at 1.20 a Sabbath like doom groove comes in, before it picks back up into the fast punk metal at the 2.10 mark.

“Mr. Freeze”

A cover from Dr Know. Its 2.24 in length and at times when the song goes into its rock riffs I feel like I am listening to Beatsie Boys, “Fight For Your Rights”.

“Violent Pacification”

A cover from D.R.I. at 2:38 in length.

All I can say about this song is chaos until the 46 second mark, when the drums start a rock style groove and the tempo of the song goes down a notch for the band to rock out. And Tom Araya is barking out “Violent Pacification” over and over and over again.

“Richard Hung Himself”

A cover from D.I. and this song takes the title for the longest song of the cover songs at 3:22.

And for a song with a grisly title it’s actually a catchy rock song.

“I’m Gonna Be Your God” (“I Wanna Be Your Dog”)

A song from The Stooges, clocking in over the 3 minute mark and it received a makeover and some slightly modified lyrics and a faster tempo.

It’s by far my favorite cover and it leads in perfectly to the original track.

“Gemini”

Written by Kerry King and Tom Araya, and it is the longest song on the album at 4.53.

The song begins as a sludge/doom number reminding me of “Season In The Abyss”, before becoming a more typical Slayer song.

But being added to the end, doesn’t do this song proper justice. It’s one of their best tracks written in the 90’s.

And Tom Araya is evil reincarnated with his melodic but sinister vocal melody.

In the end, this is a 33-minute-long release and Slayer wouldn’t have it any other way. It’s not a classic album but the song “Gemini” makes up for it.

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Australian Method Series; Airbourne – Black Dog Barking

“Black Dog Barking” is album number three, released in May 2013 via Roadrunner Records.

By now, everyone knew that Airbourne sounds like AC/DC.

But on this album, they amped up the AC/DC sounds with a bit of 80s rock like Cinderella and the first two albums from Def Leppard along with some Euro Metal like Scorpions.

And those backing vocals.

The Personnel for the album is Joel O’Keeffe on Vocals and Lead Guitar, David Roads on Rhythm Guitar, Justin Street on ass and Ryan O’Keeffe on Drums.

Producer Brian Howes has worked on the slick productions with Nickelback and Puddle Of Mudd, but on this album he captures the energy of the band performing live.

Ready to Rock

The blast out of the gate with it. It’s loud, aggressive and it feels like a circle pit punch up in a pub.

Animalize

I think of Kiss and Paul Stanley singing this tune.

No One Fits Me (Better Than You)

A take on “Let Me Put My Love Into You”.

Back in the Game

This one is the best song, bringing that Acca Rock and Euro/80s Rock vibe. There are Whitesnake, Cinderella, AC/DC and Scorpions influences.

Firepower

This one reminds me of “Let It Go” from Def Leppard in the verses and I like it.

Live It Up

The whole Intro is Acca Dacca with that open string acting as a pedal point while a melodic riff is played on the other notes. Think of the Intro to “For Those About To Rock”.

Woman Like That

This could be on a Bon Jovi album or a Cinderella album and not be out of place.

Hungry

Another favorite, which borders on speed rock.

More WASP like and it has a cool Spanish like guitar lead,

Cradle to the Grave

Crank it and enjoy. While the verses are stock standard hard rock, the Chorus has some of that Euro arpeggios.

Black Dog Barking

It closes with the barking and aggressive title track.

Airbourne does what they’re good at, the same way that AC/DC does what they’re good at.

Its better produced and the songwriting is concise, as the album is done in under 38 minutes.

This is rock’n’roll, the way it should be. Loud, aggressive, dumb and no ballads.

And Joel O’Keeffe gets a lot of credit for his vocal chops, i also believe that his Lead Guitar playing should also get some notice.

Because the dude can play.

Crank it.

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The Record Vault: Deep Purple – Burn

When a band loses members, no one really knows what would come next. Will the band break up or will they continue with new members?

When bands lose their lead singers, the uncertainty is even higher.

But when Deep Purple lost Ian Gillan and Roger Glover, Richie Blackmore stepped up even more to push the band forward. As far as Blackmore was concerned, he was the driving force behind the band and this grit and determination would lead him to find not one but two vocalists who would assist him in moving forward with the massive riffs he was coming up with.

“Burn” is the eighth studio album, released in February 1974, and the first to feature an unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals.

The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio.

Deep Purple MK3 is Ritchie Blackmore on Guitars, David Coverdale on Vocals, Glenn Hughes on Bass and Vocals, Jon Lord on Keyboards and Ian Paice on Drums.

Production was still listed with the band as Producers and Mixers (but all they had to do was just say yes or no to the takes and mixes), with Martin Birch doing the bulk of the work capturing the sounds and actually mixing the album.

Burn

It owes some of its thought and structure to “Highway Star” as the DP guys wanted to have another high energy song to open the show and new album with.

It also has structured organ and guitar solos like “Highway Star”, around Bach like sequences which Lord and Blackmore worked out.

Coverdale mentioned in the “The Purple Album Track By Track”, that “Burn” was the first song that he started working on with Richie Blackmore, which he called sounded like “Symphonic Rock”. He also wrote four different lyrical versions for the song, with the Sci Fi version being selected by the guys in the band as the one to use.

David Coverdale loved the riff so much, that “Children Of The Night” from the 1987 self-titled album was the result. I would add that part of “You’re Gonna Break My Heart Again” also has some of the “Burn” feel.

And as good as all of the riffs and solos are, Ian Paice behind the kit, just brings the power and the pace. As soon as his drums come in, the foot is tapping and the head is moving.

It’s my favourite Deep Purple song which gets performed at Whitesnake or Glenn Hughes or Yngwie Malmsteen concerts instead of Deep Purple concerts because of the singers.

Might Just Take Your Life

The Jon Lord organ riff to start it off is from “Woman From Tokyo”.

Jon Lord was the primary writer for Deep Purple on the first couple of albums until Richie Blackmore had enough and started to become the primary songwriter from “In Rock”.

The melodies came from a relaxed jam session that Coverdale and Lord were having.

Overall it’s got that British blues rock feel.

But press play to hear Coverdale and Hughes harmonize in the Chorus.

Lay Down, Stay Down

It’s got that blues rock feel from the “Who Do We Think We Are” album and that sound and riff is something that Blackmore would come back to with his Rainbow project.

Ian Paice again showcases his drumming abilities.

Sail Away

Its got that “Superstition” and “Play That Funky Music” funk rock groove that Blackmore came up with.

Its sung by both Coverdale and Hughes however both could have done the song justice if only one of em just sang it.

This song and “Mistreated” sums up what Coverdale brought to the Purple sound on this album.

Press play to listen to the funky bass playing from Glen Hughes. Hughes was also a co-writer, but he wasn’t credited due to being tied to another recording contract at the time.

The 30th Anniversary release fixed that.

You Fool No One

Coverdale and Hughes doing dual harmonies.

Ian Paice also showing his love of John Bonham and coming up with a definitive drum groove which formed the basis of the track for Blackmore to build on.

The middle solo section is almost Jazz Rock fusion, progressive like.

Press play and just enjoy.

What’s Goin’ On Here

A fun blues song based around a Jimi Hendrix song called “Highway Chile”.

Mistreated

It’s listed as being written by Blackmore and Coverdale.

Coverdale (who calls himself a “Domestic Guitar Hero) wrote a riff on Blackmore’s White Strat, in the Crypts of a Castle they were rehearsing at and when Blackmore heard it, instead of playing the riff with the Coverdale chords, Blackmore played the single notes.

And “Mistreated” was born.

And that opening vocal “I’ve been mistreated” is iconic.

This version is my go to version but on the Purple album from Whitesnake, Reb Beach takes the solo spotlight and creates a fresh and emotive blues shred lead.

‘A’ 200

An instrumental.

Coronarias Redig

It’s a B-side and if no one had heard it in the 70s, it appeared on the “30th Anniversary Edition” as a bonus track.

It’s a blues Rock song but those Hammond Organ chords give it a soul gospel feel.

And press play to hear Blackmore’s leads.

In Australia, the M3 version of DP went to number 5 on the charts. In Austria, Denmark, Germany and Norway it went to number 1. In Canada, Holland, Finland, France, UK and US it was a Top 10 album.

In other words people liked it.

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1996 – Part 4.1: Black Crowes – Three Snakes And One Charm

The problems began with a project tentatively titled “Tall”. This project was being produced by Chris Robinson, which his brother Rich objected to. And as brothers do, they got into a huge fight.

The reason for the fight was that Chris wanted to strip back the sound of the Black Crowes. More horns and percussion and less guitars. But his bro, Rich is the guitarist.

In the end, Rich won the argument and the result of this project are the re-recorded songs that Rich Robinson predominantly wrote, which made up the “Amorica” album. This pissed Chris off as his songs were ignored.

So it’s no surprise that during the “Amorica or Bust” Tour of 1995, the relationships within The Black Crowes soured even further, and the Robinson brothers basically hated each other.

But they made it through somehow.

And the band began planning their fourth album in 1995. “Three Snakes and One Charm” was eventually released in July 1996. Recorded in a house that they shared together, the album captures a relaxed band, ready to plug in and jam with friends.

The Black Crowes for this album are Chris Robinson on Vocals, Rich Robinson on Guitar, Marc Ford on Guitar, Johnny Colt on Bass, Steve Gorman on Drums and Eddie Harsch on Keyboards.

The Dirty Dozen horn group appears, along with banjo players, pedal steel players and various backing vocalists. Basically some of the stuff that Chris Robinson wanted to implement earlier was being brought in.

Under A Mountain

I like the exotic Zep vibe on this.

Good Friday

I disliked this song when I first heard it and when I covered The Black Crowes in The Record Vault post a while ago, I ignored it, but goddamn, time passes, moods change and suddenly the Country Soul Rock vibe of the song is hooking me in.

Nebekanezer

If the title doesn’t capture me, I’ve already formed a bias against the song. And while the song has a sludgy Blues groove with a little bit of a Beatles influence in the vocals, there isn’t enough meat to satisfy.

One Mirror Too Many

The Yardbirds, The Rolling Stones and the psychedelic 60’s and 70’s are re-incarnated into this song.

Blackberry

Soul Rock was big around this time in Australia because of the movie “The Commitments” which came out in 1991.

Girl From A Pawnshop

It was my favourite track when I first heard the album and it still is today.

The whole country ballad rock vibe just connected with me and the vocal delivery from Chris Robinson is excellent.

Only Halfway To Everywhere

With the horns, guest vocalists and Chris Robinson bordering between BB King and Steven Tyler vocally, this song feels like a group of musos getting together and having a jam session, with a lot of booze flowing.

Bring On, Bring On

Like other songs on this album, it’s the Led Zep acoustic influence which shines through on this track that hooks me in.

How Much For Your Wings?

The reddest of lights shine on you, young man, let God be with you..

And the acoustic guitars start and there is something about the vocals when Chris Robinson sings, “how much for your wings?” that captures me.

Let Me Share The Ride

A blues groove, but the horns give it that soul rhythm and blues feel.

Better When You’re Not Alone

More acoustic guitars and then the band kicks in. And I feel like I’m driving on the open road out of my town, hopeful and excited.

Evil Eye

It’s too psychedelic for me.

And they went on tour for this album, which took em towards the end of 1997. After this, the band got together and recorded another album with the working title of “Band”.

Which was also scrapped.

Guitarist Marc Ford was fired and bassist Johnny Colt subsequently left the group, dissolving the Crowes’ line-up of the previous three albums.

The unreleased tracks from the “Tall” and “Band” sessions surfaced among tape trading circles and were later officially released on the 2006 compilation “The Lost Crowes”.

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2001 – Part 4.7: Ill Nino – Revolution/Revolución

The late 90’s and early 2000’s was a time of pushing the limits of heavy metal music. From when I first came across metal albums in the 80’s, the genre had evolved so much that the bands classed as metal back then became totally unrecognisable to the new breed of bands doing the rounds.

Bands like Tool, Dream Theater, NIN, Ministry, Faith No More, Limp Bizkit, Fear Factory, Korn, Creed, Disturbed, Slipknot, Mudvayne, Machine Head and Pantera pushed the genre forward during this period. Each act bringing into their sound something that wasn’t there before. Suddenly Metallica sounded like a pop band compared to these bands.

And then I came across Ill Nino. A fusion of Latin Flamenco rhythms and percussion with metal riffs and singing which moved between aggressive screaming and melodic singing.

On September 18, 2001, Ill Niño released their debut album, “Revolution Revolución”.

The album was a commercial success for Roadrunner Records, moving over 350,000 albums worldwide in the first two years after release.

The Personnel for the album is Cristian Machado on Vocals and Samples, Jardel Martins Paisante and Marc Rizzo on Guitar, Lazaro Pina on Bass, Dave Chavarri on Drums and Samples and Roger Vasquez on Percussion.

And seeing a person called DJ Skratch on Turntables as an additional musician will either scare people off or make them curious.

God Save Us

It’s like Groove Nu-Metal. Vocally its aggressive in the verses, with a melodic Chorus.

Check out the flamenco like interlude at 2.30.

If You Still Hate Me

It’s like Industrial Nu-Metal at the start.

But at the 2 minute mark a flamenco metal section appears and then a head banging circle pit riff afterwards. The movement between styles is why this album got my attention.

Unreal

Distorted guitars and Latin percussion working to create something unique.

Nothing’s Clear

Screaming verses and a melodic Chorus. The duality of modern American metal at the start of the new century.

And chuck in a Bridge delivered in Spanish.

What Comes Around

The most catchiest song on the album. A Nu-Metal riff kicks it off, and then an atmospheric Korn like guitar riff in the verses, while the melodic singing carries the vocal melody.

Liar

The flamenco and percussion in the intro gives way to a Disturbed meets Limp Bizkit riff.

Rumba

The Latin percussion and distorted guitars is a delightful mash up. Vocally, the screaming loses me and the melodic singing re-captures my interest.

Predisposed

I like the Intro riff on this. Its head banging groove metal.

I Am Loco

Who isn’t loco these days?

No Murder

Press play to hear one guitar play a riff on the higher registers while another plays chords.

Rip Out Your Eyes

So much violence.

Revolution/Revolución

The intro riff is head banging heavy.

With You

It’s a flamenco acoustic rock cut. Santana is not the only musician that plays this style, but he is one of the biggest crossover artists, and because of that, this song reminds me of Santana.

The next album “Confession” is a lot more melodic and my favourite but if you want to start with something, then start with this.

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Australian Method Series: You Am I – Hi Fi Way

“Hi Fi Way” is the second album by Australian rock band You Am I, released in 1995.

Wikipedia tells me that “Hi Fi Way” reached #1 on the local albums chart and is one of the most influential and critically acclaimed Australian albums of the 1990s.

I remember this album being released and I also remember not being too enthralled by the singles at the time.

Coming off a decade plus diet of 80s hard rock, I was a bit destroyed when the labels started abandoning the genre in favour of grunge acts. So I went into a deep dive into the 70s. And that deep 70s dive became the reason why I ignored You Am I.

Main songwriter Tim Rogers later said that he was really high and drunk the whole time. And he wanted the album to sound huge but with the way that he sings and plays guitar it ended up sounding scrappier than he intended.

They had had seven days to make it, while living in New York.

The band is Tim Rogers on Vocals, Guitar, Mellotron, Hammond organ, Andy Kent on Bass and Rusty Hopkinson on Drums.

Lee Ranaldo from Sonic Youth is Producing. Stylistically it’s like punk and grunge.

Ain’t Gone And Open

It’s like a garage jam.

Minor Byrd

It’s a skip for me.

She Digs Her

Remember the lyrical theme from “Same Ol Situation” from the Crue.

A guy falls for a girl who is into girls and the guy is still thinking that’s okay, maybe he’ll get a threesome out of this.

Well, if you listen to the song; that also didn’t happen.

Cathy’s Clown

It’s almost like The Easybeats meets Radiohead meets The Who.

Jewels and Bullets

It’s a punk pop song and I like it.

There’s a drink you can drown in
Choose a blanket to die in

When you’re out on the streets only a few things matter.

Purple Sneakers

Folk Rock.

Found out what shame can mean
In purple sneakers and grey jeans

Yep to some people this look wouldn’t cut it and they’ll do their best to let the person know.

Pizza Guy

Grunge like.

Grab a six pack for the way home

Who doesn’t?

It’s a rite of passage. Well it used to be.

The Applecross Wing Commander

It’s got this Blue Oyster Cult and Free 70s vibe.

And although I have no idea what the song is about, the groove and attitude of the song grabs me.

Stray

I like the Soul Bluesy Intro on this.

The Vines would build a career playing songs like this.

Handwasher

It’s got this Hunters And Collectors vibe.

Wash my hands in shame
4000 times a day
And when I make it on home
There’s a smell that always stays

Sometimes the stain never comes out. When I used to be a fitter and machinist the grease was in the skin.

Punkarella

It’s high energy.

Coffee teeth and a cigarette heart for sale

Great lyrics.

Ken (The Mother Nature’s Son)

You’ve lived on beans and rice
And fell for Jesus Christ

Everyone is looking for some place to belong.

Gray

It’s a skip.

How Much Is Enough

It’s melancholic. My favorite song.

In the morning
When you’ve wiped his taste away
The last of the red and all the records you played
How much is enough?

Sometimes it’s enough for a few hours and then the night repeats.

There’s a review at Sputnik Music which summarizes the album as “The backyard gig, captured on CD”.

And I agree.

The album is mentioned by members of Jet and Wolfmother as an influence. And for a little while it looked like You Am I was going to break into the US, but that that never came.

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2001 – Part 4.6: Within Temptation – Mother Earth

Within Temptation is a Metal band from Holland.

Their style of Metal has symphonic influences.

It was “The Heart Of Everything” album released in 2007 that made me a fan especially the song “What Have You Done”. And I wanted to hear more.

“Mother Earth” is the second studio album released on 24 December 2000 in the Netherlands, and 21 August 2001 in other parts of Europe.

It was a sleeper hit in Holland, reaching the number 3 spot, two years after it’s release and in the backs of the second single “Ice Queen”.

Wikipedia tells me how the band was enthralled by a movie at that time called “Braveheart” and the Celtic influences are very evident.

The band is Sharon den Adel on vocals, Robert Westerholt on rhythm guitar and vocals on “Mother Earth” and spoken words on “The Promise”. Michiel Papenhove is on lead guitar, Jeroen van Veen on bass, Martijn Westerholt on keyboards and Ivar de Graaf on drums.

Mother Earth

It’s soundtrack music. Medieval like “Braveheart”.

Ice Queen

It’s a hard rock song, with the symphonic elements. Vocally Sharon den Adel is very Kate Bush like and early Pat Benatar.

Our Farewell

It’s a piano piece. Evanescence would become famous on their “My Immortal” ballad, but Within Temptation was doing it earlier.

Caged

The start reminds me of “The Last Samurai”.

The Promise

When the distorted guitar riff kicks in with the Symphony, I am reminded of S&M from Metallica.

Never-ending Story

A piano riff that keeps reminding me of movies.

Deceiver of Fools

The symphonic choir starts it off. When the vocals come in, they are operatic.

But Press play on this to hear how the guitars kick in at the 2 minute mark. Powerful and emotive.

Intro

It’s like a horror/thriller soundtrack.

Dark Wings

This song is excellent. A mixture of progressive Metal with the symphonic

Arjen Lucassen from Ayreon plays the guitar solo.

But press play to hear Sharon den Adel do these exotic like ohs and ahs vocals between 1.50 and 2.20.

In Perfect Harmony

The song is in a Major key so it has that happy vibe to end the album. You know those end scenes in movies when the goodies have won and the end credits roll.

By the end of it, I felt like I was at the movies. The music is cinematic and grand.

And the rise was starting. Austria, Belgium, Holland, German, Norway and Switzerland were on board. This is how artists did it. A few places at a time.

In relation to certifications, the album was certified Platinum in Holland and Gold in Belgium and Germany.

Check em out.

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2001 – Part 4.5: Skillet – Alien Youth

It was the “Comatose” album released in 2006 that made me a fan of Skillet and I followed em up to to “Rise” album released in 2013.

And although I listened to “Unleashed” released in 2017 and “Victorious” from 2019, I didn’t really feel the need to relisten to em.

And when I went looking at their back catalogue I was surprised how much their sound had evolved.

“Alien Youth” is their fourth album released in 2001. Their sound on this is like industrial rock.

The band for this album is John Cooper on vocals, bass, sampling and programming, Korey Cooper on keyboards, sampling and programming, Lori Peters on drums, Kevin Haaland on guitars (except “Earth Invasion”) and Ben Kasica on guitars (“Earth Invasion”).

Alien Youth

It reminded me of Motley Crue’s “Generation Swine” album. And I like that connection.

Vapor

It reminds me of the whole “industrial rock” movement.

Earth Invasion

The best song on the album.

Very “Smells Like Teen Spirit” like.

You Are My Hope

The usual ballad.

It’s catchy and derivative.

Eating Me Away

A fuzzed out bass riff dominates the verses and once the Chorus kicks in, it’s Stabbing Westward and Korn like.

Kill Me, Heal Me

I like it’s swinging drum groove in the verses. I’ve heard Good Charlotte songs with these kind of beats and melodies, but they came after this.

Otherwise it’s all grunge rock.

The Thirst Is Taking Over

My favorite song on the album.

The verses have a programmed drum beat with clean tone and lightly delayed guitars.

And in the Chorus, there’s a distorted and fuzzed out guitar.

One Real Thing

The Chorus is hard rock and it has this “Teenage Dirtbag” vibe.

Stronger

Nirvana meets Ministry.

It has some cool riffs to jam on but lyrically it’s a bit cliched with the repeating “my god is strong” melody.

Rippin’ Me Off

It starts off terribly, with programming and sampling. Then a Nirvana like riff kicks in.

It’s a response to Marilyn Manson and his views on God being dead.

Check out the chorus. It’s heavy and angry.

You say that God is dead but you’re rippin’ me off/ You can’t infect my mind with your vanity/ You’re rippin’ me off!

Will You Be There (Falling Down)

This is a great ballad.

It feels like Bryan Adams and Celine Dion are singing it.

Come My Way

The closer. it starts off with a piano riff that sounds like it came from a soundtrack.

And it’s more hymn “Hallelujah” like.

They are labeled as a Christian Rock act, but they delivered an album that people from all walks of life would like.

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

The Record Vault: Dare – Out Of The Silence

Dare was formed in 1985 by keyboard player Darren Wharton after Phil Lynott dissolved Thin Lizzy.

By 1987, they got a record deal with A&M and “Out Of The Silence” was released in 1988.

The line-up for this album consisted of Darren Wharton (vocals/keyboards), Vinny Burns (guitars), Martin ‘Shelley’ Shelton (bass), James Ross (drums), and Brian Cox (keyboards) better know these days as Brian Cox, the physicist and TV star!

Abandon

A keyboard riff that reminds me of soundtracks starts it off and then the guitars kick in. It’s a great piece of AOR rock.

Into The Fire

Press play to hear the verses on this which are better than the Chorus.

Nothing Is Stronger Than Love

It’s hard to describe this song. It’s heavy on the keyboards but it has some cool guitar bits.

Jonathan Waite comes to mind when I think of the keyboard riffs and Boston comes to mind when I think of the cool guitar bits.

Runaway

A great melodic rock song which reminds me of Rick Springfield.

Under The Sun

My favorite song on the album.

As soon as the keyboard arpeggio riff and vocal melody started I was thinking of Marillion. And then I was thinking of Pink Floyd.

The Raindance

Another great song which reminds me of the Celtic influenced work that Gary Moore did on his last few hard rock albums of the 80’s.

King Of Spades

This song wouldn’t be out of place on the “Days Of Thunder” soundtrack. Stick around for the harmony guitars.

It’s also a tribute to Phil Lynott, who had died two years before the album was released.

Heartbreaker

This song is a hit.

And it should have been.

But their label was shit. Terrible at promoting and marketing hard rock acts even though they had some good ones.

Return The Heart

It’s a skip.

Don’t Let Go

An early ASIA like track which also wouldn’t be out of place in the “Cocktail” movie.

In the end the sound is dominated by the double keyboards but there is enough guitar to make it rocked

The follow up album “Blood From Stone” was more hard rock but the label advertised it as “Hair Metal’. Another shit decision by A&M. And when it didn’t sell, they dropped the band.

But Dare survived and is still in the game, touring and releasing new music.

Check em out.

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