It’s another band I really got into during the 90’s and I’ve posted my record collection of Boston here.
It was a Guitar World issue that got me interested to hear Boston as it spoke about the making of the album, Tom Scholz diligence to sound and it also had a transcription of the opening track, “More Than A Feeling”. At 445.7 million plus streams on Spotify, it’s a monster track.
At 29 years of age when the album was released, Tom Scholz wasn’t your typical rock star in waiting, working as a project manager for Polaroid with a Master’s degree in engineering and writing songs that he liked to hear in his basement when he wasn’t working. And as good as Scholz is, he needed a voice for his songs, and that voice came from Brad Delp.
Disco also ruled the airwaves when this album hit the record stores. Most labels passed on the band because they didn’t believe a guitar heavy rock record could even chart. But Scholz stumbled onto a sound that would be imitated by all bands since.
My favourite is “Peace Of Mind” purely for the guitar leads in the intro and the outro. On Spotify, its sitting at 117.8 million streams.
I then ignored the rest of the album for a long time, finding it generic. An Epic A&R rep even said to the band in one of the rejection letters that they have nothing new to offer and sounded generic, but then credited himself as discovering the band when they broke big.
Then in the 2000’s I revisited the album.
“Foreplay/Long Time” came into my life and I didn’t notice it before but it has a similar riff in it as “More Than A Feeling. On Spotify, its sitting at 74.4 million streams.
“Rock And Roll Band” and “Smokin” are your standard blues rock fares, with “Smokin” having a more ELP vibe in the middle section. It’s also sitting at 47.3 million streams on Spotify.
And the other tracks are “Hitch A Ride”, “Something About You” and “Let Me Take You Home Tonight” showcase a more of blues country rock feel, but compared to the massive first two songs, they are lost in the “deep album cut” landscape. And it’s those first two tracks which sold the album throughout the world.
17 million sales in the U.S alone. Not bad for an album recorded in a basement.
In 2013, Scholz filed a termination notice to claim back his copyrights to the debut album and “Dont Look Back” as per the clause in Copyright Law which allows him to do so after 35 years. And it ended up in the courts.
My UFO experiences started in the 90’s. The band UFO, just in case anyone was wondering.
“Lights Out” (released in 1977) is the gold standard along with the live album “Strangers In The Night” (released in 1979).
But.
“No Heavy Petting” deserves more love.
The band for the album is Phil Mogg on vocals, Michael Schenker on guitar, Danny Peyronel on keyboards, Pete Way on bass and Andy Parker on drums.
Any idea about the monkey on the cover.
“Natural Thing”
The intro riff is great to play and one of the best committed to tape.
And I was pointed towards “Rock N Roll Queen” from Mott The Hoople as an influence. The guitar player on that is Mick Ralphs before Bad Company.
“I’m A Loser”
Written by Schenker and Mogg. The acoustic intro riff has influenced a lot of the 80’s bands.
How good is the piano melody in the section when “hard times, out on the streets” is sung?
And the lead break from Michael Schenker is guitar hero worthy and I’m pretty sure forgotten by all.
“Can You Roll Her”
The song is written by Peyronet, Mogg and Parker.
A stupid title which doesn’t do the fast paced and frantic music any justice. The guitar riffs in the intro/verses and little guitar melodies in the Chorus are excellent.
Schenker goes to town when it comes to the lead spotlight, combining his brilliant pentatonic playing with fast picked Aeolian Minor runs. The way it is constructed would influence countless of other guitarist to “work out” their leads.
“Belladonna”
Written by Schenker and Mogg.
When I hear this song, I think of “Soldier Of Fortune”. It more or less follows the same pattern. But I also think of “Try Me” which would come on the album after. And Scorpions would write songs like this in a few years’ time.
The Schenker solo is memorable, but on “Try Me” it’s outta this world.
Make sure you check out the classical like guitar melody that Schenker starts playing after the solo.
“Reasons Love”
What a great funky, sleazy and bluesy guitar riff to kick off the song.
“Highway Lady”
It’s your standard blues rock fare with Schenker wailing away in the solo.
“On With The Action”
Written by Schenker and Mogg.
The riff to kick this song off is like doom metal, if downtuned. Its heavy.
The groove in the song makes it a favorite of mine but the song is forgotten by the masses when it comes to discussions about UFO.
And if you are a fan of excellent guitar playing, make sure you check out the solo here as well. All of the 80’s guitar heroes copied it.
“A Fool In Love”
It’s written by Frankie Miller and Andy Fraser and it’s a “Honky Tonk Woman” meets “All Right Now” blues romp.
“Martian Landscape”
Written by Peyronel, Mogg and Parker. It’s one of those songs that the 70’s bands put on albums that was a bit progressive and experimental. And sometimes it worked and sometimes it didn’t. This song worked for UFO and it’s the precursor to “Love To Love”. And a riff in “Love To Love” gave birth to “Desert Song”
In other words, “No Heavy Petting” is an underrated hard rock record, a link between the derivative 12 bar blues and hard rock as I know it.
I’ve already written about Choirboys previously, especially their 80’s album in the self-titled debut released in 1983 and “Big Bad Noise” which had the monster hit, “Run To Paradise” released in 1987.
So how do you follow up a monster album released in 1987. Well after all the touring, opening up for large U.S acts and going back into the studio to write and record, the gap was 4 years.
That’s right, 4 years.
It’s a long time.
Instead of recording in Australia, they went to Cherokee Studios in L.A with producer Marc Tanner who used to be an Elektra recording artist.
“Midnight Sun” hit the streets in 1991. And compared to “Big Bad Noise” which was certified double platinum in Australia, “Midnight Sun” has no certification.
For a great album, it gets no love or attention. Even on Spotify, there are no songs from this album in the Top 5 of most listened songs from The Choirboys.
“Midnight Sun”
It’s got this AC/DC style groove (think of “Live Wire” with a bit of a Springsteen/Mellencamp vibe.
Lyrically they are the devils boy, is walking the streets of society as the keeper of the midnight sun.
“Our Empire Falls”
This song should have been a hit.
Standing with her back to the ocean Is this the final curtain call? Still trying to make a deal with the sunshine It′s over, it’s over
Once bathed in glory But now your image is fading
And check out the lyrics, which deal with faded glories and contemplating suicide. This from an act who was expected to write party anthems.
Tonight is the night our empire falls
“Rise Up”
Their blend of different rock styles is perfect. This song is a great example of how a song can still sound hard rock but be catchy and commercial. It’s a mixture of an AC/DC (that “Live Wire vibe again), Bryan Adams and “Jessie’s Girl” from Rick Springfield with a bit of Def Leppard.
The intro alone has the drums and bass playing a simple hard rock groove.
It’s no surprise that Mellencamp’s music is heard in Australian artists, as the “Scarecrow” album was massive.
‘Cos I see the best of things Lies somewhere in the kiss of knowledge Bullshit ends when faith begins If you’re down at the bottom, at the end
Rise up
“Place With No Love”
A great ballad with a weird music video featuring a character in a leather fetish mask.
“Rendezvous”
It’s got this “Radar Love” style drum groove and a film clip with people hitting the road to meet up somewhere.
Now we’re on the road to our Rendezvous With nothing, there’s nothing to lose
These lyrics connect straight away.
Australia is a massive place with vast distances between towns. The only way we used to be connected was via the motorways and suburban roads and railways. So hitting the road to meet up is part of the Australian psyche.
How can you fly with your feet on the ground Take all of your dreams, let’s get out of this town
We all wanted to escape our hometowns to try and achieve our dreams. These days the kids are okay to live at home we’ll into their 30’s.
“Only In America”
This song melts. When I hear it, I think of The Cult, AC/DC crashing with Springsteen.
Only in America you read my rights to me Only in America I watch my trial on TV Only in America only in America I won’t ever be alone Then why do I feel so lonely
“Battle Boulevard”
Check out the intro.
It’s just bass and drums and then the guitars come crashing in with power chords and a nice little lead.
I hear the guitars playing My Generation That used to be our song And I can feel the beat down on the boulevard
“Going Home”
This feels like a hard rock “Need You Tonight” from INXS.
But I’ve lived a dreamer and I’ve lived in hope But I don’t want to stay here on my own
I’m going home
“Romance Street”
A rocking ballad if that ever could be a thing. To me, it’s an awesome cut in the vein of “Born To Run” Springsteen.
“We Believed”
When “The Killers” came out, I thought of this song. Because it felt like “The Killers” sounded like this.
In the end, The Choirboys was just another Australian band trying to break into the larger U.S market, which didn’t pan out as expected. And while the first two albums sounded “Australian” (whatever that means, but the label reps kept saying shit like this), the “American” sound was here on this album, and the song writing is mature and the lyrics get you thinking.
Useless fact, fast forward a few years from this, I was in a band opening up for Choirboys in a small pub with about 200 hundred people in attendance.
And vocalist/guitarist Mark Gable along with bassist Ian Hulme were the only original members, but they still brought it live.
The band is still going today with the line up that did this album. Jamming with Gable and Hulme, is guitarist Brett Williams and drummer Lindsay Tebbutt.
The first copy I gave to the drummer from a band I was in, along with “The Dirt” hardcover book and the “Rush In Rio” DVD. But when we had an argument, he wouldn’t return the items. So I repurchased “The Dirt” but this time in paperback, and this DVD. The Rush DVD price was extravagant when I was looking for it and I haven’t relooked since.
Now, live albums have been known to have a lot of studio overdubs or in some cases, total re-recording of some of the tracks in the studio. From what I can hear, nothing feels fixed or redone in a studio on this. So what you get, is a band that can deliver live, the chaos they create in the studio. If anything, I believe the guitars are tuned down ½ a step as Claudio’s voice was strained during this period. But man, he still delivers.
Coming into this release, Coheed and Cambria had released three studio albums, in “The Second Stage Turbine Blade”, “In Keeping Secrets Of Silent Earth” and “Good Apollo”. For the hardcore Coheed fans, yes, I’ve abbreviated the names of the album titles.
It’s the only live release with the original line up of Claudio Sanchez on vocals/guitars, Travis Stever on guitar and backing vocals, Michael Todd on bass and backing vocals and Josh Eppard on drums and backing vocals. Michael Petrak does additional percussion and Dave “Wavis” Parker is performing keyboards, backing vocals, some extra guitar and samples.
In a perfect world, the audio of this concert would be available on Spotify, but it isn’t. YouTube has the live concert footage and some of the YouTube users have created just the audio.
“In Keeping Secrets of Silent Earth: 3”
A perfect opener. It’s just a bit faster than the studio recording, but hey, that’s why I love the live show. And the crowd gets involved with the who-oh-oh chant towards the end.
“Ten Speed (Of God’s Blood and Burial)”
This version is electrifying. Again, a bit sped up than the studio, but I feel the energy smack me in the face.
“Blood Red Summer”
It follows the poppy rock vibes of “Ten Speed” perfectly.
“The Crowing”
This version is a metal beast and this live version is my go to track for it. As mentioned previously, its downtuned a little bit more from the studio cut and it sounds menacing.
After the two pop rock songs in “Ten Speed” and “Blood Red Summer” the placement of this is perfect to get the live concert back into progressive and metal like territory.
“Wake Up”
One of the best ballads from Coheed and Cambria, and live, you just hear the clean tone electric guitar, Claudio’s voice and the crowd singling along with him. It’s chilling, emotive and perfect.
“Delirium Trigger”
From the debut album, the intensity of the song grabs my attention quickly. Hearing it played alongside songs from two of my favourite albums, works perfectly. The middle subdued section offers a calm before the song picks up again. With so much musical movements, nothing is lost and missed.
“A Favor House Atlantic”
It’s faster. When I watched the band live, this song is sing-a-long. You can’t make out the audiences here and you sort of lose the power of when Claudio drops out and the crowd sings. But the energy is still there. “Bye, bye, beautiful” alright.
“The Suffering”
The pop punk energy comes through. I wanted a bigger impact for the “wishing well, will you marry me” part but not all songs can be winners.
“Everything Evil”
I don’t think this song worked well live.
“Welcome Home”
The best cut and I like the sped up vibe of the song. And even though its quicker, the intensity of the vocals is still there. I would have loved to be able to hear the crowd cheering the who-oh-oh at the end.
“The Willing Well IV: The Final Cut”
At 14 minutes long, its eight minutes longer than the CD version and the jam aspect vibe they bring to this track is brilliant.
When there jamming the middle section lead break, they play this lead break that I swear comes from “Seventh Son Of A Seventh Son” lead break.
And when they come out of the jam back into the normal song, its powerful and beautiful. The crash cymbals are smashing, the guitars are screaming and all hell is breaking loose as they finish off the concert.
In the end, “The Last Supper” leaves you wanting more of the Coheed and Cambria supper.
Dragon is a New Zealand rock band which was formed in January 1972 and relocated later to Sydney, in May 1975.
“Body and the Beat” is album number seven. The album was released in June 1984, peaking at number 5 on the Australian charts and gained a platinum certification.
But it’s their first album since 1979.
At the time, Dragon was on the verge of breaking through worldwide but vocalist Marc Hunter was out of control with his heroin addiction and on stage antics, offending everyone, including audiences, other acts and label heads.
They had a US tour opening up for Johnny Winter that went pear shaped when Hunter called Winter’s blues rock audience rednecks and faggots. Then again it was another stupid decision to place Dragon on this bill, it’s like Imagine Dragons opening up for Iron Maiden.
Actually when I watched Maiden on the “Somewhere Back In Time”, the opening act “Behind Crimson Eyes” was the support. Now they are an Australian metalcore band with screaming vocals and they got booed after each song, until they played a cover of “Ace Of Spades” and the crowd cheered. Again, another misplaced opening act.
Anyway, back to Dragon, the band which included his brother Todd, fired him. This brought to an end the first period of Dragon which also involved the heroin overdose of drummer Neil Storey in 1976.
Hunter went solo and had some success and then the band got together again.
“Rain” was the output in 1983. Written by Johanna Pigott, Marc Hunter and Todd Hunter, it’s 3 minutes and 40 seconds of hard rock glory. Make sure you stick around for the “if you go out in the rain” melody.
Due to its success, the band went into the studio to record an album worth of songs.
It’s worth noting that the songwriting team of Johanna Pigott and her partner, Todd Hunter (Dragon bass player) also wrote the smash hit title track “Age Of Reason” for John Farnham.
The album kicks off with “Rain”. “Promises” and “Wilderworld” are melodic rock songs perfect for a summers day.
If it wasn’t for “Rain”, then “Cry” would be a favorite.
“Body And The Beat” has a bass groove and a feel that bands like INXS were making popular.
“Magic” feels like a driving song, with the window down and the warm winds blowing through.
But.
Apart from “Rain”, this album is forgotten.
Everyone told the band the album would break the band overseas. But it didn’t. Within a year they were back in the studio recording another album..
A year after this album came out, keyboardist Paul Hewson and the writer of their classic songs “April Sun In Cuba” and “Are You Old Enough” was found dead in a friends car, hours after he told the band he wanted to leave.
Dragon continued and released the super successful (in the Australia market), “Dreams Of Ordinary Men” in 1986 and my favourite “Bondi Road” in 1989. A few greatest hits and acoustic re-recordings hit the shelves. And then tragedy struck again.
Marc Hunter was diagnosed with throat cancer in November 1997 and he died on 17 July 1998. Dragon have continued on with Todd Hunter still the driving force.
I had no idea who Steve Vai was until I saw him in the “Yankee Rose” clip, making his guitar answer questions that Dave Lee Roth put forward. And if you think it was a fluke, make sure you check out the cat/kitten noises Vai did for the intro on “Kittens Got Claws” on the Whitesnake “Slip Of The Tongue” album a few years later. The way Vai could manipulate the guitar with the whammy bar, bends and slides and effects to create animal and human like voices is unique.
“Eat ‘Em and Smile” is the debut full-length solo album by original Van Halen vocalist David Lee Roth, released on July 7, 1986. The band on the album is Steve Vai on guitars, Billy Sheehan on bass and Gregg Bissonette on drums.
Produced by Ted Templeman, it’s got all the bells and whistles of a party about to go out of control.
“Yankee Rose”
Penned by David Lee Roth and Steve Vai. The intro is iconic with the walking bass line and of course the “talking guitar” which seems to have a conversation with David Lee Roth.
From a musical viewpoint, Vai is in cruise control here, making a very simple guitar riff sound interesting with his additions of arpeggios, legato lines, bends and whammy bar manipulations towards the end of the fourth bar of the riff.
The video clip was also designed with MTV in mind, with moves orchestrated to show the technical abilities of the individual band members.
“Shyboy”
The Talas track penned by Billy Sheehan got some added muscle on this album with Vai’s virtuosic playing complimenting Sheehan. And of course, Gregg Bissonette on drums is in his element here.
“I’m Easy”
From Aussie artist, Billy Field who he co-write the song with Tom Price. The whole big band sho-be-bop is not my thing however I don’t mind when rock artists take a song from that style and rock-ify it.
But this isn’t really rock-i-fied.
“Ladies’ Nite In Buffalo?”
Another Roth and Vai cut, this one sounds like it came from the fingertips of Joe Walsh.
The blues rock boogie from Sheehan and Bissonette is excellent and the funky guitar riff by Vai compliments it perfectly. It’s tracks like this that made Dave Lee Roth’s solo career interesting and exciting.
And that lead break from Vai is outta this world.
“Goin’ Crazy!”
It’s another Roth/Vai penned song.
Vai brings the goods with an iconic guitar riff to kick it off. If you think the riff sounds like something you’ve heard before, I always said that the riff in “Finish What Ya Started” which came a few years after, is very similar to this.
The synths compliment instead of detracting.
Check out Vai’s solo and then go to YouTube to watch the video clip put together from the movie that never came to see the light of day.
“Tobacco Road”
A cover song written by John D. Loudermilk, it’s got that big blues rock feel and the way the DLR and the guys in the band do it, is excellent.
“Elephant Gun”
Another track penned by Roth/Vai and this one is full of great Van Halen inspired riffs. Vocally, Roth sings in a deep baritone, something which Axl Rose would do a lot within the Guns catalogue.
The solo section starts off with an impressive bass solo, which keeps happening, when Vai starts shredding the guitar lead.
“Big Trouble”
The “Big Trouble In Little China” film always come to mind when I see this song title.
Does anyone remember the Kurt Russel and Kim Cattral film?
The song has nothing to do with the film except that it’s a sleazy little rumble, written by Roth/Vai with a rap like vocal melody in the verses and a progressive like Chorus.
Check out the blistering Vai solo full of his trademarks fast legato lines with finger taps.
“Bump And Grind”
Another Roth/Vai composition.
Great title with a riff which bumps and grinds its way through the song and Roth is being Roth, having fun and talking his way through the song.
“That’s Life”
A big band cover song written by Dean Kay and Kelly Gordon. What can I say, is Roth being Roth.
And this line up wouldn’t do another album again or perform together once the tour ended. However a reunion show was planned recently, and it was killed seconds before the band took the stage by a fire marshal who was worried at the size of the venue and the amount of people in the venue.
The free spirited nature of “Eat ’Em and Smile” is attractive and exciting as it feels like the whole album could just go off the rails and crash at any time.
At 31 minutes, man, its short for a release, which was strange for a highly anticipated and expected album. But the impact it left behind is huge, introducing Steve Vai and Billy Sheehan to large rock audiences, along with drummer Gregg Bissonette.
After this, Vai and Roth would do one more album in “Skyscraper” while Sheehan formed Mr Big with another ace guitarist in Paul Gilbert. Both acts had huge success with their releases.
Vai would finally release his second solo album “Passion and Warfare” and he also got a chance to decorate the songs that Adrian Vandenberg wrote for the “Slip Of The Tongue” album after a cool million dollar advance.
Meanwhile Roth hooked up with various guitarist to write the follow up, eventually settling on 19-year-old guitar virtuoso Jason Becker to replace Vai.
“A Little Ain’t Enough” was released in 1991, produced by Bob Rock. It did okay business in sales but before the tour started, Becker was diagnosed with Lou Gehrig’s disease, rendering him unable to perform onstage. Guitarist Joe Holmes stood in for Becker during the tour.
But the audience just wasn’t there for DLR to fill arenas in 1991, After 15 years in the spotlight, Roth’s brand of hard rock became unfashionable.
And the original era of Roth’s solo career fractured shortly after.
P.S. this is the second part of a post that was meant to be just one post. Here is the link to the Maiden post covering “Somewhere In Time”.
I was waiting for my CD to come in before I did this post.
The debut album was released in 2002, but the story goes back to 1995 when Claudio Sanchez and Travis Stever had a band called “Toxic Parents” which then became “Beautiful Loser”.
Three months later, Stever left and the remaining members renamed the band, “Shabutie”.
Michael Todd was recruited in 1996 and would remain the bassist until his arrest for break and enter circa 2010/11.
As Shabütie, the band released their first studio demo “Plan to Take Over the World” in 1999 and “The Penelope EP” in 1999, shortly after which Stever rejoined the band.
The original drummer left in 1999 and Josh Eppard was the replacement. He would be the drummer on the first three Coheed albums and while he was out of the band between 2006 and 2011 he returned for “The Afterman” albums and is still the drummer at this point in time.
The band went on to release another EP called “Delirium Trigger” in 2000 and several songs that appeared on it, were based on a series of science fiction comics written by Claudio Sanchez called “The Bag.On.Line Adventures”, which were later renamed “The Amory Wars”.
This science fiction story was Sanchez’s side project. Eventually, the band would rename themselves as Coheed and Cambria, after two of the story’s protagonists.
In a nutshell, and spoiler alert, Coheed and Cambria are dead by the end of it. Coheed by now had already killed off his children except Claudio and Cambria had to kill Coheed as he unleashed a virus and then unable to live without Coheed, she killed herself. In the process her energy/sacrifice then saved the dying star that Coheed was trying to destroy. Their son Claudio, is left to pick up the pieces.
A lot of pieces of the puzzle are put into place, and backstory’s are told. The fan wiki page does a great job detailing it.
“Second Stage Turbine Blade”
It’s a minute of ambient noise and an ominous sombre piano riff.
“Time Consumer”
The feel of this song in the first minute feels like a Pink Floyd/U2 jam mash up. It is raw and gritty as it grooves its way to the exploding of distorted guitars at the 1.14 mark.
“Devil In Jersey City”
It’s got that pop punk feel, almost happy like but the subject matter is disturbing involving a bashing and a rape by the gang called “Jersey City Devils” on the daughter of Coheed and Cambria and her partner.
“Everything Evil”
This moves into “Everything Evil,” which is arguably the most proggy track on the album. The ending of the song has that piano riff which becomes the first song on subsequent albums
“Delirium Trigger”
The heaviest song on the album.
“Hearshot Kid Disaster”
It has a funky riff.
“33”
A pop song which is 3.30 long. Coincidence.
“Junesong Provision”
“Junesong Provision” Heavy guitar and impressive vocals and lyrics make up this noteworthy song.
“Neverender”
The bass is excellent and the riffs are rooted in hard rock. Claudio’s vocals are the most confident on this one and it shows.
“God Send Conspirator” A clean guitar riff starts the song off, which sounds like an indie song. The bass grooves and funks it’s way throughout.
BB Steal was Australia’s entry for world domination in the hard rock movement. But did the world need a new Def Leppard.
Their association with the band wasn’t just inspiration. They opened up for Def Leppard during the “Adrenalize” Tour and Def Leppard guitarist Phil Collen produced the title song on their “Heartbeat Away” EP and co-produced their first full-length album “On The Edge”, which also features a version of the song “Heartbeat Away”. Collen also played some guitar and sang backing vocals on the album, but is not credited.
BB Steal (otherwise known as Beg Borrow Steal) was spawned from the NWOBHM sounding “Boss” band. In typical Australian hard rock fashion, they lived in development EP hell for at least 4 years before the album came out. 4 years is a long time in the music and recording industry.
And the album definitely racked up the bills as recording took place in Los Angeles and Montreal with various engineers and studio players.
Formed in 1987, they released the 4 song EP “Heartbeat Away” in 1988. The title track of this EP set the tone for the sound and feel the band would pursue. The Def Leppard “Hysteria” album sound.
So, “On The Edge” was released in 1991. It’s one of those should have and would have and could have stories. It should have done better commercially, and it would have if Grunge didn’t come, and it could have done great numbers if it came out a few years earlier.
If you love Def Leppard then you will love BB Steal. Critics praised em and also drilled em, calling em a poor version of Def Leppard. But the band was a lot more than the Def Leppard comparisons.
“On The Edge (Lizzy Town)” has this “Led Zeppelin III” acoustic vibe before it moves into a Def Leppard like groove and vocal.
“Big On Love” is probably the best song not written by Def Leppard that sounds like it belonged on “Hysteria”. At one stage I thought it was “Animal”.
Then “Hysteria” starts. Wait, it’s called “Ride On”. They are similar but derivative enough to stand on its own.
“Suffer In Silence” is another track which is very Def Leppard like.
“Live It Up” has a guitar intro that could have come from a Van Halen album, before it goes into an AC/DC like groove. The vocals of Craig Csongrady on this album are just too much like Joe Elliot, in the same way that Marc Storace from Krokus was too much like Bon Scott.
“Shot Full Of Love” feels like a cut from Babylon AD. “Precious Love” has that “Stand Up” vibe.
“Don’t You Love Me and Leave Me” is an AC/DC song musically, with a bit of The Cult added in vocally and musically.
“Heartbeat Away” is from the Phil Collen produced EP, released in 1988 and “Troubled Child” closes the album, with a Journey like feel musically and a Joe Elliot like vocal.
In the 2019, re-issue, it comes with three songs from the original 1988 EP in “I Believe” (very Journey like), “Hold On” (has a guitar hero solo moment) and “Heartbeat Away” (the Phil Collen produced and the song which set the stone for the album to come a few years after).
And when the album did nothing commercially, the band disappeared along with thousands of other hard rock bands.
But in 2012, they returned with a new album called “Resurrection”. But that’s for another day and another “Australian Method Series” post.
When I did the previous record vault post for “No World For Tomorrow” I did mention that I didn’t have the CD anymore. So I went searching at the usual local sellers but found one on eBay.
How good is the artwork by Ken Kelly, who also created the artwork for “Love Gun” and “Destroyer” by Kiss.
Here is the Holiday 2007, Guitar World issue and article that got me to commit and check out the music of Coheed and Cambria.
Coming into the “No World For Tomorrow” recording cycle, the band was down to two with drummer Josh Eppard and bassist Michael Todd exiting due to the familiar story of drugs and dysfunctionality within rock and roll bands. Claudio Sanchez and Travis Steer remained. And for the first time, they really collaborated together.
With an uncertain future, the manager of Sanchez put him into contact with two songwriters in Sam Hollander and Dave Katz, and together they came up with a pair of songs for Hollywood. The songs “Running Free” and “The Road And The Damned” were written for the soundtracks of “Transformers” and “Ghost Rider”. But they didn’t get picked. Instead they provided the spark for the album.
“The Running Free” is described as “uplifting with its U2-esque chorus” and it even became the albums leadoff single. Sanchez further mentions that “even though this is a dark album and all hell is about to break loose, there is still hope. At the other side of the tunnel there is a light. And I feel “Running Free” expresses that.”
So Sanchez and Steer decided to keep the band alive. Rick Rubin had just joined Sony/Columbia and he became the album’s A&R supervisor, like how John Kalodner was listed as the same on so many albums in the 80’s and early 90’s.
The band had their previous albums produced by Chris Bittner and Michael Birnbaum, however that relationship turned sour, so Rubin hooked em up with Nick Raskulinecz. Since Raskulinecz worked with Foo Fighters, he brought in Taylor Hawkins to drum. Meanwhile bassist Michael Todd came back into the fold, clean and sober, however he would depart again a few years later after he was arrested for break and enter. The song “Domino The Destitute” from “The Afterman” releases is about Michael Todd.
After the album was done, Chris Pennie from “Dillinger Escape Plan” joined as the permanent drummer. He kept this role for the next album, “Year Of The Black Rainbow” and then was replaced by Eppard, who returned for “The Afterman” releases and he’s been there since.
The guitar riff in “Mother Superior” is now known as the guitar riff, but it was written on a synth/piano first. The whole song was synth heavy until Raskulinecz advised them to make the rhythm guitar progression the main focus. This is what Sanchez said about it, “I wrote the song on synthesizer, but on the finished version, the synth doesn’t show its face until halfway through the second verse. It emulates a Mellotron and has a “Strawberry Fields Forever” vibe. This was one of those songs where I wanted to take it from a different perspective and see how a keyboard could ultimately dictate what I would play on the guitar. So on the finished track, the guitar jumps around, just like the original keyboard part did.
Coheed and Cambria were back in the Amory Wars universe when they announced the 5 part Vaxis series.
This is Act 1.
Otherwise known as “Vaxis – Act I: The Unheavenly Creatures”, the ninth album, released on October 5, 2018.
As soon as it was announced, I was interested and Pre-Ordered the limited edition deluxe box set which includes an 80+ page hardcover, full color book with custom illustrations and complete ACT I story.
The Book also houses the CD of “The Unheavenly Creatures” as well as the exclusive BONUS CD, “The Crown Heights Demos”.
The box set also includes a replica Creature mask, a fold out poster of the cover art, the usual VIP/Black Card which allows card holders early access to tickets and early entry to Coheed and Cambria headline shows.
And the pre order also came with access to a digital site to download the album and the demos on release day.
So, the story.
Set sometime after the events of “No World for Tomorrow”, (their 2007 album, as the three subsequent albums were all prequels), the planets that formally made up Heaven’s Fence are scarred and cracked after an event known as “The Great Crash.”
A group of elites known as the Five Houses of the Star Supremacy have converted these worlds into prison planets, with one planet being called The Dark Sentencer.
The album tells the tale of two new characters, Sister Spider and Creature as they struggle with being imprisoned on The Dark Sentencer and fight to secure the safety of their unborn son, Vaxis.
At 78 minutes, it’s a monster of an album.
The album opens as usual, with a short music and spoken intro called “Prologue”. The voice over talks about “the five houses”, “the planet prisons”, and “a love story”. And the voice ends the narrative with, “It begins with them, but ends with me, their son, Vaxis.”
Then the “Domino The Destitute” inspired riff kicks off “The Dark Sentencer”. You get the big chants like a prison riot is taking place, the big rock riffs and the progressive feel of the arrangement. Like all Coheed albums, song number 2 is the epic.
The title track “Unheavenly Creatures” has a riff that sounds like it was written on the TonePad app. When the guitars come crashing in, it’s major key pop rock.
I like how Coheed always makes riffs in a major key sound heavy, like in “Toys”. If anything it could have come from the fingertips of Mark Tremonti.
The spirit of “Mother Superior” is evident on “Black Sunday”.
“Queen Of The Dark” starts off with a sad piano riff and then a digital delay strummed riff comes in before the window shattering drum groove sets the mood and tone.
“True Ugly” feels like a power pop punk song, full of melody and aggression.
“Love Protocol” has an arena rock Chorus that needs to be heard.
“The Pavilion (A Long Way Back)” has a simple palm muted arpeggio guitar riff and a drum groove that demands attention. It’s one of the best songs on the album and it was the first song written for the album.
“Night-Time Walkers” feels like a “Halloween” or “Escape From New York” soundtrack in the intro. Or a scene from “Stranger Things”. Then the crunching guitars kick in and the drumming becomes more dominant before it moves into a massive Chorus.
“The Gutter” could have come from “A Night at the Opera”. And how good are the violins in this song.
“All On Fire” feels like “No World For Tomorrow”.
“It Walks Amongst Us” has this Middle Eastern exotic soundscape to start off, before it moves into a metal like riff that is played with an 80s keyboard synth sound.
“Old Flames”, is the second last track, and it’s a massive song. You can see it in the same way that the second last episode of each season of “Game Of Thrones” was the biggie.
This feels like classic rock as a piano starts it, before the Cheap Trick like riff kicks in and a massive Arena rock Chorus.
The whole “Naa / Na na na na na-ah” feels like a Cheap Trick song. Even My Chemical Romance have sections like this. As the guitars and drums end, the piano riff starts and it’s the “Prologue” riff.
“Lucky Stars” is an acoustic number that closes the record. It’s like the aftermath. Make sure you stick around for the Clapton like lead break.
And the guys toured hard on this album and now we wait for “Act 2”, in between Claudio’s side project The Prize Fighter Inferno, named after a character in the Amory Wars story.
destroyerofharmony 