Category Archives: Unsung Heroes

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

The Dogs Of War

Will people talk about Michael Schenker in 20 years time?

We all knew who Michael Schenker was from his time in UFO and Scorpions, but none of us could name his MSG tunes correctly.

He wasn’t on MTV and back in the 80s, there was no Spotify, no YouTube, no BitTorrent and no internet where we could go and look up his MSG output.

Radio in Australia never played MSG.

Basically if you didn’t own his albums or know someone who did, it’s like he didn’t exist.

But he was all over the guitar magazines. It’s how I came across him.

The first MSG album came out in 1980 and it stiffs in the major U.S market. Japan however loved Schenker where his popularity remained high on the back of his Scorpions and UFO contributions.

The second MSG album came out in 1981 and it did nothing as well. Something had to change. Original singer Gary Barden was fired in 1982 and Graham Bonnet fresh from his stint in Rainbow was hired. Album number 3 came out the same year (along with the “Live at The Budokan” album) and again, it did nothing. Bonnet was fired and Barden was back in for the tour.

And here we are at album number 4 released in 1983.

Commercially, it stiffed again in the major North American market. It’s forgotten from the conversation.

But it’s a favorite.

I could have picked alot of different songs from “Built To Destroy” as it’s that good. But this time around I wanted to write about “The Dogs Of War”.

It’s written by Gary Barden and Michael Schenker.

Drums and bass start it all off. A simple groove yet so catchy with Schenker decorating the Intro with feedback, chords and leads.

It builds until the verses kick in.

Nothing worth taking, all was forsaken

A sense of loss as there was nothing of value left to hold onto or protect.

Hit on the blind side, caught in the spotlights

Exposed and vulnerable, as if suddenly thrust into the spotlight without any preparation, leaving you exposed and defenseless.

Warning came late, no chance of alluding

It conveys a sense of helplessness and a lack of options.

Shadows were long as they forged through the night

I like the way this is delivered vocally. It’s almost classical and yet it feels new wave.

The line tells me it’s about perseverance and determination amidst challenging circumstances.

Looking for signs of the day,
Deep in their minds as they walked out of sight

A sense of introspection and anticipation as we search for signs of hope or a brighter future. A mindset of seeking out positive change or opportunities in the midst of uncertainty or darkness.

The line “deep in their minds as they walked out of sight” suggests that despite being physically present, our minds are occupied with thoughts, hopes, and aspirations.

Mission completed all were defeated
Branded with fire, now filled with desire

“Mission completed all were defeated” suggests that a goal or objective was successfully achieved, but it came at a cost. The mention of being “branded with fire” tells me that the experience was intense and left a lasting mark. However, instead of being discouraged or weakened, there is a newfound sense of determination and passion, as they are now “filled with desire” for more.

Message came through on the wings of a prayer
Feelings were high for a time

The line “Message came through on the wings of a prayer” suggests that guidance or inspiration arrived unexpectedly, perhaps in a moment of spiritual connection or hope.

“Feelings were high for a time” indicates a period of excitement and enthusiasm following the completion of the mission. Emotions are intense and elevated during this phase, reflecting the sense of accomplishment and fulfillment.

Slap on the backs for the ones who had dared
To run with the wolves of our time

These lines honor those who have dared to defy conventional norms and expectations, applauding their willingness to take risks and venture into uncharted territories.

They embody the spirit of running alongside the metaphorical “wolves” of their time, showcasing their courage and tenacity in the face of adversity.

Michael Schenker embodies this spirit. At 15 he left Germany to join UFO in the U.K. Imagine that, in 2023.

The dogs of war, will bite the hand for a price, and then hear them roar

The destructive nature of conflict and the willingness of certain individuals or entities to engage in acts of aggression or violence for personal gain. The phrase “dogs of war” symbolizes those who are eager to participate in warfare or engage in hostile actions. They are portrayed as fierce and relentless, driven by their own motives and desires.

The line “will bite the hand for a price” suggests that these individuals are willing to turn against their own benefactors or allies if offered a sufficient incentive.

It implies that loyalty can be easily swayed by material or monetary rewards, and they will not hesitate to betray those who once supported them.

Their mission completed, the innocents bleeding

Overall, this phrase captures the bittersweet nature of achieving a goal or objective while acknowledging the devastating impact on the innocent individuals caught in the crossfire.

To buy someone’s freedom’ who pays?

The question challenges the notion of freedom as something that can be easily obtained through financial means. It prompts us to consider whether true freedom can be bought and whether the act of purchasing it merely shifts the power dynamics or perpetuates a system of inequality.

A lot of the lyrics in the 80s got blasted and they still get blasted by music writers as being immature.

That is the case for some songs and some acts still make a living on writing simple immature lyrics with simple rhymes, laced with sexual innuendos.

Then you get other lyricists who write with some depth and double meanings. Gary Barden is one such lyricist. He’s also pushed out the “tease/please/knees” kind of lyrics as it was a symptom of the era he was in but overall his output is a lot more mature.

And Michael Schenker. He’s a lifer and what a rollercoaster lifestyle he’s had. He didn’t top the charts as a solo artist but his impact is as large as his UFO and Scorpions career.

Check it out.

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Mask

When Twisted Sister disbanded in 87, Dee wasn’t in the news a lot, except for a few little paragraphs here and there in a magazine about his upcoming “Desperado” project.

Then that project got killed by record label bosses at Neglektra.

And the biggest voice in my life was missing during the “golden commercial years” of metal and rock music.

Then Widowmaker got up and running, however Grunge came and after a two albums, the band was done.

A solo album called “Never Let The Bastards Wear You Down” revived hope that more would come. But it didn’t eventuate.

However Dee is a lifer when it comes to music. He battled tooth and nail to make it, so there was no way he was going to lay dormant for long.

And like it was written in some holy book, Dee came back, more diverse than ever. He became a movie maker, a radio show host, a solo artist, an author and when TS reformed, he led them up front all the way to the last show.

“For The Love Of Metal” came out in 2018 and it is basically metal music the way I know it.

His solo music doesn’t have the same public acceptance as the Twisted music, but it doesn’t mean it’s not important or influential. As I’ve said before, a million sales of an album doesn’t mean you have 1 million fans. You just have a million people who purchased the album.

The question any artist should be asking is, how many people actually listened to the album from start to finish?

In a one to one commercial sale, it will never be known how many people listened to the album at least once and how many people listened to the album over a hundred or a thousand times.

“Mask” is a great song.

Depending on how you experience the album, it’s either hidden deep in the album at track 8 or it’s at the start of the B side of the vinyl.

That intro riff hooks me in right away. It’s thrash power Metal like.

With torn and bleeding smiles we move on
And mouth all different kinds of broken promises
Why should our days be spent in denial
While counting our faults and ripping our hearts out

These lines express the struggle of carrying on with a facade of happiness despite inner turmoil.

The smiles we wear is depicted as torn and bleeding, indicating the pain and suffering we endure internally.

We continue to make promises we cannot keep, adding to the brokenness within. The questioning of why one should spend their days in denial is a desire for honesty and authenticity, rather than pretending everything is fine.

The act of counting faults and ripping hearts out shows a self-destructive pattern of dwelling on personal flaws and causing emotional harm.

These lines highlight the complexity of navigating through life’s challenges while grappling with inner turmoil and the longing for genuine connection and self-acceptance.

The face you see is not our own
It hides our tears and shades our eyes
The heart you touched has since grown cold
We wear the mask that grins and lies

We live in a world of suppression.

The idea of each one of us presenting a false image to the world, concealing our true emotions and vulnerabilities behind a mask is real.

The face that others perceive is not a genuine reflection of our inner feelings. Instead, it serves as a shield to protect ourselves from judgment, pain, or further emotional exposure.

The heart that was once open and receptive has now become distant and detached.

The mask we wear may project a smiling and seemingly content facade, but it conceals the truth and hides the pain beneath the surface.

Behind our doors the time cannot be whisked away
Crashing and burning, leaving hints of darkness
Deep within their withered faces, lines are sunken in
We say we’re fine behind the mask
We say we’re fine, why do you ask

The passage of time and the struggles that accompany it. Behind closed doors, the weight of time cannot be escaped or avoided.

The phrase “crashing and burning” conveys a sense of chaos and turmoil that leaves traces of darkness in its wake. The imagery of withered faces with sunken lines reflects the toll that time and life’s challenges have taken on us.

Despite the weariness and pain hidden within, we still maintain the facade of being fine. We wear a mask of contentment and happiness, even when asked about our well-being.

The repetition of “we say we’re fine” emphasizes the disconnect between our true emotions and the image we project to the outside world. Its easier to maintain appearances and avoid delving into the depths of our inner struggles.

The subject matter is serious and the music is thunderous.

Crank it.

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Revolution Saints – Eagle Flight

Deen Castronovo is a talent.

A little Frontiers Records project known as “Revolution Saints” is now four albums deep. The self-titled debut came out in 2015. Songs like “Back On My Trail”, “Locked Out Of Paradise” and “Way To The Sun” with Neal Schon led the way. I was also a fan of the excellent Eclipse cover, “How To Mend A Broken Heart”.

The sophomore album “Light In The Dark” hit the streets in 2017 with the excellent “Freedom” as the standout track.

Third album, “Rise” came out in 2020 and with the song “When The Heartache Has Gone”, they broke the million streams on Spotify. The trilogy of albums also saw the end of the first iteration of the band with the departure of Doug Aldrich and Jack Blades.

And then “Eagle Flight” landed in 2023.

Once I heard it, I had to write about it.

Joining Castronovo is Joel Hoekstra and Jeff Pilson. Two excellent musicians and songwriters with resumes to match.

But the main songwriter is Alessandro Del Vecchio again, the Max Martin, Jim Vallance and Desmond Child of Italy. according to my math, Del Vecchio’s song writing credits for Frontiers album releases would be a thousand plus. If it wasn’t for Del Vecchio, Revolution Saints wouldn’t exist.

With each song I will highlight the songwriters, to showcase the casting net that Frontiers President Serafino Perugino casts to get quality songs for his projects.

Eagle Flight

Written by Alessandro Del Vecchio, Francesco Savino and Rossella Moscatello. Savino and Moscatello are from the metal band False Memories, another Frontiers act, who released an album, “The Last Night Of Fall” in 2021.

This song is pure melodic rock with Castronovo’s tobacco stained Steve Perry like vocals.

Del Vecchio plays on this as well, delivering a stellar performance on the keys/piano.

Under the sky we will fly like eagles

Eagles are known for their strength, grace and ability to fly at great heights. Eagles are used to symbols of freedom, courage and vision. The phrase conveys a sense of freedom, power and soaring above our limitations. You can overcome obstacles, rise about your circumstances and experience a sense of exhilaration and triumph.

Our dreams are mirrored from our thoughts, grounded by a thousand hopes

Our dreams are a reflection of our thoughts and aspirations. Our minds project our desires and wishes into the world, creating a mental image or a “mirror” of what we hope to achieve. Each hope serves as a foundation, providing us with the strength and resilience to persevere through challenges and obstacles.

Talking Like Strangers

Written by Alessandro Del Vecchio and Joel Hoekstra and it’s a Hoekstra riff that kicks it off.

It’s got that major key vibe, and man that Intro solo from Hoekstra had me playing air guitar. Musically it sounds like a Firehouse song and I like it, as I think the first two Firehouse albums are excellent.

But the Chorus has that Euro Pop vibe. Almost ABBA like. And man, Castronovo hits some highs here.

Need Each Other

Written by Alessandro Del Vecchio and Italian pop songwriter Francesco Boccia.

The Chorus.

Press play on it it.

And then stick around for the guitar solo from Hoekstra.

Kids Will Be Kids

Written by Alessandro Del Vecchio and Kristian Fyhr.

Fyhr is the vocalist in several Frontiers acts like Seventh Crystal and House Of Lords.

An almost funky like groove starts it off, but once the intro guitar lead kicks in, its melodic rock heaven.

Castronovo is again nailing the vocal melody.

We were too young to know, that grown ups never lie, kids will be kids no matter what

It expresses the idea that when we were children, we were naive and unaware of the fact that adults sometimes deceive or lie.

As children, we tended to trust adults completely and believed that they always spoke the truth. However, as we grow older, we come to realize that adults are fallible and capable of dishonesty.

And regardless of what children may experience or learn about the world, they will still behave like children. Children have their own unique perspectives, innocence, and tendencies to be playful, curious, and impulsive.

The nature of childhood remains constant despite any revelations or disillusionment that may occur as children become more aware of the complexities of the adult world.

In an interview with Goldmine Magazine, this is what Castronovo had to say about it:

“It still has the pop sensibility of Journey but with Joel and Jeff in the band I feel it is a bit heavier.

I grew up with heavy metal and I love playing songs with that kind of power.

Johnny Gioeli, the singer from Hardline, who Neal and I had been with in the early 1990s, produced my vocals for me. I have always admired Johnny’s vocals. He coached me on Zoom.”

I’ll Cry For You Tonight

Written by Alessandro Del Vecchio and Francesco Boccia.

It’s like a ballad, but it’s still got enough weight to rock. Blues rock that is.

Crime Of The Century

One of my favourite tracks on the album and it’s written by Anders Wikstrom who is/was the guitarist and songwriter in the Swedish hard rock band Treat for the band’s first three records. Since the late 80’s he has amassed a portfolio of close to 300 credits on Discogs.

That Chorus hook remains with me long after the song is finished. Castronovo is channeling his love of Paul Stanley.

Gotta break thru the walls
Just to find that my heart is still beating

The idea of perseverance and resilience in the face of challenges or difficult situations.

Are you determined to overcome obstacles in order to discover that you are still alive and capable of experiencing life?

Set Yourself Free

Written by Alessandro Del Vecchio and it feels like it came from Night Ranger aka “Why Does Love Have To Change?”

Just press play and enjoy.

Sacred

Written by Alessandro Del Vecchio, Kristian Fyhr, Nikos Sofis and Saal Richmond. Sofis is a Greek songwriter/lyricist and Richmond is created the band IN-SIDE. If you like acts like Alan Parsons Project, Toto, Work Of Art and Europe then you will like IN-SIDE.

Jeff Pilson’s bass rumbles here perfectly locked in with Castronovo’s drums. It’s almost galloping.

Another favorite, just behind “Crime Of The Century”.

Once More

Written by Alessandro Del Vecchio and Francesco Boccia.

Castronovo is the highlight here, especially in the Chorus.

And Hoekstra nails the solo section.

Save It All

Written by Alessandro Del Vecchio, Kristian Fyhr and Stefano Mainini who also wrote songs for Sunstorm’s “Brother In Arms” album before this.

Hoekstra puts his stamp on this song. The guitars are phenomenal.

In most of the interviews I’ve read, Castronovo has said he doesn’t write lyrics and if it wasn’t for Del Vecchio, this project wouldn’t exist.

As a fan of Dokken and the song writing of Jeff Pilson, I would have loved to see some Pilson co-writes. Then again, the writers used here, have done a stellar job.

Crank it.

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Shattered

From Trading Yesterday.

A band project from David Hodges.

He walked away from Evanescence before “Fallen” exploded and after it he become a new Jim Vallance or Desmond Child or Max Martin in the song writing world of modern/pop rock.

But a musician needs to create and sometimes their creative output outweighs what the big labels require. So Hodges started to form some projects.

Let’s go back to 2003. Hodges and Mark Colbert began to collaborate and formed Trading Yesterday, recording music from an apartment setup.

A demo album listening party attracted the attention of Epic Records.

They finally got the green light to record an album and it was finished during the first half of 2005.

But.

The label deal with Epic fell apart which meant the “More Than This” album was shelved.

Sound familiar.

Welcome to label purgatory.

After returning to independent status, the band had their first demo album “The Beauty and the Tragedy” reprinted for sale on February 25, 2006.

Due to leaving Epic, “More Than This” was unable to be released due to licensing. However, the entire album leaked to the internet in December 2006. Thank you, Mr Internet.

“Shattered” is from that album, which finally got an official release in 2011 on an independent label created by David Hodges.

It is a hauntingly beautiful ballad that explores the pain and heartbreak of a failed relationship. But in this case, the failed relationship is between David Hodges and his faith.

The song starts off with a gentle piano melody that sets the tone for the emotional journey to unfold.

Yesterday I died, tomorrow’s bleeding, I fall into your sunlight

With “yesterday I died”, the phrase represents a significant loss or change that feels like a death. This could be a literal death of someone close, or a metaphorical death of a relationship or a part of oneself.

“Tomorrow’s bleeding” could suggest that further pain or difficulty is anticipated in the future. The use of the word “bleeding” creates an image of something raw or exposed.

“I fall into your sunlight” is seeking comfort or refuge in someone or something that brings light or positivity into our lives. The phrase “fall into” suggests a surrender or a letting go, allowing ourselves to be embraced by this source of warmth and hope.

And the song really comes to life at the 2.13 mark. There is a quiet piano. It’s melodic, haunting and yet hopeful.

Then the acoustic guitars come in and vocals.

There’s a light, there’s the sun
Taking all the shattered ones
To the place we belong, and his love will conquer

“There’s a light, there’s the sun” is interpreted as a metaphor for hope and positivity. The light and the sun represent brightness, warmth, and clarity, which can help dispel darkness and confusion.

“Taking all the shattered ones” are the people who are broken or wounded in some way. The phrase “shattered ones” could be a metaphor for people who have experienced trauma, heartbreak, or disappointment.

“To the place we belong” could be interpreted as a metaphorical destination, a place where the “shattered ones” can find a sense of belonging and acceptance. This could be a literal place, such as a community or a home, or a more abstract concept, such as a state of mind or a spiritual dimension.

“And his love will conquer” could be interpreted as a reference to a higher power or a divine force that can help heal and transform the “shattered ones”. The phrase “his love” could refer to the love of God or some other spiritual figure, or it could be a more general reference to the power of love and compassion.

Overall, this phrase conveys a sense of hope and optimism, that even those who are broken and wounded can find a sense of belonging and healing. It suggests that there is a higher power or a force of love that can help overcome adversity and bring people together.

The band announced in 2007 that they would change their name from “Trading Yesterday” to “The Age of Information”, with an EP, “Everything is Broken”, released on September, 2007.

But this whole project is forgotten. It shouldn’t be.

Press play on “Shattered”.

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Darker Still

“Darker Still” is a song by the Australian band Parkway Drive. It is also the title track of their 2022 album.

It is one of the best Metal tracks released in the 2020’s decade.

When it comes to Metal, there is always a discussion as to “what is Metal?”

Growing up in the 80s, there was a period up to about 1985 when any album with distortion guitar was classed as Metal.

This meant that you would find AC/DC, Bon Jovi, Motley Crue, Kiss, Metallica, Venom, Def Leppard, Iron Maiden, Black Sabbath, Ozzy Osbourne, Twisted Sister, Judas Priest, Van Halen, Scorpions and Quiet Riot (just to name a few) in the Metal section. Even Punk bands ended up in the Metal section.

But the scene fragmented. Blame the labels and MTV.

The massive sales of albums from Def Leppard, Scorpions, Judas Priest and Van Halen in 84 and 85, paved the way for the massive sales to come from Bon Jovi, Europe, Guns N Roses, Whitesnake and Def Leppard again between 1986 and 1989.

The labels needed new names and suddenly Glam/Hair Metal was a thing, Hard Rock was a thing, Melodic Rock was a thing, Thrash Metal was a thing, Death Metal became a thing, Melodic Metal became a thing and then Melodic Death Metal became a thing.

And somehow a thing called Black Metal and Extreme Metal became a genre.

On the other side you had Speed Metal, which morphed to Power Metal and then elements of that style became known as Symphonic Metal and another element became known as Pirate Metal.

And we all know that Grunge came and created a wasteland of rock acts. Industrial Metal and Industrial Rock started to rule the wastelands, and then Alternative Rock and Alternative Metal came briefly just to give way to Nu Metal.

And before Nu Metal, there was Grindcore, Hardcore, Doom Metal and everything else that didn’t fit in.

Parkway Drive started off in the 2000s with a Metalcore label. Metalcore is described as a fusion music genre that combines elements of extreme metal and hardcore punk. Its known for its use of breakdowns, slow, intense passages conducive to moshing.

These days Parkway Drive is basically a Metal act (and a pretty big one) that has so many different styles in their repertoire.

Like Metallica.

Metallica in the 90s, had became a very different version to the speed Metal band that started off. While their 80s output focused on speed, they did push some boundaries in the progressive Metal world before scaling it back to end up with the biggest selling groove Metal album ever.

Then they incorporated Blues Rock and Southern Rock into their sound for the “Load” and “Reload” album cycles. And when Nu Metal became a thing with no guitar solos becoming the norm they did this as well with the “St Anger” album. But since the fans became madly in anger with them, they never returned to the “No guitar solos”.

Metal to me is an “anything goes” attitude. And that’s what Parkway Drive brings to the table.

“Darker Still” has a lot of solos. Melodic solos. Emotive and sad by Jeff Ling who is the lead guitarist and man, he plays the sections wonderfully. But the recording sessions for this album along with some personal issues broke him and he lashed out badly at vocalist Winston McCall.

Just the way it begins with the whistling and the acoustic guitar is enough to hook me in.

But it’s the whistling melody which comes in at the 28 second mark that forms the foundations of the song. Because the same melody appears later as a solo, and with a choir and with violins and it’s massive.

Especially from 4.08. You hear it all, the guitar lead, the voices and the violins. Just close your eyes and let the music take you away.

And Ling breaks free again, for one of his best solos.

The song’s lyrics to me are about a person struggling with depression and the darkness that comes with it. It describes the feeling of being trapped in a cycle of self-destructive behavior, unable to break free despite the toll it takes on their life and relationships.

The chorus of the song is powerful, with the lyrics “And the night grows darker still”

This line speaks to the idea that even in the darkest moments of our lives, there is still hope and the possibility for redemption and recovery.

After they finished doing the tracking for the “Darker Still” album, the band members started the process of breaking up. No one wanted to be in the band anymore.

More volatile meetings were held and the guys realized they needed help.

Rhythm guitarist and manager, Luke Kilpatrick, saved the band. He suggested that they get counseling. Like Metallica.

The April 2022 tour they cancelled of the U.S for undisclosed reasons was due to the weekly counseling sessions they started to have.

And they made it.

Until I die, until I die and the night grows darker still.

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Dust And Gold

A shimmering clean tone guitar sets the song but it’s the vocals from Dave Hodges which makes me a fan.

Yes it’s the same David Hodges who was a studio contributor to Evanescence between 1999–2002 which accumulated in the “Fallen” album.

He has since had success co-writing and co-producing for various pop, pop rock and country artists, including Kelly Clarkson, Celine Dion, Daughtry, Backstreet Boys, Avril Lavigne, David Archuleta, Christina Aguilera, Carrie Underwood, Jessie James, 5 Seconds of Summer, and Tim McGraw. His career is basically an “A to Z in Making It”.

“Dust and Gold” is a song by Arrows To Athens, a David Hodges band project. It was released as a single in 2011 and later included on the band’s debut album, “Kings & Thieves” released in the same year.

It’s sitting at 5.4 million streams on Spotify. Forgotten. It’s a tragedy.

It’s down to you and me
On these cold and empty streets
Forgotten what we’re living for

The “you “ in this case is the persons belief.

The lyrics describe a struggle to find meaning and purpose in life. Their is reflection on the challenges and hardships faced, and wonders if there is any deeper significance to the experiences.

All I see are kings and thieves
When all I own is just dust and gold

The album title in the Chorus of another song.

The phrase could be interpreted in a few different ways, but generally, it speaks to the idea that people in power and those who steal or exploit others, who are normally the ones in power, seem to be the most visible and influential figures in society, while the second part of the phrase, “when all I own is just dust and gold,” could mean that the person has come to the realization that material possessions, hold little value in the grand scheme of things. This may contrast with the wealth and power of the kings and thieves mentioned in the first part of the phrase.

It can also be interpreted as a metaphor for the idea that while we may be insignificant in the grand scheme of things, we still have value and worth.

The mood and feel of the song has made it a popular choice for use in film and television, and it has been featured in trailers for movies like “The Mortal Instruments: City of Bones” and TV shows like “The Vampire Diaries.”

Musically, “Dust and Gold” features a driving beat and soaring vocals, with a sound that is reminiscent of bands like Thirty Seconds to Mars and Imagine Dragons.

Overall, “Dust and Gold” is a powerful and inspiring song that speaks to the universal human desire to find meaning and purpose in life, and to recognize the value of our own experiences and struggles.

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1976 – Part 5.9 and Australian Method Series: Status Quo – Blue For You

“Blue For You” is studio album number 9 for Status Quo released in March 1976. Coming into this album, they had built up a pretty solid fan base in the U.K, Australia, Netherlands, France, Spain and New Zealand.

And they never properly broke through into the U.S market on the backs of sales, but with the streaming numbers they are getting these days, you could say that the band has broken into U.S market.

How many bands get a chance to record 9 albums?

And guess what, their biggest songs, would come on subsequent albums?

Status Quo for this album is John Coghlan on drums, Alan Lancaster on bass/guitar and vocals, Rick Parfitt on guitar/keyboards and vocals and Francis Rossi on guitar and vocals.

Is There A Better Way

Is there a better song that merges pub rock, rock and roll and a bit of street attitude then this?

Press play and let Status Quo mesmerize you with this.

Mad About The Boy

A 12 bar blues boogie tune. 

Ring Of A Change

Thousands of bands played like this in 1976. Some had success doing it and others didn’t. Status Quo had very good vocalists behind this with pop like sensibilities who also rocked hard.

Blue For You

The title track. It’s got that 60’s rhythm and blues feel. 

Rain

I’m a fan of the more energetic songs like this one. 

Written by guitarist Rick Parfitt, “Rain” also became the first single from the album, reaching No. 7 in the UK charts after its release in February 1976.

Its B-side was the non-album track “You Lost the Love”, written by Francis Rossi and Bob Young.

The riffs in this song can be heard in the NWOBHM which came after. When ELO decided they wanted to rock, they sounded like this. They would use this kind of riff to greater commercial success later on with “Whatever You Want”. AC/DC also made a name for themselves jamming on chord vamps like this.

Rolling Home

It has this “Radar Love” blues rock vamp happening. The only thing you could do is tap your foot and rock on.

That’s A Fact

I love the groove on this. It’s almost funky, but not. It also reminds me of “American Woman”.

Ease Your Mind

It’s a bit of Beatles, it’s a bit of rock and roll and a bit of soul. And a like it.

Mystery Song

It’s like a progressive rock song without the time changes as the song goes through moods between atmospheric dream like folk rock to a full blown pub rocker.

And the album ends here. 

But in 2005, they re-issued the album with some bonus tracks.

You Lost The Love

Dreamy pop rock written by guitarist Francis Rossi and Bob Young.

Wild Side Of Life

It sounds like a Beatles cut. And I like it. 

It’s a cover song made famous by country singer “Hank Thompson and His Brazos Valley Boys” (now that is a band name) and written by Arlie Carter and William Warren.

It was originally released in 1952, and while it wasn’t on the original album for Status Quo, they did release it as a single in December 1976.

A perfect Christmas gift for those hardcore Status Quo fans. Its B-side was a new composition called, “All Through the Night”. The single reached No. 9.

Remember when artists used to do this. Release albums and singles more frequently. This was the strategy up to about 1985.

The rise of MTV in the 80’s and the “Blockbuster Release” strategy of spending a lot of dollars to get an album that each song could be a potential single (think “Thriller”, “Born In The USA”, “Brothers In Arms”, “The Joshua Tree” just to name a few) changed this model, because everything was about maximising the promotion of each release so the act could get multi-platinum sales.

There were a few surprises like “Back In Black” from AC/DC, “Pyromania” and “Hysteria” from Def Leppard, and “Slippery When Wet” from Bon Jovi. They were just albums put together and they sold even higher than the “Blockbuster” albums.

And a bit of trivia, bassist Alan Lancaster had to come back home to Australia, so the bass duties on “Wild Side Of Life” are done by Roger Glover from Deep Purple.

All Through The Night

It’s got this heartland vibe written by guitarist Francis Rossi and bassist Alan Lancaster. I dig the major key riff which is played under the chorus hook.

If you are keen to check out some 70’s hard rock and blues with smooth vocals, press play on this.

P.S.

Status Quo are a British rock band formed in 1962 and originally called “The Scorpions”.

I am stretching the Australian link because founder and bassist Alan Lancaster, moved to Sydney after meeting his Australian wife.

After Status Quo, Lancaster played with leading Australian bands, The Bombers and The Party Boys.

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

How Has It Aged: Evergrey – Glorious Collision

A long time ago, I read a review on an old Yahoo run site, that classed Evergrey as “Doom metal” and “Dark Metal”. There is no doubt that Evergrey has built a career on writing songs that deal with sorrow, depression and a whole range of dark emotions. I have read reviews that state the band should lighten the fuck up.

But hey, no one said that life is pretty.

Evergrey’s 2011 album “Glorious Collision” is their 8th album. Like the albums before it, and like the albums that came after, it is a powerful and emotional journey through the human experience.

The press release had something like, the album’s sound is characterized by heavy guitars, soaring vocals, and intricate melodies that create a wall of sound that’s both intense and immersive.

But the reviews weren’t that kind. The usual websites who give every artist glowing reviews kept the reviews glowing, but when you get down to the more elitist blog sites, the reviews weren’t that kind.

The power metallers didn’t like, as they saw the band selling out and moving more into a commercial classic rock setting. The progressive websites kept saying they are not progressive anymore, just bland modern metal.

But, music is a connection between the artist and the fan. And Evergrey, courtesy of founder/vocalist/guitarist Tom Englund have fostered that connection with each album.

Production duties for “Glorious Collision” are also handled by Tom Englund.

But. Remember. Life isn’t pretty.

In May, 2010, before the album recording/writing even started, drummer Jonas Ekdahl, guitarist Henrik Danhage and bassist Jari Kainulainen left Evergrey. The press release said it was by mutual decision due to problems with the band members interacting with each other. The best outcome was to call it quits as to not ruin the friendship they all have with each other. Ekdahl and Danhage also went on to play with DeathDestruction, a Metal Hardcore band formed by Ekdahl and vocalist Jimmie Strimell from Dead By April.

For this album, founder Tom Englund is on vocals and guitar and Rikard Zander is on keyboards. Joining them is Marcus Jidell on guitar, Johan Niemann on bass and Hannes Van Dahl on drums. Female vocals are provided by Carina Englund (Tom’s wife at the time) and their daughter Salina Englund does guest vocals on “I’m Drowning Alone”.

Leave It Behind Us

In the twilight of the line-up changes and the turmoil of what was left of the band, Englund and Zander didn’t even know if they were going to continue. From 5 members only two remained. Then they wrote “Leave It Behind Us”.

All things that were known now are changing

It sums up what Englund felt back then and it also represents the melancholy of the album. The music is written by Tom Englund and Rickard Zander with Englund writing the lyrics as well.

You

The music is written by Englund and Marcus Jidell with lyrics written by Englund. It’s a classic rock track with a modern metal sound. And I like it.

And if weakness is a virtue
And an act of strength a pride
Then I am king and misery’s my empire

It’s a song about being let down, because the “you” in the song, is the one who said they will be there. But their nowhere to be seen.

Wrong

It’s another Englund and Zander composition.

The album’s standout track which features a powerful vocal performance from Englund and an uplifting chorus that resonates. The song encourages you to stay true to yourself in the face of adversity.

It’s also the first single and it was certified gold in the band’s home country for sales in excess of 10,000 copies. I know it’s not a lot when you live in the North American market, but for a small market like Sweden, it’s plenty. This is also the band’s first certification in Sweden as well the first certification for their label at the time, Steamhammer/SPV in Sweden.

I always thought that I would know
That when things were broken it would show
Somehow I thought I always knew
The difference between the lie and truth

Blindsided by change. It’s never easy to deal with, especially when you are the one being blindsided.

It’s obvious Englund is writing about a relationship. And the way the lyrics are written, most people might think it’s about a romantic relationship, but in the end it could be about any kind of relationship, romantic, parental or friendship.

Frozen

Like the opening track, this hard hitter has music written by Zander and Englund with Englund writing the lyrics.

Everything is built from change
All the things we recreate
Fallen – lost – forsaken faith
The unspoken made us frozen

It’s a powerful opening verse.

It’s bleak, and it shows how not talking about matters when you need to, leads you to being frozen many years later, when a separation happens.

Restoring the Loss

Written solely by Englund. Despite the heavy subject matter, there’s also a sense of hope and resilience that runs through. The song explores the power of forgiveness and redemption.

Don’t ask me to stretch any longer
These arms are strained beyond what they can take
Don’t ask me for strength cause it’s gone
And I’ve reached my end restoring the loss to faith

We’ve all been there. As a species we don’t know how to say NO to people. So we end up worn out, used and unable to meet any commitments.

To Fit the Mold

This song connected straight away.

Lyrics are written by Englund with the music coming from Englund and Jidell. The song lyrically explores themes of conformity, loss, pain, and isolation.

We’re scared we’ll end up to nothing
And we change to fit the mold
We are…
We’re accidents forced to happen

It’s a brilliant chorus. You really don’t know how strong family and social ties are in your life, until you get older. The conformity that these two institutions want to happen, is at another level.

I know from my point of view, I had to set some boundaries when it came to dealing with family, because it didn’t matter what I did, people were never satisfied.

Out of Reach

Lyrics are written by Englund with the music coming from Zander and Englund.

So what now my friend
Where do you go from here
When will the dark days end
And all the clouds clear

Falling out of reach
You can’t prevent it
You can’t cause
All wounds won’t heal

One thing I know in life, is that change is constant. The biggest argument I have ever had is with people close to me, like family or friends. It’s always the case. They felt that my actions disappointed them, and I felt the same way towards them. When partners get involved, it makes it even more complicated.

When I think of the word “wounds” in the song title, I think of the hurt that is felt after words have been said. Because the mind, remembers everything.

The Phantom Letters

We get a trilogy of cuts written solely by Englund, with “The Phantom Letters”, “The Disease…” and “It Comes From Within”.

I like the melancholy and moody atmosphere this song creates.

All the words that I leave offer reasons
Holds the keys to the doors that I’ve locked
And I knew they would never be opened
Cause the ashes fall from heaven

If you are into self-development books, this is the chapter that says to keep a journal and to write down each day, what you are grateful for, what you have accomplished and what you could do better. It’s also there to write down your fears, concerns and words you want to say to others but due to how you are brought up, you are unable to.

The Disease…

It’s a journey through the ups and downs of life, exploring themes of loss, pain, and isolation.

Been loyal to the blind
Had friends that were not mine
I failed to see the disease before it created distance

Englund is not finished about the departure of the previous members. The album highlights his emotions at this point in time.

It Comes from Within

And I’m lying here
So tired so torn
Threat comes from within

It’s taking me over
It’s making me weak
Brought my doubts to the surface
It’s leaving me helpless with no air to breathe

We are our own worst enemies. Our minds can trick us into doing everything or nothing.

Free

Lyrics are written by Englund with the music coming from Zander and Englund.

It’s a very depressing song but there is a little bit of hope in the Chorus. Here are the lyrics, you decide.

I’ve read your words
I understand it’s said it’s done
I walk away in fear of what you said that I’ve become
Can’t change your words now they are stains made to stay

Free are those who walk away from setting suns
And free are those who laughed at chains that held them bound
Free are those who conquers in vain but won’t stop to run
Battered and down they pick up their pieces to rise as one

Free are souls who wander alone in the shade of sun
And free are those who’s forgotten by all but still warm inside
Free are they with no intention to fold never bend for the cold
Just to find someone too

I’ve read your words I understand it’s said it’s done
I walk away in fear of what you said that we’ve become
Can’t change our words now
Can’t make them undone
I’ll walk away
I’ll walk away
Just walk away

I’m Drowning Alone

Lyrics are written by Englund with the music coming from Zander and Englund. The child choir is haunting here as they are singing the “release me from darkness” part.

Release me from darkness
Release me from all that chains me here
I’m drowning in silence
And I’m drowning alone

I hate to ask but I wouldn’t if I didn’t need it
Not stronger on my own
I’m weaker just so much weaker
And I know I never asked
But I need you to help me

It’s okay to ask for help. So don’t be afraid and do ask for help.

…And the Distance

Lyrics are written by Englund with the music coming from Zander and Englund.

I always presumed that since “The Disease” had three full stops at the end of it, and “The Distance” had three full stops at the start of it, that these two songs originally made ONE song called, “The Disease And The Distance”.

You’re keeping your distance, you’re pushing me away
You’ve never let me say the words I want to say
Our time here has withered
Our circumstances changed

The themes of keeping silent to keep the peace run throughout the album. And the last song demonstrates that keeping the peace doesn’t lead to a happy future. It just delays the inevitable war that is about to come in a few years, maybe even a decade.

In its first week or release the album sold 900 copies in the United States. Hardly ground-breaking, but Everygrey always had a cult-like following. I actually purchased my version from the U.S Amazon Store. So I am not sure if my purchase counts as a U.S sale or an Australian sale.

The album was a new dawn, a new era. But that new dawn didn’t last.

The break with drummer Jonas Ekdahl and guitarist Henrik Danhage was civil enough to begin with, so when things started to break down with guitarist Marcus Jidell and drummer Hannes Van Dahl, the former members were soon back in the fold. I also think the commercial failure of their side project DeathDestruction also helped speed this reunion up.

But their side project was also halted when vocalist Jimmie Strimell left to focus on Dead By April, as they appeared on the Swedish Eurovision Song Contest and got a second breakthrough in Sweden.

In relation to the Evergrey change, it happened when writing for the follow-up album started. Via Facebook posts, the band first confirmed that drummer Hannes Van Dahl would be leaving the band to join Sabaton as a full-time, and then due to “problems working together” guitarist Marcus Jidell would also be leaving. Van Dahl, is still with Sabaton, appearing on their last four albums. Marcus Jidell has been busy. He has Avatarium, who are actively releasing new product, plus The Doomsday Kingdom, and between 2015 and 2018, he played guitars in Soen.

As a fan, there is not a weak track on the album.

Overall, “Glorious Collision” is a triumph for Evergrey but more so a triumph for Tom Englund, who kept the identity and brand of Evergrey running, when he felt like he had nothing left to offer. His ability to combine heavy, atmospheric music with deep, introspective lyrics is truly impressive, and this album is a testament to his talent and dedication. If you’re a fan of heavy metal and rock or just appreciate well-crafted music with emotional depth, this album is definitely worth a listen.

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The Record Vault: Dream Theater – Live At Budokan

This is one of my favourite live releases from the 2000 era. Dream Theater is touring on the back of their most metal album ever in “Train Of Thought”.

“Live at Budokan” was recorded at the Nippon Budokan Hall on April 26, 2004 in Tokyo, Japan and released on October 2004. It’s the same venue as “At Budokan” from Cheap Trick, however the audio for the Cheap Trick album was from the Osaka show, as the audio from the Budokan show was unusable.

Due to time constraints for the set, the songs “The Great Debate”, “Under a Glass Moon” and “Caught in a Web”, which included an extended drum solo, were removed from the set list at the last minute.

As I Am

It makes sense to kick off the show with the opening track “As I Am” from the “Train Of Thought” album with its ominous Black Sabbath like intro making way for a Metallica like riff. Of course, any influence from the past is done in the Dream Theater way with some fills and different endings on the 4th bar.

This Dying Soul

It also makes sense to feedback into the thrash metal like “This Dying Soul”.

The song actually moves through quite a few musical and vocal styles. It reminds me of “Beyond This Life” which also comes next. While James LaBrie cops a lot of flak, he is a very diverse and unique singer who can cover a lot of different vocal styles.

Scene Four: Beyond This Life

They take a long song and extend it to 20 minutes in length. For a band that is very technical and very precise, they really like to be loose and just jam. Sometimes I wish they didn’t, but hey, if I wanted to hear the songs as per the album, then I would just press play on the album. This is another song that moves through a lot of styles musically and vocally.

Hollow Years

This is why the live album is a favourite.

The song is extended. But, it’s not just extended for the sake of it.

The intro has John Petrucci on acoustic guitar doing some flamenco/classical like leads over the verse chords that Jordan Rudess plays on the keys. The actual song (like the studio cut) version starts at 1.20.

At 5.30, there is an approx. 2 minute guitar solo which John Petrucci shreds on. And you know how in concerts the guitar solo spotlight is just that, the guitarist and no one else. Well, here Petrucci uses the songs solo chordal structure and the whole band for his spotlight.

It’s basically them extending the songs solo section. Something like how The Black Crowes do. And it is excellent.

If you are a guitar player you need to hear this. If you are not a guitar player you still need to hear this. This is why I go to the live show. To hear artists communicating musically on stage. Even James LaBrie thinks this is a highlight, as he screams in the microphone at 6.21, Mr John Petrucci and the crowd roars their approval. At 6.40 it’s over and they are back into the song’s pre-chorus.

War Inside My Head / The Test That Stumped Them All

These two songs are back to back in the “Six Degrees Of Inner Turbulence” song and they always should be played back to back. They are thrash groove Metal done in Dream Theaters way.

Endless Sacrifice

I get the same goose bumps when I hear the live version as I do for the studio version.

Instrumedley

It wouldn’t be a Dream Theater show if it didn’t have an instrumental song created purely for the live show.

In this case and on this tour, they take sections from their instrumentals and the instrumental sections from lyrical songs and create some new jams with it and they must have had a proviso that said it had to be at least 12 minutes long.

It’s broken down like this.

I. The Dance of Eternity
II. Metropolis—Part I: ‘The Miracle and the Sleeper’
III. I. Erotomania
IV. The Dance of Eternity
V. Metropolis—Part I: ‘The Miracle and the Sleeper’
VI. The Darkest of Winters
VII. When the Water Breaks (Liquid Tension Experiment Cover)
VIII. The Darkest of Winters
IX. Ytse Jam
X. The Dance of Eternity
XI. Paradigm Shift (Liquid Tension Experiment Cover)
XII. Universal Mind (Liquid Tension Experiment Cover)
XIII. The Dance of Eternity
XIV. Hell’s Kitchen

As a fan of those musical sections, it didn’t feel long nor boring. Plus you get some “Liquid Tension Experiment” sections, which I am also a fan of.

And they finish it off with my favourite section from “Hell’s Kitchen”.

Trial Of Tears

The keyboard ringing out segues into “Trial of Tears”. Another massive cut at almost 14 minutes long.

But it never gets boring, bringing back memories of 70’s progressive rock with a hook that reminds me of “While My Guitar Gently Weeps” (the “it’s raining” part).

New Millennium

This song rocks.

I can get over how hard rock sounding the song really is. Its technical but still rooted in hard rock. Maybe because the keyboard parts are written by Derek Sherinian originally.

The style of Allan Holdsworth and what EVH was trying to do with “Van Halen III” comes to mind here musically.

Keyboard Solo

It’s a skip for me. Not all live shows are killer.

Only A Matter Of Time

A track from the long forgotten debut album. This track had embryonic elements of songs like “Learning To Live”, “A Change Of Seasons” and “Metropolis” that would come after.

Goodnight Kiss

It’s almost like a lullaby. Very Pink Floyd like with the shimmering clean tone guitar and samples of children voices playing. It’s another song within the massive “Six Degrees Of Inner Turbulence” song. Petrucci’s lead break is full of hope and wonder.

Solitary Shell

They continue with the major key vibes and go into “Solitary Shell” from the “Six Degrees Of Inner Turbulence” album. This one is very Peter Gabriel like.

Stream Of Consciousness

Another instrumental from their recent album. LaBrie gets a chance to rest while the remainder of the band jam for another 12 minutes. And the song goes through so many different movements, you cannot get bored listening to it.

Disappear

Press play to hear the section between 4 and 5 minutes. James LaBrie. What a vocal performance. Brilliant.

Pull Me Under

When I saw this album title for the first time ever, I just presumed it was a song about getting jerked off. Man, was I wrong. Never judge a song by its title.

As soon as the acoustic guitar lines start, the crowd is at its loudest and it’s all systems go.

In The Name Of God

Press play to hear the bone crunching riffs and the jazz fusion like lead section which has Petrucci wailing away at supersonic speeds.

And it’s not an easy song vocally with a lot of highs, but LaBrie does it well.

I have the DVD and the CD of this release. The DVD was also certified Platinum in January, 2005.

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1976 – Part 5.8: Camel – Moonmadness

John Field designed the cover after the label sent out a job order to different artists. They only had the title of the album to work with.

This is the thing.

Bands in the 70’s experimented. They experimented with song structures and most importantly with sounds. As the technology got better and the studio techniques got better, the sounds just happened to get better.

And sometimes artists would get it right and at other times they would get it wrong.

I had a quest in the 90’s.

To listen to as many progressive bands and artists from the 70’s I could find. In my favour was the price crash of vinyl. For those who don’t know, most people were selling or giving away their vinyl collections as they made the transition to CD’s. Suddenly the second hand record shop had more people visiting it than the actual “record store” which sold overpriced CD’s.

Then in the late 90’s, peer to peer sharing would become a thing which would lead to even more discoveries.

So Camel.

I would see the band name in lists of progressive artists to check out from the 70’s in various magazines I was purchasing.

“Moonmadness” is studio album number 4 released in March 1976 on Decca and Gama Records and is their last album recorded by the group’s original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward.

The band broke through with the previous all instrumental album called “The Snow Goose” and for “Moonmadness” they decided to incorporate vocals.

Aristillus

A 2 minute instrumental that does nothing.

Song Within A Song

I heard Kansas first and this song feels like a Kansas song in the intro, before it goes into a Pink Floyd “Us And Them” kind of feel.

At 3.15, it goes into a musical interlude. It’s slow, it’s got time changes and yet it is hummable. Who said that to be progressive you need to be technically excellent and be able to play time changes at break neck speeds?

And you don’t get a Camel record to listen to memorable vocal melodies. Its music first and vocals are a distant last.

Chord Change

It sounds like a TV intro theme.

Spirit Of The Water

The intro has this “Moonlight Sonata” feel and I like it.

The song just percolates and it feels haunted especially the piano melody.

Keyboardist Peter Bardens who also wrote this, shines. Press play to hear it.

Another Night

King Crimson comes to mind. A repeating guitar line, is echoed before the excellent main riff comes in.

And that main riff is excellent.

Press play to hear this song.

Air Born

Skip

Lunar Sea

Skip

On Spotify, the release is an expanded edition which has the single edit for “Another Night”, which is all about the riff and it is an excellent edit. There is also the piano demo for “Spirit Of The Water” which is even more haunted and impressive.

In other words, press play to hear these two tracks,

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