Category Archives: Unsung Heroes

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

1984 – VIII – Loose Feet In The Pleasuredome

This is the final 1984 post where everything else fits in. This is the music which came into my life from music television, movies and the older siblings from my friends, or my brothers friends.

And if you look at some of the sale numbers from the albums, these albums became so big it was hard to avoid the songs on them as radio played em and music television played em.

Here is the playlist.

Footloose

The movie was everywhere.

It’s music was everywhere.

There wasn’t a person alive in 1984 that could have missed this cultural phenomenon.

And it’s funny how the same repeat offenders appeared on the same big soundtracks.

Kenny Loggins delivers a stellar title track, with roots in the 60’s Rock and Roll movement. He also wrote “Danger Zone” for the “Top Gun” movie in 1986 , “Hearts On Fire” for “Rocky IV” and “Meet Me Half Way” for Stallone’s “Over The Top” which also had a killer Sammy Hagar track in “Winner Takes It All”. Stan Bush was another artist who had his songs appear in movies.

Ann Wilson (from Heart) and Mike Reno (from Loverboy) deliver a stellar ballad in “Almost Paradise”.

Bonnie Tyler’s anthem, “Holding Out For A Hero” appears while “Somebody’s Eyes” by Karla Bonoff is very Police like; just think of “King Of Pain”, even Gotye would have been inspired by it.

“The Girl Gets Around” from Sammy Hagar is on the soundtrack, but it’s not on the Spotify version of the soundtrack, but then again, a lot of the Sammy stuff is missing from Spotify Australia.

The original soundtrack ended with the song “Never” from Moving Pictures. And that synth lick to kick the song off, sounds heavy on distorted guitar. Plus it has a galloping riff in the verses which reminds me of “The Trooper” verses.

In 1998, a 15th anniversary edition was released and it added “Bang Your Head (Metal Health)” from Quiet Riot, “Hurts So Good” from John Mellencamp and “Waiting For A Girl Like You” from Foreigner. To me, it’s a triple home run and almost 10 million in sales in the U.S alone.

Huey Lewis And The News – Sport

This album really came out in 1983 but its success came in 1984.

Over 7 million in sales in the U.S. plus extra royalties, when Huey Lewis put in a copyright complaint against Ray Parker Jnr for using, “I Want A New Drug” and renaming it “Ghostbusters”. 

And “Walking On A Thin Line” could have come from John Mellencamp, so it was no surprise that the album crossed over to different styles.

But overall, I couldn’t relate to any of the other songs.

Weird Al Yankovic – In 3-D

“Weird Al” found a niche.

What a great concept to make parodies of popular songs, all the way to platinum sales.

“Eat It”  kicks it off, a parody of “Beat It” by Michael Jackson. The clip was doing the rounds routinely on the music video TV shows so there was no way to avoid it.

There are some misses, and then “King of Suede” starts, a parody of “King of Pain” by The Police, about a discount sale happening for suede.

The “Theme from Rocky XIII (The Rye or the Kaiser)” is a parody of “Eye of the Tiger” by Survivor and hits the mark about a boxer who purchased a deli and is asking customers, do you want the rye or the Kaiser roll.

Billy Ocean – Suddenly

Now here is another artist that sold a lot of product, with over 2 million in sales in the U.S.

From the first four albums, that is close to 20 million in U.S sales.

“Caribbean Queen” hits the mark. Just check out the chorus vocal melody.

“Loverboy” has some cool single note pentatonic riffs in the verses and a Chorus that sounds like “Pour Some Sugar On Me” and “I Love Rock N Roll”.

“Suddenly” is a power ballad. It’s a massive song and it would work in a hard rock context. Replace the piano riffs with acoustic guitars and the song will start to sound like a Beatles/ELO blend.

Frankie Goes To Hollywood – Welcome To The Pleasuredome

Here is another artist that couldn’t be avoided. The film clips for “Relax” and “Two Tribes” were in constant rotation.

“Two Tribes” had this riff that reminded people of Pink Floyd and suddenly, they are crossing over into the Floyd’s fan base.

And the cover of “Born To Run” from Bruce Springsteen does the original justice.

Madonna – Like a Virgin

Regardless of your viewpoint, Madonna knew how to market herself and bend the media to her will. The film clips to “Material Girl” and “Like A Virgin” will be forgotten with time, but for anyone who lived through the 80’s they still remain in our memories from over exposure.

And my neighbour, she was into Madonna, so I kept hearing the songs mentioned along with “Dress You Up” and Stay” over and over again. And Madonna built a career on this album, with over 10 million in sales in the U.S and over 20 million in sales worldwide.

Billy Squier – Signs Of Life

Just forget about the video clip and the visuals and let the ears guide you.

“All Night Long” is a rocker, with a catchy guitar riff and vocal melody, with a hedonistic guitar solo.

“Rock Me Tonite” has a keyboard riff which sounds like it came from a Queen album and a guitar riff that decorates it nicely.

“Reach For The Sky” has this “King Of Pain” feel from The Police, like the song “Somebody’s Eyes” from the Footloose soundtrack by Karla Bonoff.

“Can’t Get Next To You” has a guitar riff that feels like it’s got a bit of “Long Way To The Top” and in the Chorus it’s a bit of “All Right Now”. Music is a sum of influences. 

Wham – Make It Big

There was no escaping Wham and their hit songs like “Wake Me Up Before You Go Go” on music television and radio.

But the song on this album is “Careless Whisper”.

Listen to it, it’s a bonafide hard rock song and it crosses over easily. It’s one of George Michael’s best songs.

Seether covered it in the 2000’s and did a stellar job with it, especially how they translated the saxophone solo into a fuzzed out guitar solo. 

Zebra – No Telling Lies

It didn’t do great commercial business compared to the debut and it got the label worried. It’s not a bad album, it’s just not as good as the debut. The material feels like more filler than killer.

In saying all that, how good is the intro riff to “Wait Until The Summers Gone” and that exotic Arabian sounding lead break?

“I Don’t Like It” is a good listen.

And then the intro riff starts for “No Telling Lies” and I’m stopped in my tracks. Once the vocal melody kicks in, I’m hooked. It’s not a track for the charts, it’s a track for the artist. And these kind of tracks hook in the real fans.

Armored Saint – March of The Saint

One song defines this album to me and it’s “Can You Deliver”.

It’s perfect and timeless.

The pedal point intro riff kicks it off and it gets doubled for the verses. The vocal melody starts off in one register and goes higher as it builds.

Even CC DeVille was listening intently, as it seems he used the riff for “Look What The Cat Dragged In”.

The Angles – Two Minute Warning

If you like AC/DC then you will love this album. I guarantee it or your money back. They had a bigger selling album towards the late 80’s, but this one is my favourite.

They are rock and roll royalty in Australia, with their street brawling rawk and roll.

“Small Price” has a groove reminiscent to “Long Way To The Top” from AC/DC.

“Look The Other Way” is another foot stomper in the vein of AC/DC.

“Underground” has a vocal delivery that Bon Scott delivered from the grave and “Razor’s Edge” continues the AC/DC spirit.

Running Wild – Gates To Purgatory

It’s basically Metallica’s “Kill Em All” merged with the fast songs from Iron Maiden’s catalogue, merged with the fast songs from Motorhead’s catalogue with a touch of Scorpions thrown in.

My favourite track is “Soldiers of Hell” because of the harmony guitar solos. “Preacher” sounds like a song a more popular band copied and made popular. “Prisoner Of Our Time” has a kick arse hard rock riff.

And that’s a wrap for 84. I started this series in March, 2018 and it’s finally done.

Here are all the other posts.

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

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Classic Songs to Be Discovered, Derivative Works, Music, Unsung Heroes

The Record Vault – Bond

The song “Explosive” was used as the Australian theme song, during the 2004 Athens Olympics TV coverage in Australia, so without a doubt, it sent this album and the song to Number 1 and platinum sales.

And “Classified” is the third studio album. The band still performs to this day, only changing one member, who left to have a child.

The performances are top notch and credit needs to be given to Croatian songwriter Tonci Huljic who wrote the score to the song.

To me it’s a melodic rock instrumental done in a way which is very accessible.

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

1978 – Part 2 – “Never Say Die To Infinity” said the Hemispheres

It’s hard to believe that in 2019, I still listen to albums released in 1978, 41 years ago, but in the 80’s like 1986, I couldn’t fathom listening to music from 1945. And I still cant.

My eldest one, who is is 14, listens to 70’s music. Last night, “Free Bird” from Lynyrd Skynyrd was cranked. The middle child, who is 13, has been cranking “Sultans Of Swing”, “Aint Talkin Bout Love” and “Eruption” as they both fumble around the fretboard learning the songs on guitar. So the 70s are back baby.

Here is part one and now for Part two.

And here is the Spotify playlist.

Journey – Infinity

The wheel in the sky keeps on turning alright. Robert Fleischman was hired as the new vocalist before being un-hired and Steve Perry was in. Fleischman would resurface many years later as part of Vinnie Vincent’s Invasion.

This is Journey before the mainstream hits, but the start of what would become the commercial beast. And the bluesy Hendrix like “Lights” kicks it off.

How good is the guitar solo from about the 2 minute mark from Neal Schon?

“Anytime” sounds like an ELO/Eagles song merged with “Who Are You” from The Who. And I like it, especially when Schon comes to town with his bends and legato during the solo.

“La Do Da” comes from out of nowhere, a speed rock track, the anti-hero to the laid back Southern Rock vibe of the first three tracks.

“Patiently” is one of my favourite tracks from Journey, especially from about 2.10 and to the end. Listen to Schon wail with a bunch of sing along licks. And it’s progressive in its song writing.

And the piece d resistance is “Wheel In The Sky”. It hypnotised me to pick up the guitar and start learning it, from the opening notes. And Perry’s vocals are perfect, sorrowful and emotive.

How good is the intro to “Winds Of March”?

It’s like “Battery” from Metallica to me. And I am sure Dave Meniketti was listening and being influenced here, for “Winds Of Change”. Then it changes into a rocker from about 2.50 minute mark and I am tapping my fingers, and Schon begins to wail about the 3.50 minute mark and its beautiful and inspirational.

Whitesnake – Trouble

David Coverdale is rolling along with his post Deep Purple career. “Trouble” is known as the first Whitesnake album, however after the success of the 1987 album, the David Coverdale solo albums “White Snake” and “Northwinds” got re-released and some still see those as the beginning.

The album is a product of its era.

“Take Me With You” kicks off the album and it’s a blast. You just need to listen to it for the lyrics. And I wouldn’t be surprised if Slash was listening to this track, as it sounds like certain riffs made their way into “Appetite For Destruction”.

“Love To Keep You Warm” ended up as a lyric on the road to “Judgement Day”.

“Nighthawk (Vampire Blues) will never sound dated. It’s one of those tracks that sounded good in 1978 and it will still sound good in 2019. Greta Van Fleet should cover it.

“The Time Is Right For Love” is a good track that is relevant in any era and I thought it would have been re-recorded for a Whitesnake album in the 80’s, going into the 90’s, but after “Slip Of The Tongue”, Coverdale, dissolved Whitesnake to team up with Jimmy Page, and then when Page went back to Robert Plant for a side project, Whitesnake came back with Adrian Vandenberg and Warren DeMartini on guitars. (Takes a breath).

“Trouble” is very Bad Company like, and I like it, especially the lyrics, “on the road again, looking for a place to hide, everywhere I look, there is trouble, trouble always coming my way.”

“Free Flight” is a jazz fusion blues rocker that could have come from “Come Taste The Band”. And while it doesn’t contain the hits, the album does contain some serious riffage and jamming, which I dig.

Judas Priest – Stained Class

This album was really ignored by the media and the fans, until the 80’s satanic panic and subsequent lawsuits brought it back into the public conversation.

For those who don’t know the story, and according to Wikipedia, Judas Priest got taken to trial in a civil suit, by the family of a teenager, James Vance, who entered into a suicide pact with his friend Ray Belknap after allegedly listening to “Better by You, Better than Me” on 23 December 1985.

Belknap succeeded in killing himself, and Vance was left critically injured after surviving a self-inflicted gunshot to the facial area, eventually dying of a methadone overdose three years later.

In this case, the events and outcomes are tragic, but there is always someone looking to blame someone else for their predicament. And there are always people (like lawyers and prosecutors) looking to prey on people’s weakness and sense of loss.

A lawyer tried to convince a judge that the “Stained Class” album and the song “Better by You, Better than Me” (which isn’t even a Judas Priest song, it’s a cover) had subliminal messages on it, that said “do it” and that would make kids take their lives. In the name of free speech and the ludicrous nature of the suit (seriously, why would a band want to kill the very people who would buy their product), it was dismissed.

But the album is important in a few ways;

  • The iconic Judas Priest logo made its debut.
  • It’s seen as an early thrash metal album, with wannabe artists all over Europe lapping up the fast picking and surgical precision of the riffs.
  • Its darkness and aggression is fuelled by the anti-metal movement that started happening in the UK, as Punk and New Wave was getting all the attention and metal had a few comical mentions.

“Exciter” kicks off the album with double kick and speed pedal point riffs. “Stained Class” has a cool “Barracuda” pedal point riff. “Saints In Hell” is not in the live repertoire of Judas Priest, but the song has a lot of movements, which keeps it interesting.

“Beyond The Realms Of Death” is a favourite, especially with its nod to “While My Guitar Gently Weeps” but also for its song writing and various movements. Chris De Garmo would have been listening very intently to this, as it sounds like “The Warning” album came from influences like this.

“Fire Burns Below” is the embryo of what Judas Priest would become in the 80’s.

The Metalian was starting to form.

Rush – Hemispheres

One of their best albums and their most progressive. They knew they had reached a pinnacle here and what would come next would be much shorter and concise songs, sort of like how Metallica reached a pinnacle with the “Justice” album and needed to strip it back, which they did with the self-titled and mega gazillion selling “Black” album.

And the reason why I call this one of their best albums is because of “La Villa Strangiato”, a song that took them longer to record than the whole “Fly By Night” album.

I didn’t give Rush a good shake until I really got into Dream Theater on the “Images And Words” album.

Cygnus X-1 Book II: Hemispheres

18 minutes and all the different musical movements are enough to get me interested for a few reasons. And it’s all because of Alex Lifeson.

Alex Lifeson’s use of open strings (the high E and B strings) with moving power chords was inspirational. It just made sections sound bigger than what they should. It was a style I incorporated straight away.

His combination of using palm muted arpeggios and single note riffs also proved to be very inspirational. At that point in time, I was very heavily into playing open string pedal point riffs with power chords underneath.

His use of acoustic guitars was unique, bordering on his Eastern European Serbian folk roots, Spanish flamenco, pop music and classical music.

Finally, his unique guitar solos made him sound very different to the blues rock and classical shred like soloists I was used to hearing.

“Circumstances” sounds like the hard rock I listened too, with pedal point riffs in the intro. But from about 50 seconds, the song morphs and I was entranced to pick up the guitar and learn the section. By a 1.15 seconds, 25 seconds later it was all over.

And that’s how my Rush relationship is. Sections of certain songs hook me in.

Like the intro to “The Trees”. It’s acoustic intro sounds like it came from medieval England. And after 40 seconds, the song changes into a rocker. The lyrics made me laugh when I was younger, and they still make me laugh now, especially when Geddy Lee sings, “why can’t the maples be happy?” or “the maples scream oppression” or “the maples formed a union”. 

Goddamn Maples, they can never be happy.

And that section from about 2.20 when Lifeson starts to play this repeating arpeggio lick/riff. Again, I was picking up the guitar to learn it and jam it, but then I started learning Geddy’s bass riff, as it sounded so good on distorted guitar and very different to Lifeson’s guitar riff.

“La Villa Strangiato” sums up everything about Rush which I love and I am so glad they didn’t try to repeat it or try to rewrite it for another album.

It stands out as the RUSH song for me, and if anyone asks what’s the big deal about Rush, I play them this song and I comment about each section and movement for a few seconds and allow them to bask in the sounds filling the room.

It’s an instrumental but there is no way you could ever be bored by it. It doesn’t have any guitar wankery. It just grooves and rolls until it comes up to the 3.18 minute mark where the song slows down.

This is when Alex Lifeson becomes a god.

He starts off the solo with volume swells.

It’s eerie, before he brings in a few blues licks to make it sorrowful.

At 4.27, it gets louder, and his bending those strings, bleeding pain out of those frets. In the background Neal Peart, is building the beast.

At 5.15, Lifeson starts this palm muted Am to F arpeggio. Peart is double-time on the drums, and Lee is playing the bass synth until they all join in and start the Swinging 30’s section. This is when Bugs Bunny is running away from Elmer Fudd. That is the memory I got from it.

Then there’s a bass solo.

Then a drum solo.

Then an unconventional guitar solo at the 6.50 minute mark.

At 7.29, it changes again.

At 7.53, the Swinging 30’s is back. First at half time, then at full speed.

And the song transitions back to the main intro riff to close out a 9 plus minute song in perfection.

And the album is over.

Until I dropped the needle again onto the last track.

Scorpions – Tokyo Tapes

I got this dubbed on a cassette from a mate, who had dubbed it onto a cassette from a cousin, who dubbed it onto a cassette from his girlfriend’s brother. Quick, call the cops, piracy is on the loose and killing the recording industry.

The end of the Uli Jon Roth era on guitar and a band in top form.

Stand out live performances along with fake crowd noises and claps are “Pictured Life”, “In Trance”, “Well Burn The Sky”, “Fly To The Rainbow”, “He’s A Woman – She’s A Man”, “Top Of The Bill” and “Steamrock Fever”.

Scorpions – Taken By Force

The last studio album with Uli Jon Roth, kicks off with “Steamrock Fever” and I like the music a lot more than the lyrics. “We’ll Burn The Sky” is better lyrically and musically.

Two of my favourite Scorpion tracks are up next in “I’ve Got To Be Free” and “The Riot Of Your Time”.

“I’ve got to be free to live my life alone” is the catch cry, a very Hendrix inspired song musically and it doesn’t sound dated at all.  And the acoustic guitars in “The Riot Of Your Time” are perfect, but the chorus, musically and lyrically is brilliant. Listen to it if you don’t believe me.

The piece d’resistance from a guitar point of view, is “The Sails Of Charon”. But I listen to “Your Light” more, because of its sexy groove, which makes me want to pick up the guitar, especially in the verses. And the way it rolls, it’s a rock song, but I feel like I’m sipping Pina Colada’s on an island in the Caribbean’s.

“He’s A Woman – She’s A Man” has got some Metallica like breakdowns in it, which is cool.

Black Sabbath – Never Say Die

It’s not like it’s such a bad album, it’s just that they lost their darkness. “Never Says Die” sounds like it could have come from Thin Lizzy or ELO or Styx. “Johnny Blade” musically sounds like a Rush song, hell, the riff in the verses sounds like it came from “La Villa Strangiato”.

“Junior’s Eyes” is classic Sabbath in everything except the title. “A Hard Road” sounds more like a Status Quo track but it’s roots are from the placenta of “Children of The Grave”. “Shock Wave” is a Sabbath song through and through.

The best track on the album is “Air Dance”. It has this harmony intro which is too good to not like. Then it morphs into an acoustic/piano piece for the verses. It’s progressive in its song writing and as fans of artists, you want them to grow a little bit and add some different textures.

Especially at the 3.56 mark, it goes into a prog rock style piece, which is some of the best stuff Sabbath has written. Because that is what Sabbath was/is. A band that pushed boundaries and defied categorisation. Hell, there is a synth lead in it, as I start to cough out the sweet leaf.

“Over To You” was re-written and called “Little Dolls”. If it works for Ozzy’s solo career, it works for Sabbath for me. “Breakout” has the brass instruments, but there is no denying the power of that riff as it sludge’s sleazily along.

Styx – Pieces of Eight

I like Styx as a progressive rock band which has a few “simply” rock songs here and there. This album is a favourite, because it hits both those points for me. It’s progressive in its song writing and it has “accessible” songs.

“Great White Hope” gallops along in the intro and it’s a product of its time.

“I’m O.K” is interesting with its major key uplifting riffs, and “Walk This Way” style drums in the intro, and then the verses sound like a church sermon.“Sing For The Day” has a progressive synth intro which I dig. And the multi-layered Chorus melody is cool, but I’m more of a fan of the music.

“Blue Collar Man (Long Nights) has a riff which is tasty to play on guitar. And how good is the Chorus, musically, lyrically and melodically. Makes me press repeat instantly. “Queen Of Spades” is a combination of progressive song writing and accessible melodies. And the breakdown section from about the 3.20 minute mark is perfect.

But the piece d resistance here is “Renegade”.

First the acapella vocals and it sounds like it’s coming from the Mississippi Delta.

Then the funk rock fusion riff kicks in and it’s time to rock and funk.

And the solo. The music stops, and a dirty sounding guitar unleashes a flurry of pentatonic lines which wash over me. Then the band comes in and it’s all systems go. And when you think it’s over, it keeps going for a little but more.

Then the drums and vocals section. Jon Bon Jovi would have been listening intently as “You Give Love A Bad Name” has a similar set up after the solo.

Play that funky rock and roll, I say.

“Pieces Of Eight” is a brilliant piece of song writing. It has so many movements in the song, especially from the 2.20 minute mark. It’s pure bliss.

The Alan Parsons Project – Pyramid

Alan Parsons got no love in Australia or non that I could remember. I started to hear his work in the early 2000’s. And I became a fan. I got what he was trying to do, I really enjoyed the song structures, the jams and atmospherics.

The way “Voyager” starts off in the first 20 seconds, it’s how thrash metal acts build their clean tone intros. And the song segues into “What Goes Up”, a laid back tune which segues into “The Eagle Will Rise Again” and one of my favourite acoustic arpeggio riffs because it sounds so powerful.

Play four notes, stop and let them ring. But the rest of the song is not as strong as that verse riff. At one stage, I swear I thought “Listen To My Heart” from Roxette came from this song. “One More River” has a clean tone single note riff, which sounds wicked when played with distortion.  

“In The Lap Of Gods” is a cinematic instrumental. Well, that’s what I call it. It feels like it’s written to moving pictures and I like it. Especially from the 4.10 minute mark when those Latin style “Excalibur” voices come in, along with the violins.

I press repeat, to hear it one more time, and to close off Part 2 of 1978.

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Is Heavy Metal music an extension of Freud’s philosophy?

Heavy Metal music was always described as primal and anarchistic and immoral and perverted and satanic and whatever else people could think off. The PMRC came out in protest against it, who saw it as the enemy to social order and social control. Like Freud’s observations, heavy metal lyrics are loaded with feelings of impulse and an “anything goes” attitude.

The “Satanic Panic” was then created by religious organisations to fill the bank accounts of the same religious organisations with millions of dollars in donations, because the deluded people thought that these various organisations would take up arms and fight against heavy metal. These institutions saw heavy metal poisoning their God endorsed truths with a differing viewpoint.

Sigmund Freud was probably the first ever metal head in attitude and lifestyle. And he was a master story teller, which is what Heavy Metal lyrics are all about. I learned about life from heavy metal lyrics and history.

Freud’s psychoanalysis theory explored the drives, wishes and fantasies that lurked in our subconscious, the same way, heavy metal lyrics in the early 80’s explored these topics.

Freud is seen as one of the main people to make a strong distinction between how things at first appear, and what might actually be going on under the surface. And people don’t like to hear or see their truths and morals questioned like religious authorities.

Love em or hate em, some of our favourite artists exhibited some interesting thoughts and ideas in their song lyrics.

  • Blackie Lawless saw himself as a beast that liked to fuck.
  • Dee Snider cornered people in an alley way and then became Captain Howdy, who he told everyone to stay away from.
  • Steve Harris became a prowler, walking the streets, looking for girls so pretty, which ended up taking him to Charlotte The Harlot on 22 Acacia Avenue.
  • Bon Scott became a night prowler.
  • Lemmy wrote a few songs about underage girls.
  • David Coverdale, well, he was into sliding it in, slow and easy to the female species.
  • Nikki Sixx kept his rebellion going until he was found in a trash can in London, and then kept on going until his heart was kick started.
  • Don Dokken was into young uns.
  • Jeff Hanneman and Kerry King wanted to dismember and maim.
  • Dave Mustaine questioned society and politics and at times sang songs about assassinating world leaders.
  • Geoff Tate and Chris DeGarmo also put religion, society and the relationship between politicians, corporations and the media into the spotlight.
  • Jon Bon Jovi just wanted to write feel good hits about small town people, trying to make it big in a lonely world. Wait, wasn’t that Steve Perry. Wait, wasn’t that Bruce Springsteen.
  • John Sykes became Billy, shooting his way out of town.
  • Ice T went to town on police brutality against people of colour in “Cop Killer”.
  • Freddie Mercury put a gun to a man’s head and pulled the trigger.
  • David Bowie was known to be into underage girls.
  • Even Elvis Presley, according to today’s norms had an improper relationship with an underage girl which would go on to become his wife.
  • So many artists had the hots for their best friends partners, like Eric Clapton and Rick Springfield.

And I haven’t even gone into the death metal and black metal styles and their lyrics.

Freud would have loved this era.

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1983

1983.

What a year?

It gave us so much and it set the paths for things to come in the future.

“Photograph” and “Rock Of Ages” from Def Leppard came out and rolled all over the charts, setting in motion the seeds to “Hysteria” and “Adrenalize”. And it also put Steve Clark onto a path that he wouldn’t return from tragically and Rick Allen with the help of MIDI technology would revolutionize how to play the drums with one hand.

“Cold Sweat” from Thin Lizzy was also released, which wrote the final chapter to Thin Lizzy’s recording career and in a few years’ time, Phil Lynott joined all of the other rockers in the sky. But this album also introduced John Sykes to the mainstream, as his bit part in Tygers Of Pan Tang was still unknown.

And as we know, John Sykes would go on to join Whitesnake and then co-write the best guitar heavy album of 1987, only to get booted before the album came out and then to see his new band Blue Murder get stiffed by record label politics.

“Cum On Feel The Noize” and “Bang Your Head” from Quiet Riot hit the charts, all the way to number 1. The success of this cover song made Kevin DuBrow a star, and his ego, loaded with his big mouth, would end up hurting the band, as he constantly got into verbals with band members, other bands, media and record label executives. And even though he got a multi-million dollar deal to be a solo artist in the mid 80’s, the label must have been on some serious juju because DuBrow’s two biggest hits were covers.

“Meanstreak” and “Midnight In Tokyo” from Y&T, appeared on an album that would go on to cement their status in Europe, however they still struggled to break into the US market at a higher level, even though the band’s music was very influential to a lot of wannabe musicians, especially the riffage and melodies from Dave Meniketti.

“Rainbow In The Dark” and “Holy Diver” from Dio came out, which cemented Ronnie James Dio as a bonafide star, after he delivered on the triple throwdown somersault, with Rainbow, Black Sabbath and now Dio.

This album also unleased a new guitar hero in Vivian Campbell, who would go on to leave the band bitterly, to then dis Dio off in the press, then join Whitesnake as a touring guitarist, then leave Whitesnake when David Coverdale told him he doesn’t want to write with him, only Adrian, then join Shadow King and then join Riverdogs, before grabbing the Def Leppard gig in the 90’s.

And for Dio, he did the quadruple backward somersault with “The Last In Line” a year later and by the time “Sacred Heart” came out, the love for dragons and magic wasn’t as great as it was a few years before.

“Looks That Kill” and “Shout At The Devil” from Motley Crue hit the streets and the baddest boys from LA started to rise to the top. With it came destruction and mayhem, which involved car crashes, homicides, drug overdoses and everything else that comes with a lifestyle that’s out of control.

And for all the cash they started making with this album, they spent it on products for the veins and the nose. So eventually when their bodies crashed and burned on the “Girls, Girls, Girls” tour, it set the tone for “Dr Feelgood”, the one album that the guys had to be sober/clean, up to a certain point.  

“The Warning” from Queensryche hit the streets and a new anti-hero was created, who would blend the NWOBHM sounds, with progressive overtones and hard rock to an irresistible ear candy blend and call it “Operation Mindcrime”.

Where do I sign up to be indoctrinated by Dr X?

“You Can’t Stop Rock’N’Roll” from Twisted Sister showed what could happen to the “Loud Police” if they are exposed to loud music. They put wigs on and became metal heads.  And while TS was on the ascendancy, it was this album and the title track video clip that put them into the scoring zone. And as we know, it also started the spiral that would end the band in 4 years’ time.

“Bark At The Moon” from Ozzy Osbourne was released and another new guitar god from LA was unleashed in Jake E. Lee however Ozzy takes all the credit for writing all of the riffs, words and melodies with one finger and a piano.

“Rebel Yell” from Billy Idol came out and a different technological guitar god was released with Steve Stevens.

“Every Breath You Take” from The Police came out, with Sting listed as the songwriter, but Andy Summers interpretation of how to play a basic “Stand By Me” progression is what hooked people in. And the song became well known with rappers, who overused it, which led to millions into Sting’s bank account.

“Balls To The Wall” from Accept came out and basically the band couldn’t capture the aggression, anger and attitude ever again because they were still laughing so hard at the cover of the album.

“Flight Of Icarus” and “Revelations” from Iron Maiden hit the charts, only so the band could hit the road again, while they planned their biggest album and biggest stage show the following year. And it is from these albums, that Iron Maiden still does victory laps on.

Kiss showed their faces without their make up for the first time on MTV only to realise a decade later that people wanted to see them with the make-up. “Lick It Up” also introduced another guitar hero in Vinnie Vincent. But just for a short time, as he proved to be a better song writing partner than a band mate.  

“Tell Me What You Want” from Zebra hit the charts and the band was told to write more hit songs like that. Which they never did, because the band just wrote songs. The similarities to Robert Plant vocally and some songs musically to Led Zep set the tone for what would be Kingdom Come.  

“Legs” from ZZ Top showed how Texans at one point in time liked women and synths more than guns, which led to multi-platinum sales.  

“Rising Power” from AC/DC showed how dirty and anti-mainstream AC/DC could get while “Sister Christian” from Night Ranger introduced eight finger tapper Jeff Watson and shredder and temporary Randy Rhoads fill in Brad Gillis.

Dave Mustaine is fired from Metallica and a small step is made by Lars and James, towards the mega selling self-titled album 8 years later and as a by-product a new progressive technical thrash band is formed called Megadeth which would go on to inspire a host of progressive metal bands.

Also, Metallica dropped “Seek And Destroy” but the “Kill Em All” album was largely ignored until history was rewritten after the mega explosion of the “Black” album in the 90’s.

Judas Priest was still selling their 1982 release on the backs of “You’ve Got Another Thing Comin” while inspiring thousands of bedroom singers to bring in the Halford wail.

Yngwie Malmsteen left Sweden and set sail for L.A, to usher in a new era of shredability and fury.  

Compact Discs went on sale in the US, which would change the album format, with more filler, and also change the profit lines of the labels, only for Napster to blow the greed away 16 years later.

Not all countries or fans would have heard these songs in 1983. Some would hear them in 1984 and others much later. It’s just the way it was back then. Music spread differently and geo-restrictions ensured that it was contained within borders.

It was quite a year.

Maybe the most revolutionary year since the 60’s and The Beatles invasion of the US and other parts of the world.

It’s also the year that metal and rock music started to become a commercial influence.

Culture changed dramatically when MTV transported the music stars from the live arena and into our lounge rooms. And 1983 was the year it started to get traction.

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

The Record Vault – AFI and Audrey Horne

When I unboxed some of the CD’s, I saw a few bands that start with A that I have missed in my Record Vault stories.

So here is a double post on AFI and Audrey Horne. And if you are interested in the previous Audrey Horne post, click here.

AFI

“December Underground” was released in 2006 and the album is a masterpiece in progressive pop song writing structures.

But if you don’t like the screamo style vocals, then you need to train your ears to ignore them in some songs, so you can appreciate the music and the song writing.

The eerie “Prelude 12/21” is a cool introduction, with “kiss my eyes and put me to sleep” being the catchcry as it morphs into the punk screamo rock of “Kill Caustic”. And when the hit single, “Miss Murder” comes up, it jars me, with its pop like vocal and addictive bass riff.

“Summer Shudder” is real cool to play on guitar, and that vocal melody for the lyric, “under the summer rain” remains with me long after the song is finished. “The Interview” is driven by a bass riff as it rolls through so many different emotions, until a brief pause and then the Chorus crashes in. And let’s chuck in a church organ for the last minute, that doesn’t make pop sense but makes musical sense.

“Love Like Winter” sounds like it came from “The Rasmus”. 

“The Missing Frame” and “Kiss and Control” have little riffs here and there which are cool to jam and they are enjoyable listens. And the haunting vocal melodies.

“The Killing Lights” sounds like it came from The Cure and New Order.

Audrey Horne

I purchased “Lo Fel” after overdosing on the self-titled album, “Youngblood” and “Pure Heavy”. So I went back looking for some of Audrey Horne’s earlier stuff. The album was released in 2007, but with all things related to music, access happens much later.

The opening track “Last Chanse For A Serenade” sounds like a Brides of Destruction track, full of attitude and industrialism. But from the outset, I was enjoying the progressive tone in the song writing. The songs don’t follow a particular formula like verse and chorus.

“Jaws” is a favourite. The vocal melody is like Tool especially in the Chorus, the riffs are progressive metal/rock, the production is top notch and the performances get me playing air guitar.

“Threshold” is a perfect blend of all the modern rock tones and song writing, with a touch to their 70’s and 80’s roots. “Monster” has a Chorus about the world closing in and everyone who was around is not around anymore.

“Afterglow” has this riff which feels progressive. “In The End” is full of different movements. “Pretty Girls Make Graves” sounds like it came from Soundgarden. “So Long, Euphoria” closes the album and after hearing the 6 minute song, I press repeat. The groove and how it builds is satisfying.

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The Record Vault – Babylon AD

The self-titled album released in 1989 on Arista Records is a favourite of mine. The songs, the performances, the production and the sounds all hit the mark.

I had friends who hated it because it sounded so much like Skid Row’s debut, but for me, I was cool with it.

“Bang Go The Bells” and all is well, alright especially that E minor riff. “Hammer Swings Down” keeps the tempo going, while you can hear Jack Ponti’s style of song writing in “Caught Up In The Crossfire” and “Desperate”. From memory, I think “Desperate” was a song written for/with Baton Rouge.

It’s a four punch knock out to kick off the album.

Then “Billy went driving on a Saturday night, heading for trouble with a bottle of wine” and “The Kid Goes Wild” kicks off, bringing the story of Billy The Kid into suburbia, as an angry, young teen, who is under the gun, and eventually goes wild. And “Sam Kinison” makes an appearance, telling the cops, he aint going down, because this is his life.

“Shot O’Love” has this little acoustic piece to kick it off like how “Love Song” has an acoustic piece. After about a minute and 20, the song kicks in. And its six from six.

“Maryanne” makes it 7 from 7 with its “Piece of Me” style riff in the verses. “Back In Babylon” sets the groove for a tale about getting back to the city of sin and living on the edge on the east side.

I normally skipped “Sweet Temptation” because my favourite track is “Sally Danced”. The swampy acoustic blues with the slide guitar and the vocal melodies, hook me every single time.

And that Chorus section from about 2.18 is brilliant.

Throughout it all, the guitar work of Dan De La Rosa and Ron Freschi is top level. Derek Davis on vocals delivers the goods on every track. While bassist Robb Reid and Jamey Pacheco are the unsung heroes, holding down the fort and grooving all the way.

“Nothing Sacred” came out in 1992.

But the opening track “Take The Dog Off The Chain” didn’t grab me in the same way, “Bang Go The Bells” did and neither did “Bad Blood”.

However, “So Savage The Heart” although generic, did hook me and without looking at the credits, you can hear Jack Ponti’s song writing style over it.

“Sacrifice For Love” asks to share the bed of fire, and the album is rocking now to my liking. “Redemption” is a cool song, and lyrically, it deals about abuse, as it was a common theme back then, with Skid Row dropping “In A Darkened Room” which covered a similar topic.

“Down The River Of No Return” works with the swampy acoustic guitars merged with some slide guitar and a vocal performance worthy of top spot on the Billboard charts.

“Psychedelic Sex Reaction” sounds like it was written for Alice Cooper’s “Hey Stoopid” album. “Dream Train” sounds like it came from Aerosmith’s “Permanent Vacation” album. “Blind Ambition” sounds like “All Right Now” from Free merged with Poison’s “Nothin But A Good Time”. The pre chorus sounds like it came from the “River Of Love” Chorus by Lynch Mob.

“Of The Rose” starts of as an acoustic instrumental and should have stayed that way, as the electric guitar solo didn’t work for me. “Pray For The Wicked” is a throwback to the debut, with its sleazy and loose attitude.

And while the debut is a blast from start to finish of sleazy attitude driven rock and roll, the follow up tries to deliver but misses.

I didn’t get “American Blitzkrieg” but I really enjoyed their comeback album “Revelation Highway” released in 2017.

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The Pirate Vault #1

Remember when the Recording Industry spent money on advertising stating that “home taping would kill the industry” and they wanted cassettes removed from sale, only to realize that once they started producing music onto cassettes, another revenue stream became available.

Sound familiar. Streaming is bad. Let’s ban it. Wait a minute, let’s work with it and wow, look at our profit lines.

Cinderella – “Night Songs” and Pearl Jam – “Vs”

There was another band on Side 2 which I overdubbed for Pearl Jam’s second album. I can’t even remember the name of the band.

And I couldn’t have overdubbed Cinderella because I didn’t buy the “Night Songs” LP until the 90s, via the second hand shops.

“Night Songs” came from my cousin Mega around 1987 and “Vs” came from a drummer in a band I was in.

WASP – “The Headless Children” and Twisted Sister – “Ruff Cutts”

My cousin Mega was again my point of reference here. “The Headless Children” is a massive album from WASP, one of their best.

And Mega has the TS logo on his arm.

At this point in time he also found the very rare and hard to find “Ruff Cutts” from Twisted Sister so it was a no brainer to tape that, purely for the rawness of the sound.

And the beauty of a 90 cassette meant that I had 45 minutes available on each side.

Which I filled up by other artists at separate points in time.

In this case I added “Out In The Fields” by Gary Moore, then at some point I added “Anybody Listening” the band version by Queensryche and “Seasons” from Badlands.

Tesla – Mechanical Resonance And Kansas – Point Of No Return

I taped these ones myself from the LPs so I could play the cassette on the Walkman. Remember those.

And I added a couple of Kansas tracks from the 80s at the end.

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1978 – Part 1

Quiet Riot – II

I couldn’t believe my luck when I found this in a second hand record shop in the early 90’s for $10.

It’s part of Randy Rhoads origin story.

And what a strange cover, with the guys in the band, dressed up in glam outfits in a locker room with American Football jocks.

What the !!

“Slick Black Cadillac” kicks it off, a song which QR would redo with Carlos Cavazo and release it on “Metal Health”. But you need to hear the RR version.

The piece d’resistance is the solo sections of “Trouble” and “Face To Face” which reminds me of bits and pieces from “Mr Crowley”, “Over The Mountain” and “Flying High Again”.

And my other favourite is “We’ve Got The Magic”.

Listen to the little melodic leads RR plays in the Chorus.

And who said that RR couldn’t be bluesy. Check out the lead break in this song.

Boston – Don’t Look Back

How good is that melodic lead break during the Chorus of “Don’t Look Back”?

“A Man I’ll Never Be” has a similar lead break like “Don’t Look Back” just before the Chorus.

“Party” sounds like they just turned up, plugged in, had a party and jammed.

And that’s it for me. Boston has always been a two to three song band per album.

Van Halen – Van Halen

So many good songs for a debut.

It’s the same old saying, you have a lifetime to write your first album and a few months for the second.

But Van Halen in their early days were very prolific writers, so even though the first album is full of good moments, a lot of other songs from these days appeared on albums afterwards, all the way up to the reunion with Roth in the two thousands.

“Running With The Devil” kicks it all off with the iconic riff and in the Chorus, Michael Anthony’s backing vocals take centre stage. “Eruption” is now set in stone as one of “the instrumentals” on the Ten Commandments and The Kinks introduced “You Really Got Me” as a Van Halen cover after Van Halen rockified it.

Then the Am to F to G palm muted arpeggiated intro begins for “Aint Talking Bout Love” and another iconic riff is born.

“I’m The One” is the embryo of songs like “House Of Pain” and “Get Up”. “Jamie’s Cryin” was a hit twice, once with Van Halen and once with Tone Loc who sampled the riff and beat for “Wild Thing”.

“Atomic Punk” has that slashing like intro that inspired Slash for the “Mr Brownstone” intro. “Feel Your Love Tonight” could have come from an ELO record and Michael Anthony’s backing vocals are so precise and powerful. “Little Dreamer” has got this rumbling like riff that is cool to play. “Ice Cream Man” didn’t satisfy, but “On Fire” is full of good riffs to enjoy.

Bruce Springsteen – Darkness On The Edge Of Town

I always have time for Bruce Springsteen and this album rates as one of his best.

I love the way “Badlands” starts off. The riff is so rock and roll and pop rock all in one. Bands like “ELO” and “Styx” built careers on riffs like these. Then that bluesy sleazy rhythm kicks off “Adam Raised A Cain”.  “Something In The Night” was written in 78, but the intro riff would become a number 1 chart topper in 84, when it became “I’m On Fire”.

The intro piano riff of “Racing In The Street” must have influenced Jonathan Cain as he would write many songs that went to platinum levels of success with a similar vibe and feel. “Promised Land” is about Springsteen’s beliefs in the life he is living, in the country he is born in.

And “Streets Of Fire” is still relevant today as it was back in the Seventies. “Prove It All Night” or “Because The Night”, as there is no difference between them really, especially in the music around the Chorus.

Rainbow – Long Live Rock N Roll

The drum roll snare, the words “All Right” and off we go, into the mystic lands of Rock and Roll, screaming deep into the night, “Long Live Rock And Roll”.

And Richie Blackmore is all over this album, with guitar riffs gifted to him from the “Lady Of The Lake”. If you don’t believe me, check out the verse riff and then that vocal melody in the Pre-Chorus/Chorus from Ronnie James Dio.

And we caught the “L.A Connection” to the “Gates Of Babylon” just to “Kill The King”, hiding out in “The Shed” because our “Rainbow Eyes” are “Sensitive To Light”.

Queen – Jazz

Some of the best riffs from Brian May are on this album.

The guitar riff in “Fat Bottomed Girls” makes the world go around. “If You Can’t Beat Them” has this pop like riff which reminds me of other acts, but Brian May makes it his own.

Listen to “Dead On Time”, it’s basically got a speed rock riff. “Dreamer’s Ball” kicks off with a harmony solo, before it morphs into an acoustic 12 bar blues. Listen to “Leaving Home Ain’t Easy”, with its acoustic riffs which sound full of power.

The drum beat in “More Of That Jazz” is perfect and once Brian May starts with the syncopated riff, it was time to pick up the guitar and learn it. And the Chorus at first sounds metal before it morphs into something like cabaret.

Dire Straits – Dire Straits

Mark Knofler’s guitar tone is brilliant. “Down To The Waterline” is a perfect example of it as he decorates the track with licks and riffs.

By the time I had heard this album, I had already overdosed on “Sultans Of Swings”. It’s one of those tracks like “The Final Countdown”, “Were Not Gonna Take It” and “Livin On A Prayer”. They have been played so many times, so while they are great tracks, you tend to ignore them. Still the finger picked lead break from Knofler is brilliant.

The Cars – The Cars

As I was writing The Car’s section, news hit Twitter that Ric Ocask was found dead in Manhattan at 75 years of age. I was very late getting into “The Cars” but I am glad I did. And what a debut album.

“Good Times Roll” kicks it off with its iconic riff, lyrics and synth lines. Let the good times roll in deed. And they continue with “My Best Friend’s Girl” and “Just What I Needed”.

So many songs in the 70’s about their best friends partners. Eric Clapton wrote Layla because he was in love with George Harrison’s wife, which he eventually married. Rick Springfield topped the charts with “Jessie’s Girl” and so did The Cars. And neither song took away from the other. These days, everyone will be suing each other for copying their feels.

“Moving In Stereo” has a metal like riff in the vein of Judas Priest. No one will believe me, but they need to check it out. And the synth lead is perfect.

Well that’s it for the first post. More to come in Part 2.

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

The Record Vault – Badlands

I haven’t heard these albums in ages and they are not on Spotify.

I saw a video on YouTube about how Eddie Trunk thinks the reason for their absence is due to what Ray Gillen did.

In relation to what Ray Gillen did, there are a lot of forums which state that Ray Gillen was in a relationship with the daughter of one of the CEO’s at Atlantic Records and she contracted AIDS from him because he kept it secret and the father of the daughter vowed to bury anything Ray Gillen did, in any way he could.

Here is a post from the past I did on the self titled debut.

“High Wire” and “ Dreams In The Dark” are a knockout 1 and 2 punch. That bluesy intro from Jake E Lee, is pure guitar heaven. And that metal like riff in “Dreams In The Dark” before the solo and during the solo makes me want to play air guitar.

When you have been fired from a gig, your next gig is so important that you prove to yourself, what a mistake they made. And Jake, proved it.

So what came first, “Jades Song” or “Silent Lucidity” from Queensryche, as the intros of both songs are pretty similar?

“Winter’s Call” is one of the best Led Zep cuts from the 80’s which wasn’t written by Led Zep. It was that good, Lenny Wolf cried, because he wasn’t the one who thought to write it.

“Dancing On The Edge” has got this “Friday On My Mind” vibe in the intro, but once the band comes in, it becomes its own monster.

“Streets Cry Freedom” has the catchcry of “until the day I die, these streets cry freedom” and teenagers are at the forefront of these cries, demonstrating against gun violence, calling for gun control and demonstrating in the name of climate change. And the people in power, laugh, disregard, call the youth names and basically ignore their voices. But history has shown, the voices of many win in the end.

And you don’t see adults demonstrating, who are too comfortable in their lives, their devices, their jobs and houses to care. Even when the GFC hit, it was still relatively quiet on the demonstration front, even though people lost their jobs, their money and their houses. Some people even took their lives and a lot of people lost their relationships.

“Hard Driver” brings back memories of Deep Purple, ala “Speed King” and “Highway Star” while “Rumblin Train” sounds like an old rattler as Jake E Lee foot stomps his way all over the song. “Seasons” is one of those songs that sounds like other songs, but it also has enough of its own uniqueness to stand on its own.

And I can’t find my LP. It is one of many which have been lost in the various house moves.

Nor can I find my “Voodoo Highway” LP.

But I did find the CD.

And there is no big name producer this time around as Jake E Lee took control at the boards and depending on which story you believe, sealed the end of the band.

Regardless, there is no denying the power of “The Last Time” from its clean tone swampy arpeggio intro which morphs into a distorted open string riff as good as any of his riffs. And if you are not hooked by now, the lead break which brings back memories of “Bark At The Moon” would seal the deal.

Lyrically the song is about a broken heart (nothing really earth shattering) however the vocal performance by Ray Gillen is also top-notch.

“Show Me The Way” brings back memories of the Creedance Clearwater songs I used to learn. And “Shine On” seals the triple combo knockout. Listen to the lead break.

And just as I was getting up from the floor, “Whiskey Dust” floored me again. The way the intro builds into the riff, it’s got this 70’s vibe merged with a lot of Van Halen’isms. And the song is basically a 12 bar blues, but it sounds more complex.

Again the lead break hooks me in, with its slide guitar licks, open string riffs and bluesy pentatonic lines. And there is a small section after the lead break when it’s just drums and bass. Then the vocals come in, and Jake starts to play some bluesy licks and slides to decorate the verses, as it slowly builds into the Chorus. This is people in their prime, on form and ready to take on the world.  

“Joe’s Blues” is typical blues fare, even Van Halen did a song with a very similar ascending blues riff called “Ice Cream Man”.

“Soul Stealer” is a rewrite of “High Wire” which is good enough to stand on its own. “3 Day Funk” feels like a 3 day hangover. Crank it and chill.

And what came first, the intro riff in “Are You Gonna Go My Way” or the intro riff in “Silver Horses”?

Of course, Atlantic wanted hits and the album didn’t deliver in that department.

To me it sounded like Badlands was building the beast, so that the band could have a career. But they splintered on stage during the “Voodoo Highway” tour, and of course Ray Gillen passed away. However I believe, the band would have survived the change in the mainstream recording business because of their focus on the blues and the blend between blues, rock and metal.

And an album called “Dusk” was released towards the end of 90’s, marketed as rehearsal demos from a possible third album, however I never really bit into it, because I didn’t feel that the quality control was high.

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