Category Archives: Unsung Heroes

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

1979 – II – Somebody Get Me A Doctor

I wrote this post about six months ago and just realized I never posted it. And when I saw Part 3 posted i didn’t even think that Part 2 wasn’t out.

So here it is.

I didn’t hear these albums or songs until the 80’s and for some of the more obscure album songs, well into the 90’s. And that my friends is the beauty of music. While the band or artist could be gone or retired, the music lives on forever.

And these days so many people want to make money from it.

Record labels have done their best to change the copyright laws originally designed to protect the creator and give the creator an incentive to create, to a corporation monopoly for the life of the artist plus 70 years after their death. They are even pushing for 90 years after death to be the new standard.

For example, if Van Halen wrote “Dance The Night Away” in the 1930’s, the song would be out of copyright by 1958 and free for artists to use and build upon. If those same copyright rules applied in 1979, the song would have been out of copyright in 2007. However, with copyright laws as they stand now, and provided EVH lives to 80, the song would still be under copyright in 2100. (EVH born 1955 + 80 (life of the artist) + 70 years after death = 2105).

Anyway, here is part 2 of 1979 and here is the playlist.

Part 1 can be found here.

Kansas – Monolith

Kansas came into my life in the 90’s via the good old second hand record shop when a $20 trip would end up with 10 records as a minimum and a huge difference from the 80’s when that same $20 trip would end up with one record and maybe a discount bin cassette tape. Actually I picked up the first six Kansas albums on the same day.

And I dropped the needle on the albums based on the covers. The cover I liked more, got first spins. So “Point Of Know Return” was first, then “Leftoverture”, then “Monolith”, then “Song For America”, then “Kansas” and finally “Masque”.

On The Other Side

The opener written by Kerry Livgren and I dig the emotive intro lead break which I believe was played by Rich Williams.

The empty page before me now, the pen is in my hand
The words don’t come so easy but I’m trying
I’m searching for a melody or some forgotten line
They can slip away from us so quickly

Writers block and running out of creative ideas. It’s real and it can happen.

And from about 3.22, the progressive side of the band kicks in and I’m loving it.

People Of The South Wind

There are some who can still remember
All the things that we used to do
But the days of our youth were numbered
And the ones who survive it are few

History has shown how white people have displaced the native people from the lands. Each continent is littered with the blood of innocents.

People of the south wind, people of the southern wind
It’s the people of the wind, I got to be there again

What a chorus!

With the brass background instruments and what not, the song could have been on any pop album. Hell, they should have given it to Chicago to record.

Angels Have Fallen

Written by Steve Walsh, it has enough pop and enough progressive themes to satisfy both fan bases.

Children are restless they know what can happen when men are vain

The children are restless today, sick and tired of being targets, they have taken to the streets, demonstrating for gun reform.

People are talking maybe you know them, they know you’re near
Masking themselves from fear and asking themselves who their friends are

Even though the words are from 1979, they are as relevant today as they were back then.

Really dig the heavy and progressive riffs from 3.11 to 4.14.

How My Soul Cries Out

What a groove to jam on, very much in the style of Rainbow and it’s another Walsh penned song.

How my soul cries out for you
It cries for love that we once knew

A Glimpse Of Home

Another cool song with good vocal melodies and progressive overtones written by Livgren.

Lyrically, I think it sums up his transition to Christianity with lines such as, “now you are here once again, as I stand in your presence” or “All my life I knew you were waiting, revelation anticipating, all is well, the search is over, let the truth be known, Let it be shown (give me a glimpse of home)”.

Van Halen – Van Halen II

Van Halen’s second album hit the streets in 1979. I didn’t hear it until the late 80’s. I know, unbelievable, right. But music was expensive and access wasn’t like it is these days where you have the history of music at your fingertips.

You’re No Good

I heard Van Halen’s cover before I heard the original. Yes, I know, it’s sacrilegious, but man, I dig the sleazy rock groove the Van Halen brothers and Michael Anthony create.

Dance The Night Away

The cowbell drum intro and then the E major key riff.

How good is the riff?

Every great song in my opinion is underpinned by a great riff and I spent a many days dancing the night away trying to figure it out.

Somebody Get Me A Doctor

What about the intro chords. Do you reckon Dee Snider was listening to this and used them for “You Can’t Stop Rock’N’Roll.

Actually all of the riffs in this song are at another level. Get me a doctor indeed.

Bottoms Up

Before we got “Hot For Teacher”, we got “Bottoms Up” and before “Bottoms Up”, we had ZZ Top’s “La Grange”.

Outta Love Again

Like the other songs before it, it’s the riffs from EVH that makes this song happen.

So many of the 80’s bands used VHII as a template to borrow from. So I guess we should call in the lawyers and start suing.

Light Up From The Sky

I hate Roth’s vocal melodies and lyrics (actually I like the end vocal melody when they repeat “Light Up The Sky” about 4 times), however the music from EVH is excellent and that solo section followed by a drum solo groove works so well.

I used the riffs in this song as a template for a lot of songs I wrote.

D.O.A

EVH has taken “You Really Got Me” and made it his own with D.O.A.

Woman In Love

Those harp harmonics in the intro made me realise that as much as I tried to learn all the guitar hero techniques, they would never be part of my expressive style. From time to time I would bring out finger tapping, harp harmonics, whammy bar dives, sweep picking and in the 90’s, my set up had a DigiTech whammy pedal so I could mimic Tom Morello.

And that outro is excellent.

Beautiful Girls

I love the bluesy groove which a lot of 80’s bands used to platinum success.

She had her drink in her hand , She had her toes in the sand and whoa! Ha, ha, What a beautiful girl, ah yeah

Only Diamond Dave could come up with lines like that.

Rainbow – Down To Earth

Ritchie Blackmore’s influence to metal and rock music is god like. Not only did he inspire guitarists, he even inspired vocalists. The vocalists he worked with are considered legends and influential to the 80’s generation of singers that came through. Ian Gillian, David Coverdale and Ronnie James Dio. Then in the 80’s he worked with Graham Bonnett and Joe Lynn Turner. A lot of respect is given to the Dio led version of the band and less praise to the commercial years of the band with different vocalists, in this case, Graham Bonnet and Joe Lynn Turner.

The band on this album is top notch as well. You have Ritchie Blackmore on guitar, Graham Bonnet on vocals, Cozy Powell on drums, Roger Glover on bass and Don Airey on keyboards.

I wish I heard this album in the mid 80’s because the guitar playing and song writing grooves are just the way I like it. It would have been an awesome album to unpack and learn in my early years of guitar playing.

All Night Long

Another iconic Blackmore riff, but the lyrics about wanting a groupie to love all night long just didn’t connect with me.

Eyes Of The World

Another epic Rainbow song on an album designed to take over the charts. As always underpinned by a brilliant Blackmore riff.

Evil takes, evil kills
With no shame or concern

Money and greed is the real evil.

Since You Been Gone

Inspired by a “Louie Louie” riff and written by Russ Ballard, the song became an arena rock/car staple.

Danger Zone

It’s got Blackmore’s unique riffing all over the song and a wonderful classical solo section.

Lost In Hollywood

It starts off like Led Zep’s “Rock N Roll” and it has a guitar riff heavily influenced by it. It’s also listed as being written by Blackmore, Glover and Powell.

Love that outro.

Ain’t A Lot Of Love In The Heart Of Me

It’s from 2011’s Deluxe Edition extra tracks and it’s basically a re-write of the Coverdale/Blackmore penned “Mistreated” and it’s a pretty cool listen.

Cheap Trick – At Budokan’

The live album was bigger than Cheap Trick’s first three albums.

Big Eyes

I reckon the drum intro inspired “Run To The Hills” from Maiden.

I Want You To Want Me

With its “Baby, Please Don’t Go” vibe/influence.

Surrender

“This next one is the first song on our new album. It just came out this week and the song is called “Surrender””

This is the song that hooked me in.

Bands used to tour before the album even came out. Sometimes they would play songs that would appear on albums many years later. But the MTV era changed all that. Because the record labels controlled MTV, they finally had the power instead of the artist.

Foreigner – Head Games

Foreigner came into my life via “I Want To Know What Love Is”. It wasn’t until the 90’s and the second hand record shops that I picked up their earlier releases.

I wasn’t a fan of the singles “Dirty White Boy” and “Women”.

Love On The Telephone

The embryo heartbeat of melodic rock is right here. The song is written by Mick Jones and Lou Gramm.

I’ll Get Even with You

It’s written by Jones and it’s got a cool intro riff which hooks me in.

Head Games

The opener to Side 2 and another cut written by Gramm and Jones. The way the verse’s build with the bass and keyboards taking lead instead of the guitar. It’s AOR heaven to a tee. And how good are Lou Gramm’s vocal melodies.

Hearing it for the first time in the 90’s, I liked it then, and I still like it today. And the chorus sums up relationships to a tee…

Head games
It’s you and me baby
Head games
And I can’t take it anymore

The Angels – No Exit

From Australia.

Boy didn’t they resonate with the working blue collar steel workers and punks, merging their pub rock AC/DC vibe with the punk rock scene coming out of the UK.

Shadow Boxer

It’s raw, it’s punk and it’s from the streets about a person fighting imaginary enemies after too many brews.

Can’t Shake It

It’s basically “Long Way To The Top” put through “The Angels” blender.

Mr Damage

A punk rock ditty about death.

Mr Damage holds a curse
Mr Damage drives a hearse

ZZ Top – Cheap Sunglasses

It sold the album.

ZZ Top – Esther Be The One

It has a cool harmony outro lead which I dig and because of that lead, it’s staying in the list.

Tom Petty and the Heartbreakers – Refugee

The riff is brilliant and simple.

Then when the Chorus melody kicks in, you know it’s a song which will last forever.

Tom Petty and the Heartbreakers – Even The Losers

Yes, even the losers get lucky sometimes. There’s always a chance.

Robert Palmer – Bad Case Of Loving You (Doctor, Doctor)

For those who lived the 80’s, this song was everywhere. Every cover band played it, every radio station played it and every music video TV show played it.

Musically, it’s a more polished AC/DC sound infused with Robert Palmer’s golden pop voice.

Neil Young & Crazy Horse – My My, Hey Hey (Out Of The Blue)

It’s a brilliant song to play on guitar and the iconic line of “It’s better to burn out than fade away” appears in the song.

John Lennon hated it, Kurt Cobain signed his suicide note with it and all Neil Young was trying to do was capture the rock and roll spirit of living in the now.

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Dream Child

“Until Death We Meet Again” is the album.

Since Ronnie James Dio’s death, a few bands have popped up from ex-members that pay homage to his style of songwriting.

For “Dream Child”, Craig Goldy is on guitars, Rudy Sarzo is on bass, Simon Wright is on drums, Wayne Findlay on keys and singer Diego Valdez who is really underrated. You also have other Goldy projects in “Dio Disciples” and “Resurrection Kings”.

And on the other side, you have “Last In Line” which has Vinny Appice on drums, Vivian Campbell on guitar, Andrew Freeman on vocals and Phil Soussan taking over on bass after the passing of Jimmy Bain.

Of course, any retro sounding metal/rock band has Frontiers Music president, Serafino Perugino as the protagonist to get the ball rolling. Only “Dio Disciples”, who have a deal with BMG for an album of original material are not on Frontiers Music.

But the real secret sauce behind all of these Frontiers Music projects is songwriter and producer Alessandro Delvecchio. He is a very underrated songwriter. If you listened to “Revolution Saints”, well Delvecchio is all over those albums. If you listen to “Resurrection Kings”, he’s also involved with that. The same for “Dream Child”.

To be honest I don’t really remember any Goldy projects post Dio and suddenly he has three bands in motion.

It’s a symptom of the times.

Artists might blame file sharing and streaming payments however the truth is the recording business was way overdue for a price reset, the same way the housing market prices are reset when the bubble bursts. Eventually the recording business will return to profit. It takes time. And the artist will make a profit again but it takes songs.

And the biggest issue for any artist is getting their songs heard. There is no MTV or various magazines, pushing the marketing of the band like the Eighties. There is the noise of the internet and man it’s noisy.

If artists think Blabbermouth, Loudwire, Sleaze Roxx, Melodic Rock or any other like minded site will market their album, then they are in for a nasty surprise.

The artists are in control and they should be assessing how are they making a connection with a fan.

I’ve heard the album on Spotify. I’ve actually heard in six times and I have six songs I like.

“Under The Wire”, “You Can’t Take Me Down”, “Games Of Shadows”, “Playing With Fire”, “Light Of The Dark” and “Until Death Do We Meet Again”.

A connection is made.

Will I purchase the CD?

No.

Because I’m waiting. I’m waiting to see what comes next.

If I go back to the 80’s, I didn’t buy “Holy Diver”, however it was the album which made the connection. “The Last In Line” was the album I purchased. I skipped “Sacred Heart” and “Dream Evil” purely because I selected to buy other records with the limited funds I had but I did pick up “Lock Up The Wolves”. Other fans will have their own unique experience.

Eventually I would purchase all of the records but that was well into the Nineties.

Again each fans experience is unique.

So when it comes to Dream Child, I’m interested. What comes next is up to the artist.

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Wicked Sensation

“Great songs, great chemistry and a great vocalist are much more important than state of the art guitar playing. I hate to say it, but it’s true. The song must always come first, the guitar work is secondary”.

George Lynch said the above in the Hal Leonard guitar transcription book of the “Wicked Sensation” album from Lynch Mob.

George Lynch was huge in my guitar learning days and to be honest, he is still huge even to this day.

I devour each release and man he has made a lot of them since 2005. He is one of the hardest working musicians around on par with Myles Kennedy and Marc Tremonti. Apart from making music, he makes his own hand made guitars, does clinics and produces bands.

One thing that stood out on the “Wicked Sensation” album is Lynch’s rhythm work. It surpasses all of his previous efforts from a guitar point of view.

In between Dokken and Lynch Mob, Lynch was taking lessons at GIT and you can tell, as his use of different chord voicings is on the trigger. Another thing that also stands out is less distortion. Too much distortion can hide sloppy playing and on this album, Lynch has dialed back the distortion knob from a 10 to about 6.

Wicked Sensation

It starts the album in typical Lynch fashion with a riff influenced by his Dokken days. It’s a galloping, sleazy and groovy C#m riff with a descending note pattern on the D string, which is perfect for Oni Logan to lay down his vocal melody.

In the Pre-Chorus, Lynch arpeggiates a Bsus4, then a Asus2 chord, leaving the open B and E strings shimmering in the vein of Alex Lifeson from Rush, before moving to a F#m groove.

And Oni Logan is singing about moving in and out and oh, how it feels so good.

The Chorus riff is an amalgamation of the intro riff for three bars and a F#m octave pattern for the fouth bar. And how sleazy is the foot stomping riff at the end when Oni is singing “gotta give in, gotta put it out”.

In the solo there is this tapping section which goes from 2.51 to 2.55. It’s only four fucking seconds but it’s those four seconds that showed me that Lynch had transcended the 80s and moved into some serious Maestro territory.

I’ll try to explain it the best I can.

On the high E string, Lynch taps the 14th fret, then the 15th fret and pulls off to the 14th fret and then pulls off to the 12th fret and 9th fret. Lynch repeats this legato lick and moves it up a step chromatically a few times before he descends. He hardly uses the pick here and it’s all his left hand doing the work.

It’s fast, but man it’s got melody and feeling. Play that solo section slower and you will understand what I mean. It’s like a classical masterpiece.

To show that he has transcended his Dokken days, after the solo section, there is this Jazzy and funky style breakdown which feels super loose but still played with such precision.

The song then morphs back into the Chorus with a plethora of Lynch fills to round it out.

Up and down and in and out in deed.

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Utopia Records

It had the motto “The Home Of Heavy Metal” and for a long time it was my home.

I first visited the store when it was located in Martin Place, Sydney. It was basically a tiny hole in a wall. Actually the first location in Martin Place was from 1978 to 1980 and the second location in Martin Place was from 1980 to 1990. The second place is the one that I remember.

As mentioned it was tiny, but packed with metal and rock vinyl from every band I could ever imagine and more.

I’d never seen pictured vinyl before, well Utopia had them. I’d never seen 12 inch singles of metal bands before, well Utopia had them as well. And those yellow and black plastic bags with the logo and branding proved to be a badge of honor. It’s like we got patched in to the club the same way bike gangs patch in their members.

I remember the stories about the owner, how he couldn’t get a job at other Sydney record stores and he borrowed some money from his Dad, imported some boxes of vinyl, got himself a business partner and the rest is history.

Then from 1990 to 1995, they moved to Clarence Street, Sydney, not too far from the original shop. Instead of getting off at Martin Place, I would get off at Wynard.

It was bigger but below street level. Actually you walked in at street level and proceeded to go down a few flights of stairs. If I didn’t go up to visit, I ordered via mail. Lynch Mob’s “Wicked Sensation” on LP and Don Dokken’s “Up From The Ashes” on CD are two purchases i distinctly remember via mail.

I waited in line for a Sepultura meet and greet because my cousin Mega was a fan of the band. He took in his battered snare skin for signing. Even Igor the Sepultura drummer was impressed at the brutality of the snare skin.

Hours would be spent here and some big decisions would be made as to what to buy between my cousin and I. Then as soon as we got back to my cousins house I would dub the records he purchased and he would dub the records I purchased.

From 1995 to 2001, they moved to George Street, Sydney next to Hungry Jacks and then from 2001 to 2006 they moved across the road under the cinemas. For these stores I would get off at Town Hall.

Again, another step up in size and a lot of my money went Utopias way.

Between 2001 and 2003 I was working as an Insurance Broker in Sydney, about a 10 minute walk from the George Street store and I got a few of my band mates and some metal friends jobs with the same company.

Even though we had corporate haircuts and wore three piece suits, you couldn’t take the metal out of us metalheads. Twice a week we would venture into the store and of course we would get some funny looks like what the fuck are these guys doing here. But we always purchased something. After about a month it was the norm to be seen there in a suit.

But for some of the stuff I was after, the prices did border on the ridiculous. I remember the John Sykes solo albums listed as Japanese Imports and they had $50 on them. I already had downloaded them via Napster but wanted the originals. I got em eventually via Amazon in 2010.

And for the music I was seeking, the second hand shops, the record fairs and other smaller independent shops started to prove better value. Because the bigger Utopia got, the uniqueness culture it cultivated got lost.

Eventually online and especially Amazon proved to be the place to go and purchase what I needed. That was until Amazon closed their US site recently to us Aussies because they didn’t want to charge GST and the Aussie Amazon site is a total waste of space.

The last time I walked into Utopia was at an address on Broadway in Sydney. I actually drove to this store and parked at The Broadway Shopping Centre.

They occupied this store between 2006 to 2010. By then I felt it was a shadow of itself. Peer to peer downloading was at full swing. I still purchased some albums because that’s what I do but it felt weird being there. It felt barren and totally void of the culture that made Utopia popular.

But during this time they did things differently by having live bands in store and battle of the bands contests. They kept it going. They kept the name in the conversation.

From 2010, they have been at their Kent Street address and I haven’t been.

I either purchase from the bands directly these days those super deluxe box sets or I stream. And on Record Store Day, there is a shop locally called Music Farmers that stock the releases I’m always after.

But I will return, because that’s what us Metal fans do.

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The One You Loved Is Gone

What a solo from Slash! Actually two solos.

But it’s the middle one that hooks me.

It’s one of those moments that brings a smile to my face. You feel the emotion in the phrasing and the note bends. It’s on par with his “Estranged”, “November Rain”, “Sweet Child O Mine”, “Civil War” and “Don’t Cry” solos.

The way Slash starts off the solo in the lower register playing G major pentatonic notes in the open string position, then sliding up to the 5th fret position of the scale and finishing up on the 10th fret position of the scale. It’s a lesson on using the modes of the scale and a lesson in constructing a solo to any wannabe guitarist.

Each time he moves up the neck it’s by sliding and he bends the fuck out of those notes either half a step or a full step.

And this is where Slash is a natural.

He bends the string before he picks it, so when he does pick the string, the listener hears the bent note first and then when Slash eases off the pressure on the string, the listener then hears the natural note. This is a special skill as Slash must know the right pressure to apply to the string to achieve the right pitch for the bent note.

For example, Slash will have his finger on the 7th fret on the G string. This is a D note. But what he will do is to bend the string so the listener hears the E note first. And then he will release the pressure so the listener hears the D note.

Other guitarists will pick the D note and bend up to the E note and back. It’s easier as you hear the D note and your ears can guide the bend to the E note.

But Slash, while he also employs this technique goes a step further and pre bends to the E note and when he picks it, it’s spot on the pitch.

Of course Slash isn’t the first to this. But he is the one we are talking about now.

And that acoustic intro where Slash takes an open C chord shape and plays it on the 10th fret of the 5th string to make a G chord and then he plays an open G chord on the 10th fret of the 6th string. It’s brilliant and again, he’s not the first to play open string chord shapes higher up on the neck but he does it in such an assessable way.

This combination between Slash and Myles is musically excellent. And yeah, it might sound like an Alter Bridge song, but that solo is 100% pure grade Slash.

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The Discrimination Against Grassroots Clubs

We played a tournament recently that involved accepted grassroots and representative teams. The difference between grassroots and representative teams is money. The parents of kids who play in grassroots pay no more than $200 in registration, while the parents of kids who play in representative teams pay $2500 in registration.

So now that you know the difference you should understand what happens in these tournaments.

The tournament had three high performing grassroots teams enter an age group. They put all those three teams into one group with two low performing representative teams. So that meant 5 teams in Group A. The other two groups (B and C) had four teams each and all representative teams.

Now for the interesting part, only the team that came first in Group A would progress to the Semi Finals, not the team that came second. So effectively, the Governing State Body ensured that the high performing club teams knocked each other out, so only one would survive to make the semi-finals with three representative teams (who by the way played cross over matches of 1 v 3, 1 v 3 and 2 v 2 to decide the three SF spots).

Basically, the Club teams needed to come FIRST to get a spot in the SEMI FINALS and the representative teams could have come first, second or third and they still had the same chance.

However if they put these three club teams in each group, there could be a possibility that the semi-finals could involve the three club teams and one representative team.

And this is how discrimination occurs to protect an income source.

You have footballing associations so scared of failure and the brand damage which might come with it, they use their local area monopolistic power to influence everything.  If three club teams made it to the semi-finals of this tournament, how can the representative teams justify their inflated fees.

Imagine a starting line for a second.

All the kids that play football (soccer) are lined up on the starting line. A person says for all the kids who play football to take a step forward. And all of them do. The person then says, take a step forward if you want to play professionally and 80% of the kids step forward.

The person then says, all the kids who have played in a representative team take a step forward and 20% of the kids left take a step forward. The person then says, all the kids who are playing at grassroots, take a step backwards while the representative kids take another step forward.

The person then says, if you’ve played for a representative team for one year, take another step forward, for two years, two steps forward, for three years, three steps forward and for four years or more, take 4 steps forward.

And suddenly, you have 16 players who are steps ahead of the rest. But are those 16 kids really that far ahead or so much better than the grassroots kids.  Maybe there are 15 kids who don’t belong there, however due to being born earlier in the year, they have matured and grown faster than the later born players.

As the kids get older, those late developers are progressing and catching up or those players born at the start of the year that didn’t specialise early in football are also now catching up, but the Coaches and Technical Directors of representative teams (not all of them, but a lot of them) have a fixed mindset.

These people cannot believe how kids outside of their academies/representative teams can develop into great players on their own initiative or under the guidance of a grassroots coach or their own parent.

The Germans have shown how this is possible.

“Of those who were recruited at an age of under 11 or under 13, at the age of under 19, only 9 percent are left. On the other hand, those who made it to the national A team of Germany, those we see in the World Cup for example, were being built up gradually across all age stages.

The population of senior top athletes emerges in the course of repeated selection, de-selection, and replacements across all age stages rather than developing from those early selected.

There were athletes who did not exceed initial D squad (regional junior squad), they were first recruited into the system at 15 years. The C squad (the national junior squad) were first recruited at the age of 17. Those who made it to senior world class (A squad) were first recruited at 19 years. So the more successful at the senior level, the later was the recruitment into the talent development system.

Most early selected youngsters do not become successful seniors. Most successful seniors were not selected particularly early.”

Professor Güllich gave an example from the German football TDP (talent development programme) system

In Michael Calvin’s documentary, “No Hunger In Paradise: The Players. The Journey. The Dream”, of all the boys who enter the academy at 9 years of age in the U.K, less than 0.5% make it or make a living from the game. Of the 1.5 million boys playing football, only 180 will make it to the Premier League. A success rate of 0.012%.

As the article states, the odds are the same as being hit by a meteorite as you are going home.

There are good coaches and Technical Directors  in Australia, however there are also TD’s in denial. So focused on their source of income, and the selling of their curriculum pathways.

Governing sporting bodies have done a great marketing job in making people believe in the pathway. This magic golden brick road, a linear path, that promises athletes who start as beginners will end up as experts.

It’s a myth. It doesn’t exist.

The belief in “The Pathway” is destructive to the sport. The road to being a professional is different for every player. Kids start playing a sport for various of reasons. Some enjoy manipulating the ball, others want to have fun, others want to be a professional player from a young age, some just like competing and winning.

The pathway puts forward the idea that if a player joins an academy, then a rep team, then a National Premier League Team they will eventually progress to the Professional League and the national youth teams and main team.

Instead of everyone investing in “The Pathway”, maybe the monies and the coaches should be invested in building the grassroots clubs, there facilities, and growing Football from the grassroots clubs and not the other way around. And one thing is clear, if the child isn’t technically proficient, then they will struggle.

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I’m Ready

It’s a track that Oli Herbert (RIP) co-wrote for Dee Snider’s solo album “For The Love Of Metal”. The other writers are Charlie Bellmore, Nicholas Bellmore and Jamey Jasta.

It starts off fast with double kick drumming and kick ass riffing.

Faced with mortality, questioning my sanity
Images that bring me my to knees
The weight of the world on top
Have I given all I’ve got
Just when I thought I’d seen it all

Billboard is reporting that Oli Herbert was found in a pond close to his home. No one knows what actually happened but police are not suspecting any foul play.

When I was young I didn’t think about getting old. Like all of the other youths I felt invincible and I never thought about anything in the future. But time marches forward and suddenly I’m in my forties. And I‘m thinking, have I given all I’ve got so far. Am I happy where I am or just content?

That’s why I like to travel. It’s invigorating and I like being out of my comfort zone and experiencing something new. If I don’t take chances, I will never know what I will encounter.

My cousin died from a heart problem that prevented him playing football just after he turned forty a few years back in Germany. He spent his adult life trying to create a better world for his kids.

A school friend hung himself after a relationship breakdown prevented him getting access to his son. My work friends best mate put a gun in his mouth and pulled the trigger because he was ostracized from his daughter after a relationship break up.

Mortality and insanity cause big problems when they go to war against each other.

Death leaves a sorrow no one can heal
Love leaves a memory no one can steal

So true.

And everything becomes a memory in the end even our lives.

Maybe we’re just here for the pain
Then I’m ready

The stock market crashes and the next day it rebounds. Some feel pain while some gain. A hurricane or a shooting happens so regularly, people just shrug their shoulders. Again someone dies and a mother cries. It’s like Nikki Sixx said “we are all just doing time on the wild side.” We are just ready for the good and bad that life brings.

Praise those who live their truth
Step forward where they break through
Forge a path with something real to prove

We all got opinions but nobody is listening. So the best advice is to find our own unique path.

Because in this day and age we need to stand for something, otherwise we are waisting our voice. Then again journalists are standing up to corrupt governments and getting killed in the process.

The female reporters in Malta and Bulgaria and the Saudi reported hacked to death are three that come to mind. Never mind the Russian reporters critical of Putin who have died. But they will be praised for living for the truth.

And the solo section is perfect, from the harmony beginning to the shredding that came after.

I guess I’m ready for what needs to come next.

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Oli Herbert – All That Remains

I remember the first time I heard the band. It was in 2008 and the “Overcome” album just dropped. I believe it was their fourth album.

At the time I had no idea how divisive this album was to their existing fan base. I read comments to reviews and YouTube videos that blasted this album.

One fan mentioned how the album is the mass marketed pop washed version of “The Fall of Ideals” (their much loved previous album). And as I type this, I still haven’t listened to the three albums before “Overcome”.

For me, “Overcome” made All That Remains (ATR) accessible and I’ve been a fan since. And ATR had the balls to go with what they believed was right at the point in time.

Because in music when you have public acceptance of your music/certain songs, you start to write similar songs so that the public acceptance remains. Some bands totally change styles while others do it within their style. ATR did it within their style.

Anyway the first track “Before The Damned” started blasting out of my headphones. It’s also by far the most heaviest track.

From 0 to 22 seconds, the snare and palm muted guitar pattern hooks you in straight away. It’s performed by syncopated military precision. Yeah it might sound generic but so did every pedal point riff on albums in the Eighties. And if you go back to the Seventies, a lot of albums had the same blues pedal point boogie going on.

From 22 to 33 seconds, the whole band is now grooving on the intro pattern, however this time the bass drum sounds out the intro riff and the other instruments play something a bit different, like open string melodic leads and what not.

From 34 to 55 seconds the verse rolls around. The riff again is generic but within the context of the song it works and the way the drums and guitars are synchronized is excellent.

But it‘s the Chorus from 56 seconds to 1.07 that seals the deal. I was hooked by how effortlessly ATR changed from the death metal verses to the hard rock arena chorus.

We will still set in motion
Changing of the time
We have not forgotten
We control our lives

Now every review I read blasted Labonte’s clean vocals and how they lacked depth, balls or there was too much auto tune.

Basically they all said that Labonte should not do clean vocals ever in the same way Bruce Dickinson should never attempt screamo/death metal vocals.

Even James Hetfield copped criticism for his vocals on the self titled Metallica album and the Load LP’s. But every artist needs to grow and try new things. These subjective debates is the reason why I love music. You can talk the whole day and night over differing viewpoints.

When I hear a song, I listen to it from a guitar point of view.

Does the song make me want to put down what I am doing and learn it?

And this song does.

Musically it’s excellent.

At 2.04 we get this head banging metal breakdown and the solo begins at 2.09 over that same head banging breakdown riff. The solo is chromatic and diminished, in the same way Randy Rhoads shreds on “Diary Of A Madman”. This concludes at 2.19. It sounds dissonant and atonal.

After two minutes and fifty seconds the song is done. So I listened again and again and again because it’s a lesson on no filler songwriting. It’s also a great lesson in the “Progress Is Derivative” model because the song takes a lot of their influences and puts it all together in an original way.

And the main man behind the guitar is Oli Herbert. A great guitar player, founding member of All That Remains and songwriter who passed away at 44.

Rest In Peace.

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Coheed And Cambria

“Vaxis – Act I: The Unheavenly Creatures” is the new album. The title can turn people away who are not fans and to be honest these long album titles did sound peculiar and they triggered an interest for me back in 2007, however I still needed another recommendation to dive in.

It started with a recommendation that came from a Guitar World interview about the “No World For Tomorrow” album, which also came out in 2007 but I still did nothing with it.

Then a few months later I was given a burnt copy of “In Keeping Secrets Of Silent Earth” by an old band member. I was at work and I couldn’t wait until I got home as I had some after work activities to do so I would have been home late. Anyway I placed the CD into the CD player of the PC, grabbed the shitty e-training headphones from work and pressed play.

The rest is history as I became a fan for life.

So here I am 11 years later and another new Coheed release has hit the streets. Being a fan, I have no problem spending the $172.95AUD for the Deluxe Box Set. I’ve done this same routine for the last four releases.

It’s another concept album.

My first concept experience was “Operation Mindcrime” from Queensryche, then “The Crimson Idol” from WASP and then “Streets: A Rock Opera” from Savatage. But Coheed take it to another level, with more or less each album except one being part of a concept story called “The Amory Wars”.

Here is a quick summary. There are more detailed ones out there.

A scientist called Sirius Amory discovers an energy source called “The Keywork” is actually souls who haven’t transcended. This happens on “The Afterman” album.

Many years later, a person called Wilhelm Ryan starts using the energy of the Keywork to murder and rule. Coheed and Cambria are robots created to destroy him. Along with a person called Inferno, who also is a robot, they attack Ryan’s fortress and manage to destroy it. But Ryan survives. However Coheed and Cambria think he’s dead. Thinking it’s over, their memory is wiped. This happens on “The Year Of The Black Rainbow”.

In “The Second Stage Turbine Blade” Coheed and Cambria get killed and their last surviving son, Claudio, is left to take up the charge. I’m still not sure how humanoid robots have children. But the recent Bladerunner movie also had this story arc.

Claudio finds out that he’s like the chosen one in “In Keeping Secrets Of Silent Earth”.

In “Good Apollo, I’m Burning Star IV, Vol. I: From Fear Through the Eyes of Madness” there is a character called “The Writer” that starts to fuck up the story because he’s going through a relationship break up. It reminds me of the Matrix characters “The Keymaker” merged with “The Architect”.

In “No World For Tomorrow”, Claudio destroys the Keywork and releases the trapped souls. And the new album takes place after this event.

Now of you want to read reviews of the album I suggest you check out these reviews from Metal Injection and Rock Sins.

I more or less agree with everything they say. In my view, if the album music doesn’t convert new fans the narrative will. It’s a win-win for Coheed and Cambria.

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Dynazty

Dynazty came onto my radar in 2016.

Actually I heard of em a few years before but avoided them because of the band name, thinking they would sound like Kiss, and why did they spell it with a ‘Z’.

They are a typical example of what its like to be involved in the music business today for a Swedish band. They exist completely off the mainstream radar screen, doing their thing and building their catalogue of songs. And eventually, people will notice. But it takes time. Hell, I’m a fan of their last three releases and I don’t even know who is in the band.

How is that possible?

It’s so far removed from the label gatekeeper 80’s/90’s model. Anyway I looked em up this time and here are the member’s. Nils Molin on vocals, George Harnsten Egg on drums, Rob Love Magnusson on guitar, Mike Lavér on guitars and Jonathan Olsson on bass. Yep, I can’t say I’ve heard of em.

The new album and number six overall is called “Firesign”. It’s a European sounding album, so it’s fitting that I am listening to it in Europe.

But it was album number four “Renatus” that hooked me in which I heard at the same time as album number five “Titanic Mass” in 2016.

And people are listening. Music is a lifers game. You’re either in it for life or it’s just a passing hobby.

And Dynazty are in it.

A label head would call this pop power rock. But I hate labels, so to me, it’s just a cool rock album with kick ass guitar solos. Actually really good guitar solos.

Breathe With Me

The kick ass intro gets the foot tapping, the vocal melodies gets the head nodding and when the guitar solo comes in, it’s got so many cool licks from sweep picking to legato lines to string skipping to pentatonic lines.

It’ll be cool to sit down and figure it all out.

The Grey

Any track that starts off with just drums and bass hooks me in. When the keys and guitars kick in, it’s melodic heaven.

And that guitar solo. It starts off with a repeating open string lick under changing chords. After that it’s time to tastefully shred.

If the first two songs don’t hook you, then the rest won’t.

In The Arms Of A Devil

One of the heavier tracks on the album and another guitar solo moment which hooks me.

My Darkest Hour

The vocal melodies, the symphonic music and that guitar solo. Brilliant. I scrubbed it back 8 times just to hear the lead again.

Will these songs sustain and penetrate?

Who knows.

I thought Dokken would rule the world and instead it ended up being Metallica.

Firesign

Rammstein riffs merged with In Flames riffs merged with Joey Tempest style vocals.

What’s not to like?

And when you add in another tasty guitar solo.

It’s perfect.

Follow Me

It’s everything that’s great about Euro Metal wrapped up in a 4 minute song.

And again the guitar leads shine.

The Light Inside The Tunnel

Malmsteen influences are all over this album, but by the last song it’s clear that the Dynazty guitarists have surpassed the Fury Master.

And apart from the symphonic nods, this song grooves. It has an addictive chorus on the album and another great guitar solo.

Check it out purely for the guitar heroes.

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