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

Australian Method Series: AC/DC – Dirty Deeds Done Dirt Cheap

Released in 1976. This is the cover we know for the album and not the Hipgnosis one which came out on the International release.

This version of AC/DC rocked hard. Bon Scott is on Vocals, The Young Brothers are on all things guitar related, Mark Evans is on bass and Phil Rudd is on the Drums.

Production is handled by The Easybeats main songwriters in George Young (big brother of Angus and Malcolm) and Harry Vanda.

“Dirty Deeds Done Dirt Cheap” is the third studio album by AC/DC. While it hit the streets in Australia in 1976, it didn’t get a U.S release until 1981.

And that decisions by Atlantic A&R man Doug Morris to release the album proved to be unpopular with the band.

AC/DC had successfully reinvented itself with a new singer, Brian Johnson. The band was working on a new album, which would become “For Those About to Rock We Salute You”, released later that same year.

But Morris saw a financial opportunity to capitalize on the success of “Back in Black” which had already sold over five million copies. And due to those numbers, Morris estimated that “Dirty Deeds” would move at least 2 million.

But it also took away an opportunity for the new album.

“For Those About to Rock” would have sold a lot more if Morris had waited.

So the US release of “Dirty Deeds” was widely seen as damaging the momentum for that album, which it outsold. The band was also forced to add songs from the “Dirty Deeds” album to its set list on its subsequent tour, further taking the focus away from their new album.

But going back to 1976, Atlantic was unhappy with the vocals and the production. This infuriated Malcolm Young because the label was putting shit on his older brother.

Bassist Mark Evans assumed Bon Scott would be fired as a result. The band was on the verge of being dropped.

But “High Voltage” which was also released in the United States in 1976 was still selling and the sales of that album versus what the label paid for it, gave AC/DC a lifeline.

The Young brothers along with Bon Scott were very creative during this period. As was the norm, each year had a new AC/DC album. And they always overwrote for each album.

As a side note a song called “I’m a Rebel” was recorded for this album, with music and lyrics written by Alex Young, another brother of the Young’s. While the song was never released by AC/DC, Accept somehow got their hands on it and released it as a single, and also named their second album after it.

Dirty Deeds

The riff’s simplicity is its magic.

The drum groove was used by Lars Ulrich for the “Enter Sandman” intro.

The lead break is the embryo of the “Thunderstruck”.

And Bon Scott is menacing as he gave us a new phone number to call.

36-24-36.

Love At First Feel

It’s got that Chuck Berry 12 bar blues rock feel, which AC/DC used a lot of. The most notable song being, “Long Way To The Top”.

Press play to hear a very good and underrated Angus Young lead.

And I like how it quietens down after the solo, with the vocal melody of “Love At First Feel” repeated as they build the song back up.

Big Balls

There was a band in Australia called Skyhooks who had this kind of cabaret/stage show delivery in their songs.

Rocker

Well the songs a rocker alright.

It brings back memories of Val Kilmer performing a rockabilly song in the movie “Top Secret”.

Problem Child

A favourite because of the riffs and the vocal delivery. If there is a track to press play on, then this is definitely one of em.

And Angus delivers another underrated lead break.

In concert, Scott would often introduce “Problem Child” as being about Angus.

There’s Gonna Be Some Rockin’

The 12 bar blues is back. Bands like Status Quo would build a career on tracks like this.

The rhythm is also very similar to that of “The Seventh Son” by Willie Dixon.

Ain’t No Fun (Waiting Round To Be A Millionaire)

It follows more of the same “Long Way To The Top” feel. But press play to hear the Chorus riff, as there’s a chord ringing out and then some arpeggios and single notes.

Ride On

It can be supercharged with other slow blues songs they have done, like “The Jack” and “Night Prowler”

Squealer

How good is the intro on this?

The bass plays a groove that is not typical of AC/DC. It’s almost funky like.

And when Bon Scott moves from his lower register to his higher register, the guitars become more aggressive and the drums get louder.

Angus again wails away on the guitar, delivering a very mature lead. It’s one of my favourite AC/DC cuts and it has been largely forgotten.

This is another track you shouldn’t ignore on this album.

In relation to sales it was a hit in Australia when it came out.

In the US, it was a different story.

Following the American success of “Highway to Hell” in late 1979, copies of the album began to appear as imports in the US.

Some of these were the original Australian edition on Albert Productions; however, Atlantic also pressed the international version in Australia, and many of these were also exported to the US.

Strong demand for both versions (in the wake of the even greater success of Back in Black) led the US division of Atlantic to finally authorize an official US release in March 1981. It went straight to No. 3 on the Billboard album charts.

In relation to sales, 6× Platinum in Australia and the US.

Crank it.

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The Record Vault: Def Leppard – Slang

Released in 1996.

Def Leppard couldn’t continue in the same vein of “Pyromania”, “Hysteria” and “Adrenalize” without a reset. It became a heavy burden to carry on the style of those albums. They either had to change or die.

Truth

I was surprised when the opening musical notes of “Truth” started off, and the distorted “why don’t you tell me” vocal line. It was more in the vein of Brit Alternative Rock/Pop than Blues Heavy Rock.

Check out the exotic sounding lead break. And the demo version of the song sounds more natural and it’s my go to version as the mix is in the heavy rock category that I like.

Turn To Dust

I like the exotic middle eastern sounds on “Turn To Dust” before a groovy Rick Savage bass riff kicks in and the Chorus is classic Def Lep, with the layered vocals.

Slang

“Slang” always felt like an INXS song to me as it’s got that fun pop vibe.

All I Want Is Everything

How good is the repeating lick intro to “All I Want Is Everything”?

Then when the drums and bass come in, it’s got a perfect groove and Joe Elliot’s haunting vocal melody takes it to another level.

This track could have come from a Tom Petty album.

Work It Out

“Work It Out” is Vivian Campbell’s first songwriting contribution and it’s a high point on the album. The song reminds me of the sounds of British bands like Gun who had a brief moment in the spotlight between 1989 and 1995.

The chugging guitar sound was made by running Campbell’s guitar through a drum machine gate.

In the June, 1996, Guitar issue, Campbell said that when “he was in Dio, he wrote some of the music, but writing a song for Dio was basically writing a guitar riff and 32 bars of a guitar solo. That was his world, as Dio would then arrange the pieces as he saw fit.”

Then again legions of fans liked him for that Dio part.

Campbell also mentioned that Def Leppard is not about the long guitar solos. It’s about getting the song right for the record.

Campbell further said that;

“In the 80’s there was more than just doing what was appropriate for the song. There was the plus, you know, that I had to do a solo for a record but also had to advance my career as a guitarist in the eyes of all guitarists.”

Make sure you stick around for the interlude section. It starts off funky, there’s a repeating palm muted guitar lick with ambient noise and then a bone crunching riff.

That’s right people, no guitar solo, but still plenty of guitar melodic licks and riffs played throughout.

Breathe A Sigh

That small fingerpicked intro for “Breathe A Sigh” is excellent. This is Def Leppard going more rhythm and blues with their unmistakable layered harmony vocals in the Chorus.

In a June 1996, Guitar issue, interviewer Rich Maloof mentioned how the hip hop groove is reminiscent of TLC’s “Diggin’ On You”.

Deliver Me

How good is the arpeggio picked guitar riff and the vocal melody from the start in “Deliver Me”?

Gift Of Flesh

And that Chorus is heavy rock with the melodic layered vocals that I expect from Def Lep.

“Gift Of Flesh” has a slamming wah solo by Phil Collen done in one take.

Blood Runs Cold

“Blood Runs Cold” is another classic Def Lep track. The actual version and the “Rough Mix” version are both excellent.

Pearl Of Euphoria

How cool is the New Wave style of guitar on “Pearl Of Euphoria”?

And yes there had to be a song title with a word that ends in “ia”.

The June 1996 Guitar piece from Rich Maloof ends with these words;

As guitarists in a band that found success in a doomed era of rock, Collen and Campbell have adopted the Darwinian notion that survival is dependent on change. The new era is just as doomed, of course, but it speaks well for this pair that they knew to change and had the reserve of talent needed to grow.

As Collen concludes, “We’ve picked up a lot of experience on the way and we found a way to get it out of our system with an album we think is right. To us, that is the biggest thing. We weren’t even slightly worried, and we think anyone who likes us will like it. And hopefully we’ll get some new fans as well.”

Crank “Slang” and enjoy an excellent Def Leppard record.

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The Record Vault: Def Leppard – Vault: Def Leppard Greatest Hits (1980–1995)

If you had the albums you didn’t really need this unless you are a serious collector, which the majority of Def Leppard fans are. And if you had no albums from the band, then this is one to purchase as its focus is definitely on the big albums of “Pyromania”, “Hysteria” and “Adrenalize”.

“Vault: Def Leppard Greatest Hits (1980–1995)” was released on 23 October 1995.

Pour Some Sugar on Me (Historia Video Edit)

From the “Hysteria” album, written by Clark, Collen, Elliott, Lange and Savage.

The song was treading water in and out of the Top 10 singles charts and 49 weeks after it was released it hit the Number 1 spot. The path to number 1 happened during the European tour. The Strip Clubs of Florida started playing it, then people started requesting it on radio and the song just blew up.

They were done with the album and working on the last song for the album, “Armageddon It”. During a break in the recording, Elliot picked up the acoustic guitar and played the three chords. Lange heard it and liked it. It’s “We Will Rock You” vibe is evident and the Chorus was done first. So they had the big hook and worked backwards from there.

The verses started to have this “Come Together” vocal feel. But they weren’t done, as both Lange and Elliot took small tape recorders and scatted phonetically into. 10 days later the song was completed. The fastest thing they had done for the album.

“Love is like a bomb” okay.

Photograph

From the “Pyromania” album and written by Clark, Elliott, Lange, Savage and Willis.

Collen played the lead break on his Ibanez Destroyer. It was a hybrid hard rock version of AC/DC meets Boston. It had that aggressiveness and the melody.

Love Bites

From the “Hysteria” album, written by Clark, Collen, Elliott, Lange and Savage. The bulk of the song was courtesy of Mutt Lange. When he played it to the band on acoustic guitar in sounded like a Don Henley cut, as Lange’s voice is very similar.

But as the band kept working on it with Lange, it just kept getting bigger and bigger. The Chorus is huge and press play to hear the melodic guitars there.

Also when the song broke through, the band had to learn it while on tour to add it to its set list. And it was daunting due to the multi-layered harmonies.

Let’s Get Rocked

One of the earliest songs written for the “Adrenalize” album by Collen, Elliott, Lange and Savage. Like “Pour Some Sugar On Me”, the Chorus hook was written first and the rest followed after.

Its juvenile and fun and so departed from the “shoe starers” as the Grunge movement was known back then.

Two Steps Behind (Acoustic Version)

Written by Elliott and the song appeared as a B side on one of the “Adrenalize” singles, on the “Retro Active” album and on the “Last Action Hero” soundtrack which was a box office bomb for Arnold Schwarzenegger.

The idea for an acoustic song came together after Joe Elliot started jamming with Hothouse Flowers.

Michael Kamen got involved because he wanted to do strings on a Def Leppard cut. So the band sent him all the tracks that they were using on “Retro Active” and nothing really stood out to Kamen.

However one of his assistants heard the song and kept humming the vocal melody. When Kamen asked her what she was humming, she mentioned it’s one of the Def Leppard songs they sent through and Kamen had his “a-ha” moment and his involvement was sealed.

Animal

From the “Hysteria” album written by Clark, Collen, Elliott, Lange and Savage.

And it was put together so unusually. Joe Elliot sang his vocals to a different backing track and once the vocals were done, Lange took away the music and left the drums and vocals and told Phil and Steve to come up with a new musical track.

Heaven Is

From the “Adrenalize” album and written by Clark, Collen, Elliot, Lange and Savage.

It can be interchanged with a Bryan Adams cut.

Rocket (Visualize video edit)

From the “Hysteria” album written by Clark, Collen, Elliott, Lange and Savage.

It was actually Joe Elliot that came up the African drum loop.

When Love & Hate Collide

Written by Elliot and Savage. It was originally written for “Adrenalize” circa 1989, however it’s seen as the new song for this album. Elliot was going with a “Love Bites” part 2 vibe and they stopped recording the “Slang” album to get this song finished for the “Vault” album at the request of their label.

And the guys had to get re-acquainted with their past recording methods as their mindsets were on the future and the sounds/production of “Slang”.

The vocal melody also reminds of Peter Cetera and “Glory Of Love”.

Action

The love the band has for Sweet is evident on how well they covered this track for a B side, which also appeared on the “Retro Active” album.

It’s full of energy and you can hear the fun dripping from the speakers.

Make Love Like a Man

From “Adrenalize” and written by Clark, Collen, Elliott and Lange. It’s basically “Pour Some Sugar On Me” part 2.

Armageddon It

From “Hysteria” and written by Clark, Collen, Elliott, Lange and Savage.

The guitar part was just power chords when the song was first demoed in 84, and then a few years later, Steve Clark started playing a T-Rex inspired riff over the power chord progressions, which inspired Joe Elliot vocally.

And that whole, “gimme all your loving” section was inspired by ZZ Top and the band were always going to change the words, so it didn’t have “gimme all your loving” but it sounded so good that Mutt Lange told em to leave it.

Have You Ever Needed Someone So Bad?

From “Adrenalize” and written by Collen, Elliott and Lange. They had this and “When Love And Hate Collide” and decided to go with this for the album. The majority of the song was written by Collen and Lange with Elliot contributing lyrics.

Rock of Ages

From “Pyromania” and written by Clark, Elliott and Lange.

It was a Steve Clark riff and the original demo had a slower tempo.

Mutt Lange had the song musical structure mapped out. The verses came first but they still didn’t have a Chorus.

A hymn book in the Control Room left behind by a Choir group gave the song its title.

Hysteria

The title track and written by Clark, Collen, Elliott, Lange and Savage.

But the main guitar part was from the fingers of Rick Savage. And Joe Elliot didn’t like it, because he thought it sounded too much like “Every Breath You Take” from The Police.

Bringin’ On the Heartbreak

From the “High ‘N’ Dry” album and written by Clark, Elliott and Willis. Still a live staple and one of their signature song. Check it out for the harmony guitars.

Initially it was a demo called “A Certain Heartache”. And when they started working with Mutt Lange, Lange had a tendency to rip songs apart and ask the guys to add new bits. But for this, it didn’t really happen as Lange approved.

5× Platinum in the U.S. Not bad for a Best off compilation. Ka-Ching.

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1976 – Part 4.3: T-Rex – Futuristic Dragon

I didn’t know who T-Rex or Marc Bolan was until Nikki Sixx kept mentioning him as an influence between 1987 and 1990. And I had heard “Get It On” and “Children Of The Revolution” on radio before but the radio announcer never announced who the artist was and with so much hard rock coming my way, T-Rex just kept slipping from my mind.

“Futuristic Dragon” is studio album number 11 released in January 1976 everywhere else in the world except the U.S. The U.S release didn’t happen until 1987.

It’s listed as a T-Rex album, however when Mickey Finn left the band the previous year, Bolan said that “T-Rex no longer exists”. But the labels are always wise and they wouldn’t release it unless it was T-Rex.

The band is Marc Bolan on Vocals, Guitars and Moog, his partner Gloria Jones on Backing Vocals and Clavinet, Steve Currie on Bass,
Davy Lutton on Drums, Dino Dines on Keyboards and Jimmie Haskell on Strings.

George Underwood did the cover artwork who also covers for other T-Rex albums, along with Bowie, Mott The Hoople and alot of book covers.

Here is a snapshot of some from his website.

All tracks are written by Marc Bolan.

Futuristic Dragon

It’s almost two minutes of a bass groove like the one in “Crazy Train”, guitars on cocaine and a voice over from Marc Bolan. But part from the bass groove, I was like “what the…”

Jupiter Liar

The “Get It On” style riff is back as Bolan is vamping on a F5 power chord.

But this time there are gospel/soul like backing vocalists. And Marc Bolan has a talent for creating a catchy song without a proper Chorus.

Chrome Sitar

The groove on this song is addictive. It’s almost metal like in the riff, however the horns give it a blues/soul rock vibe.

All Alone

It’s a Blues Rock Soul cut, very Rolling Stones like in the blues rock department.

If the verse vocal melody and progression sounds familiar, it should as Nikki Sixx took for when Frankie died. “On With The Show” I say.

New York City

It was a single, a blues rockabilly tune with catchy gospel like backing vocals.

And there is a vocal melody here (the “I did, don’t you know” lyric) which reminds me of another song from another artist, which I can’t remember right now. I like it when that happens, but also hate it when I can’t remember the other artist.

My Little Baby

Another catchy tune, mixing blues rock with soul and a bit of ELO like strings. The vocal melody was definitely used by other artists in the 80’s and beyond.

Calling All Destroyers

The verse vocal melody inspired Phil Lynott for the verse vocal melody on “Cold Sweat”.

Theme for a Dragon

It’s soundtrack like with the strings carrying the melody.

Sensation Boulevard

This could have been on any 80’s pop album it’s that catchy. Press play to hear to bass groove that rumbles throughout the song.

Ride My Wheels

This one has too much soul and less rock. The first slip up on the album, but I still appreciate it for the experimentation of soul based rhythms.

Dreamy Lady

Another experimenting song, however the sugary 60’s pop works here. It’s even disco-esque. Was disco even a thing in 76.

Dawn Storm

It’s a perfect blend of soul and rock.

Casual Agent

A small misstep with too much soul and not enough rock and blues.

Overall, the album is enjoyable to listen to. Marc Bolan is very underrated as an artist and on this album, you will hear a lot of melodies and riffs that other artists have used afterwards.

The blend of rock and blues was always there in T-Rex’s music, and the strings also appeared, however with the addition of soul and a bit of disco, the album was definitely ahead of its time.

Futuristic. Yes.

But it was no match against “A Night At The Opera” from Queen. While T-Rex toured on this album, the overall turnout at the gigs was poor and the album didn’t do that great on the charts either. The glory days of just a few years ago seemed like decades ago.

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The Record Vault: Def Leppard – Retro Active

I had this on CD but I don’t have it anymore.

Against my better judgement (and pressure from my older brothers), I gave it to a local DJ (a family friend as well) to play at a party he was MC at, but he had a chequered history of not returning peoples music.

And as per the script, when I asked him for the CD back after the party, he told me that his DJ gear and the music he had was stolen after the party. But it appeared “somehow” magically the following fortnight for another party.

I also dubbed it on cassette before I lent it, so I might have had an inkling that it would never come back.

So what is “Retro Active”?

Released in 1993 to the slogan of “We’ve pretty much cleared out the shelves with this album”, “Retro Active” is a compilation album featuring re-worked versions of B-sides and previously unreleased recordings from the band’s recording sessions between 1984 to 1993. The creativity of the band members during this period was an all time high.

The press release for the album wanted to make clear, that;

“This is not a new Def Leppard album – nor is it an old Def Leppard record. It is “Retro-Active”, a collection of songs that have appeared in hard to find places or, in certain cases, never made it out of the studio until now.”

The band wanted to do this kind of album after “Hysteria”, with a release in 1989, however those plans didn’t eventuate.

Pretty cool album cover as well by Nels Israelson and Hugh Syme and how two different images can be seen when viewed from a distance.

Vivian Campbell gets a chance to adding his own textures of electric guitars, acoustic guitars and backing vocals, on top of everything else that was already there by Rick Allen, Steve Clark, Phil Collen, Joe Elliot and Rick Savage.

Desert Song

Michael Schenker came to mind when I saw this title.

And this is a great opening track, written by Clark, Elliott and Savage. Listed as an unreleased outtake from the “Hysteria” sessions.

The Arabic/Dio/Blackmore feel of the main riff reminds me of early Def Leppard. And when the Pre-Chorus (or is it the Chorus) kicks in, you get smacked in the face by the “Hysteria” multi-layered vocals.

There is this quietened down section in the middle of the song, which reminds me of the 70’s and the arrangements that bands used to do back then. The middle section gives way to a lead break and to an outro with has minimal singing, however Elliot is using his voice like another instrument.

Fractured Love

My favourite song on this album and another unreleased outtake from the “Hysteria” sessions.

Written by Clark, Elliott and Savage. It was part of the original “Hysteria” track listing in the Spring of 1985, but once Mutt Lange returned, the song was shelved.

The drum like intro was actually recorded by Elliot, by tapping his fingers on the studio vocal booth “baffles”. The sound was then enhanced and looped to form the atmospheric intro.

The E-bow effects by Collen are haunting. The open string build up in the verses reminds me of Queensryche and songs from “Operation Mindcrime”.

And when the whole band crashes in for the multi-layered Chorus, its head banging time.

Action

A Sweet cover written by Andy Scott, Brian Connolly, Steve Priest and Mick Tucker. It was originally released on the “Make Love Like a Man” single; this version has re-recorded snare drums.

While the band Sweet had some traction in Australia, it was artists covering their songs in the 80’s and 90’s that got me interested to check them out.

And I like how Def Leppard just made it their own, rocking out, shredding out and in sections bringing in the multi-layered vocals.

Two Steps Behind

Written by Elliot. The unexpected hit.

This is the acoustic version and an electric version is further down the track list. It’s very Bryan Adams sounding.

It got some traction from the film “Last Action Hero” and it was originally released on the “Make Love Like a Man” single.

She’s Too Tough

Another cut written by Elliott and I dig it when his voice gets all Bon Scott throaty. Press play to hear him rock and roll in the verses like this.

This was a B-side included as a bonus track on the Japanese pressings of “Adrenalize”. Written in 1985, the song first appeared on the Helix album “Wild in the Streets” in 1987.

It was redone by the Lep and also released on the singles for “Heaven Is”, “Tonight”, and “Stand Up (Kick Love into Motion)”.

Miss You in a Heartbeat

This acoustic version has this gospel feel which I like.

The song was released on the “Make Love Like a Man” single as well as the Japanese versions of “Adrenalize”.

Phil Collen wrote it and it first appeared on an album by “The Law” featuring Paul Rodgers, released in 1991.

Only After Dark

A Mick Ronson cover, written by Ronson and Scott Richardson.

The song previously appeared on the “Let’s Get Rocked” single, and extra guitars were added for this release.

And the groove is still funky.

Ride Into The Sun (1987 re-recording)

This cut is listed as coming from the “Hysteria” sessions, however it goes back to “The Def Leppard E.P” from 1979.

It’s also listed as being written by Clark, Collen (I’m not sure what he added musically to get a credit as he wasn’t in the band when this song was originally written), Elliot and Savage.

And it’s pretty close to the original version in the verses and chorus.

Slight differences are from the “Hysteria” era cut is that it featured a Rick Allen drum solo intro, whereas the version here has a honky tonk piano intro provided by Ian Hunter.

From the Inside (with the Hothouse Flowers)

Another cut written by Joe Elliott for the “Adrenalize” album. I actually like the R.E.M vibe they have happening here.

It appeared as a B side to the “Have You Ever Needed Someone So Bad” single and some single releases of “Stand Up (Kick Love into Motion)”.

Ring of Fire

How this song never made the cut for “Hysteria” is a tragedy. It’s a pure hard rocker that borders on the early NWOBHM sound of the first two albums.

It will forever be known as a B side from the “Hysteria” sessions.

The song writing gang is also back with Clark, Collen, Elliot, Lange and Savage listed as writers.

It was originally released on the 1988 singles “Pour Some Sugar on Me” in the U.S and “Armageddon It” in the UK.

Press play and let the hard rock sounds wash over you.

I Wanna Be Your Hero

Another cut forever known as a B side from the “Hysteria” sessions and also written by the gang of Clark, Collen, Elliot, Lange and Savage.

It was originally released on the 1987 singles “Animal” in the U.S and “Pour Some Sugar on Me” in the UK.

Miss You in a Heartbeat (Electric Version)

How many versions of the same song could you want?

Well for this song, we get three versions.

Two Steps Behind (Electric Version)

Squeezing more mileage out of this one. And while I said the acoustic version sounds like Bryan Adams, this version seals the deal. It could be interchanged with another ballad from a Bryan Adams album.

Miss You in a Heartbeat (Piano Version)

It’s listed as a hidden track.

In relation to “Miss You In A Heartbeat” and “Two Steps Behind”, it goes to show how Def Leppard tried many different ways to bring the song to life. It’s not easy re-doing and re-creating a song.

And with this album, an era was done and the band was ready to start fresh.

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The Record Vault – Coheed And Cambria (with Rick Springfield)– Jessie’s Girl 2

“Jessie’s Girl 2” was released as a standalone single on August 21, 2020 by Coheed and Cambria featuring Rick Springfield.

The original “Jessie’s Girl,” tells the story about jealousy and the song went huge in 1981, turning Springfield into a superstar. And the song is still played today, generating a nice income stream for Springfield or for the Corporation who holds his Copyrights.

Like all hits, it felt that someone should write a sequel.

Enter Coheed And Cambria.

Coheed and Cambria have this power pop rock vibe in their music. So back in 2019, the band was jamming on a riff, when Sanchez sang the melody from “Jessie’s Girl”.

Claude Sanchez said in the press release;

“Has anyone ever written a sequel to another artist’s song?

I don’t think so.

As a fan of movies, it just seemed like a really interesting idea… It’s kind of like a “National Lampoon’s” movie meets “So I Married an Axe Murderer”.

And this also triggered an idea to do a sequel to a famous song, and a grander idea to do an album called “Sequels”. They reached out to Springfield and he was keen to be involved.

This song is from the perspective from “Jessie’s Girl” narrator and things just didn’t turn out the best for him.

While he did get the girl, he regrets it. The girl is out of her mind, has a sinister side as she stalks him and wants to kill him for leaving him, has dirty habits and he regrets burning a friendship to get her.

As I was doing my Super Deluxe pre-order for the new album, I saw the 7 inch vinyl single, so I added it to the cart.

Oh, so I changed my number
To 867-5305
That didn’t, that didn’t, that didn’t stop her
She wouldn’t let me leave her house alive
She’s out of, she’s out of, she’s out of her mind

Press play and let the stalker rock ya.

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The Week In Destroyer Of Harmony History – February 21 to February 27

4 Years Ago (2018)

THE CRIMSON IDOL

It’s a favourite.

Back in 1992, “The Crimson Idol” ended up being a perfect album for me, in a time when the labels started to put all of their marketing monies into Seattle. I played it a lot, learned riff after riff and lick after lick and it didn’t matter how much time passed between listens, I still knew every lick, every drum roll and every word.

Fast forward many years later (circa 2008) and “The Crimson Idol” was released as a Double special edition CD, with two new tracks. “Phantoms In The Mirror” (which I would place after “The Invisible Boy” in the story arc) and “The Eulogy” (which I would place at the end).

Fast forward another decade (2018) and “The Crimson Idol” has been “Re-Idolized” with additional songs added to the storyline however, “Phantoms In The Mirror” and “The Eulogy” have been left off.

Confused. Me too.

But the review might clarify some things for ya.

8 Years Ago (2014)

RICHIE SAMBORA – Live At The Enmore Theatre, Sydney; 26 February 2014

It renewed my faith in live music.

The previous night to this, I watched Five Finger Death Punch and Avenged Sevenfold. While that was a great concert, the songs got played more or less “note for note” as per the album recordings.

But, Richie Sambora was “communicating musically”. The sheriff was back in town. With three different hand motions he led the band into jams, out of jams and into sing a longs.

Sambora engraved himself into our hearts. He stopped and he talked. Sometimes it felt like for ages. I haven’t seen a lot of people do that kind of a rock show for a while as they are scared in case they lose the audience. Sambora was a true pro. He was endearing himself, creating a bond. And what a show he delivered.

Read the review here.

JAKE E LEE

A lot of people don’t know who Jake E Lee is. Do a survey and you will see?

US sales for week ending February 5, 2014 had Red Dragon Cartel listed with 5,300 sold. The hard-core fans. The niche. And then it didn’t show up on any of the sales charts the following week.

Then again sales of recorded music is not a true measure of success these days. Streaming is.

Are people still listening to the music?

Red Dragon Cartel has a small audience of approx. 2600 who are listening on Spotify.

But there isn’t a song on the Red Dragon Cartel album that can market/sell/push the album.

“Bark At The Moon” marketed the album that carried its title, while “Shot In The Dark” marketed “The Ultimate Sin” album. When Badlands released their self-titled debut, “High Wire” was the song that marketed the album, while “The Last Time” marketed “Voodoo Highway”.

Opening track “Deceived” has a riff, very similar in style and structure. So it is fitting that the vocal melodies are styled from the Ozzy Osbourne vocal phrasing book. I have no issue with artists referencing the past.

“Shout It Out” sounds like it belongs on a Saliva album. Not that it’s a bad thing, it just wasn’t what I was expecting from Jake E Lee.

“War Machine” sounded like a joke as the “War Pigs” intro moves over into “N.I.B”. I guess progress is derivative.

“Fall From The Sky” has a solo that is very reminiscent to the “You’re No Different” outro solo from Jake’s Ozzy’s days and “Redeem Me” captures the Badlands vibe.

Unfortunately, the Robin Zander (Feeder), Maria Brink (Big Mouth) and Paul DiAnno (Wasted) vocal songs just don’t resonate.

If there is a song to comes close to being “the song” to push the debut, that honour goes to “Slave”.

It has the best of Jake E Lee. Metallic riffing, fast single note picking, tritone melodic infusions and it encompasses what Jake E Lee is all about.

WHEN WOULD “SMOKE ON THE WATER” ENTER THE PUBLIC DOMAIN?

The majority of the music that I like will still be under copyright by the time I die. And it’s a tragedy.

Let’s use “Smoke On The Water” as an example.

It was released in 1972.

Copyright on the work is meant to last the lifetime of the songwriters plus 70 years. The male life expectancy is 80 years. The songwriters listed for “Smoke On The Water” are Richie Blackmore, Ian Gillan, Ian Paice, Roger Glover and Jon Lord (RIP).

Let’s start with Jon Lord. Due to his death in 2012, his copyright in the song will expire in 2082. However the song will still remain under copyright due to the later deaths of the other members.

Let’s assume that all of the members live to the life expectancy age of 80 years old. That would mean Richie Blackmore, Ian Gillan and Roger Glover would have an end date of 2025. Add another 70 years to that and the copyright that they hold in the song would expire in 2095.

In other words the copyright monopoly held by the corporations on “Smoke On The Water” will finally expire in 120 plus years after the song was released. It is at this time, the public (provided that no more retroactive extensions are added) are allowed to use the song to build other works on or to create derivative versions or to cover it without any penalty.

But when the artists created this work, the copyright term was 56 years. And the short copyright didn’t stop them from creating.

THE ROCK DREAM

The days of rocking all night and partying every day are gone, replaced by social media/gaming/surfing all night and going to work every day. Rockers are not drinking heavily anymore, nor are they doing copious amounts of drugs.

The sound of a stereo is now captured in expensive headphones.

The days of becoming the legends of the local scene first and then the world are gone. If a band/act is doing great in a city, the whole world will know about it. But you can have a career within a niche.

And it’s not a rockers world anymore. The new rockers are the technologists. The podcasters. They are the ones that everyone is listening too. Check out the applause they get when they hit the stage.

Once upon a time, guitar heroes mattered. They broke ground in song writing, technique, sound and guitar making, inspiring us by demonstrating simplicity in complexity.

I remember when a record could bring about change. When “Shout At The Devil” broke, every band dressed up in leather and studs. When “Slippery When Wet” broke out, all the bands went to pop metal. When “Appetite For Destruction” broke out, bands moved to a more blues based sound. When Metallica broke out twice, bands moved to a faster dirtier sound and then moved to a big heavy groove orientated sound.

The rock dream was never about the money. It was about a lifestyle.

And that’s a wrap for another week.

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Influenced, Music, My Stories, Unsung Heroes

Australian Method Series: Karnivool – Asymmetry

Atonal. It means not written in any key or mode.

It’s one way to describe this album musically.

But it’s not the correct word either as the album is full of melody and atmospheric melodic passages.

The voice even acts as an extra instrument in some songs with the Ohhhs and ahhs.

Karnivool are pushing boundaries here. There are no genres you can use except the word progressive.

But progressive in the sense of how the songs are stuctured and arranged. Because when people think of progressive rock, they think of virtuosos playing super fast passages over complex time changes.

Even progressive is not the correct word.

The band was burnt after a massive worldwide tour in support of their second album, “Sound Awake”, so they took a break in 2010.

Vocalist Ian Kenny started work on his, Birds of Tokyo project.

The band would get together on occasions over a two year period and write the album.

“Asymmetry” is the third studio album by Karnivool released in 2013.

Produced by Nick DiDia, he got the band of Ian Kenny (Vocals), Drew Goddard (Guitar), Mark Hosking (Guitar), Jon Stockman (Bass) and Steve Judd (Drums) to fire on all cylinders and record the album in 3 months.

It divided people.

One review I read said that the band needed someone to tell them “No”. Another review said to “listen to this album with headphones to fully appreciate the album”.

Aum

It’s a short atmospheric ambient introduction that’s hard to even hear.

Nachash

The words “Hash” and “Nac” is backwards for Can and it sounds like they used hash writing this.

A.M.War

The drumming is dominant, the bass is distorted and progressive while the guitars feel jagged and grey.

Vocally, Kenny is channeling his love of Maynard from Tool.

At some stages it’s hard to keep track of the beat as the tempo competes with the other instruments.

There is a lot happening so press play.

We Are

The single.

If you like funk and the kind of funk that Omar Rodriguez is known for, then you will like this.

Stockman rumbles throughout on the bass and Kenny is singing with passion.

Goddard and Hosking are going nuts decorating on guitars.

Like all albums that are classed as progressive, this song is like the commercial song. If you want to call it that.

The Refusal

Bass guitarist Jon Stockman does the screaming vocals. It feels dystopian and industrial. Almost like early Tool.

Aeons

It’s atmospheric and echoey with fast picked guitar notes in the beginning.

The song moves between full heavy sounds and clean tone sounds. And by the time the 6th minute rolls around and Kenny is singing about chemical fires signaling our death, you can only press repeat.

Eidolon

It’s like Muse but like the other songs, there is so much going on.

Sky Machine

This is how the live child of Tool and U2 would sound like.

Amusia

A little interlude that sets up the next song.

The Last Few

The love child of Tool and The Mars Volta.

It feels frantic yet restrained.

Float

Psychedelics are back. Kenny’s vocal is like an instrument throughout the song.

Alpha Omega

Tool and Led Zeppelin this time get together and out comes “Alpha Omega”.

Om

A weird way to finish the album with a spacey instrumental

In Australia it went to number 1 and a Gold certification.

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Music, My Stories

1976 – Part 4.2: David Bowie – Station To Station

I’m not the biggest Bowie fan, but his music got a second life in the late 90’s and onwards and I kept checking his albums out. I go in with an open mind with the hope to find something that I could use in my song writing.

Now, “Station to Station” is album number 10 for Bowie, released in 1976. It has been regarded as one of his most significant works, so it was on a list of album’s to check out for me.

The band for the album is stellar and on fire. Guitarist Carlos Alomar, bassist George Murray and drummer Dennis Davis all bring it, and guitarist Earl Slick contributes along with pianist Roy Bittan.

Bowie was too drugged out during this time and his memory of the album is vague. And with all the drugs artists do, they always find a way to create and the people around them, always find a way to get them to create. As their livelihoods depend on Bowie.

Station To Station

A 10 plus minute opening track which starts off with train noises created by the guitar. And somehow when it was released as a single, the song was creatively edited down to 3 minutes.

It’s typical of the era, blues rock and with arrangements that didn’t stick to a radio formula, because the artists ruled and the label execs didn’t really have a say, until they became more powerful than the artists in the 80’s because of MTV.

In keeping with the Blues Rock theme, Bowie was loaded up with cocaine and he kept asking Earl Slick to keep repeating a Chuck Berry lead over and over again.

Golden Years

This could have ended up on a Steely Dan album as it has this jazz rock fusion vibe.

Word On A Wing

It’s like a mid-tempo rock ballad, with a vocal delivery that reminds me of Joy Division.

TVC15

Bowie wrote this while he was filming “The Man Who Fell To Earth”. But it’s a skip for me.

Stay

I like the riff, it’s almost Santana like with a bit of Doobie Brothers thrown in and you should definitely press play to hear the bass groove.

But man, Bowie’s vocals are really not connecting with me at all on this album and in this song in particular, because musically, this song is gold.

Wild Is The Wind

Musically, the song is great. It’s like a rock ballad. Like all the previous songs, the vocals and melodies from Bowie just don’t connect with me on any level.

And while this album is held in high regard amongst Bowie’s fans, there isn’t enough there to make me a fan. Although there are a lot of lyrics to digest.

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

The Record Vault – Def Leppard – Make Love Like A Man (CD Single)

Single #2 from ADRENALIZE – “MAKE LOVE LIKE A MAN” is our tongue in cheek look at a significant facet of human existence.

Take note!

Meanwhile we’ve got a couple more unreleased tracks for you. “MISS YOU IN A HEARTBEAT” is a Collen song of somewhat recent vintage, first recorded by Paul Rodgers’ group, The Law.

“TWO STEPS BEHIND” is an Elliot composition performed totally acoustically bass, 2 guitars and voice. Our first recorded acoustic performance.

And finally a version of a song by a group Joe really wishes he could’ve been in “ACTION” by Sweet. For those too young to remember, go listen to Sweet’s “Greatest Hits”.

A revelation and for those who remember the original, let me say that our efforts to duplicate every part recorded by Messrs Connolly, Priest, Scott and Tucker, we discovered some very interesting bits.

Don’t worry guys, we won’t let on.

It felt like they were giving us insights into their thinking with these little extra blurbs on the back. I always felt starved of information from my favourite artists.

I’m not a huge fan of “Make Love Like A Man” but I do get it that others like it as “Adrenalize” was their entry point into the band, while “Pyromania” was for me.

Miss You In A Heartbeat

I had to call up the track on Spotify to re-acquaint myself. Def Leppard has an electric version, an acoustic version and a revised version doing the rounds.

The electric version is classic Def Leppard. It could be a leftover from “Hysteria”.

The revised version has the piano as the dominant instrument and I like the gospel feel the piano gives it.

The acoustic version also has the piano as the dominant instrument and the Chorus doesn’t have those ohh, oh oh.. And the acoustic solo is a press play moment for me.

I also pressed play on the version done by The Law. And this one is close to the electric version that Def Leppard did, but Paul Rodgers is a bit more soulful with his vocal delivery.

Action

Def Leppard are on fire with this track. I always liked this track from Sweet, and the Lep’s do it justice.

Two Steps Behind (Acoustic Version)

Written by Joe Elliot, it feels like a camp fire track, very Bryan Adams like.

By the end of it, I pressed play again, because I liked the variation.

It’s a shame that the art of the single is lost within the current world as Def Leppard, Metallica and Bon Jovi really knew how to deliver a killer single release.

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