“The Hymn Of A Broken Man” came out in 2011 and in 2021, we get “Songs Of Loss And Seperation”.
The band for the album is Adam Dutkiewicz on vocals, guitar and bass, Jesse Leach on vocals and Dan Gluszak on drums.
The Burden Of Belief
It’s got a blues country groove, more like southern country rock.
Fall down to your knees / Wash me clean of all my grief
Mend You
Taking its cues from alternative metal.
I lost a lot of sleep with my restless mind
There is no rest, when you’re left alone with your thoughts especially when your relationship is breaking down or if a loved one is doing it tough with addictions or mental illness.
The riffs in the last 50 seconds. It’s wall breaking time.
Rescue
Its classic Killswitch Engage.
After the screaming verses, the anthemic Chorus smacks you in the face.
Dutkiewicz is a great riff meister, who showcases his talents with each album release.
The last 50 seconds, with the swelling sounds and backwards effects, is haunting and soothing at the same time. A paradox but it works.
Far From Heavenless
A simple arpeggio guitar riff starts the song off, with Leach singing about feeling far from heaven. And there is an ascending guitar line underneath it all, which makes it feel like we are rising.
The power in the next section, when Leach is singing “I’m not heavenless”. And the power house drumming from Gluszak hammers the message home.
Then the dynamic shifts again to subtle and serene arpeggios.
At 3.30 there is just a clean tone guitar riff that reminds me of “Living On The Edge” riff from Aerosmith.
Then listen to how the distorted guitars, bass and drums build it up, over the spoken sermon from Leach.
It’s gloom and doom, but inspirational as well.
Bleed Me
Atmospheric cut about looking for the medicine to bleed you and satisfy the demons.
Medusa
How good is the riff to kick off Medusa?
It’s so Iommi and Zakk Wylde like.
And this nod to classic metal gives way to syncopated verses, more in the vein of Meshuggah and TesseracT.
Currents
The intro riff is familiar. The vocal melody very Maynard like in the verses, as the rage explodes in the Chorus.
Lost in a Dream / Dark waves crash over me
This tension between dark and light, carries the song.
To Carry The Weight
The intro arpeggios and vocal melody could have come from Aaron Lewis and Staind. Maybe even Brent Smith and Shinedown. And I like it.
The song percolates in that sombre mood until it explodes and Jesse Leach delivers a worthy vocal performance.
The riff from 2.25. So melodic, yet heavy.
Cold
It starts off like a country tune. A simple acoustic guitar riff and vocal melody. It’s campfire material.
And from the 3 minute mark, it explodes. The melodies are hypnotic and the music inspirational.
Have I mentioned that Dutkiewicz is a great riff meister?
Forever
The closer. 6.30 minutes long.
All different musical roads lead to here. A combination of country, blues, metal and rock.
For those looking about positive messages, this isn’t the album for you. It’s melancholy lyrics and metal like riffage is music to make you crash your car. You can feel the sadness, a pain at the world, society and the various demons within the mind.
The album title is indicative of the theme. And having gone through loss recently this album is becoming my companion, riding shotgun with me.
I was listening to “Promised Land”, which at that time was the new single from the Sweet & Lynch project.
For those that don’t know, Michael Sweet from Stryper joined forces with George Lynch to create Sweet & Lynch. They are supported by one of the best rhythm sections in the business in James Lomenzo on bass and Brian Tichy on drums. Underpinning or financing it all is melodic rock label Frontiers.
Their first album, “Only To Rise” was released in 2014. It’s a great throwback to the 80s style I remember well, but with modern touches and production.
3 years later, they are about to drop the “Unified” album.
The first thing that hooks me from “Promised Land” is the tempo. It’s basically a speed metal song.
A cross between Dokken’s “Lightning Strikes Again” and “Tooth And Nail” in some sections and Stryper’s “The Way” in other sections.
The lead break is one of Lynch’s finest metal moments in 2017. It’s got melody, hammer ons, pull offs, sweep picking and string skipping. All at 140 plus clicks a minute.
Unfortunately “Promised Land” is just another song lost in the 30 million plus songs on streaming services, along with other Sweet & Lynch gems like “Love Stays”, “Me Without You” and “Recover”.
Ed Sheeran writes songs which become popular. Then he gets hit with a lawsuit because his songs are making money and the family members of a departed artist, or the business entity that owns the copyright of an artist who is departed or has not creating anything worthwhile anymore wants a cut.
If Copyright terms remained how they were originally, this would not be a problem. First, the creator had a 14 year monopoly, with a chance to renew for another 14 years for a total of 28 years. However, once the creator died, all of their works became public property, free to be used by any other artist/creator to create derivative versions. So if the creator passed away during a term, the works ceased to be under copyright and went straight into the public domain.
The British 60’s Rock invasion happened because of these rules.
So who is copyright benefiting once the person who is meant to have the monopoly (the creator) to create works has passed on?
The corporations and estates who control the copyrights of long-dead artists. That’s who.
Frequency is a bad word for rock and metal artists.
Release music frequently is another bad phrase for artists.
It’s a concept artists are struggling with. It’s even more troublesome for bands. The singer/songwriter can make it happen, but for bands it’s a different story.
Netflix wouldn’t be able to grow their subscriber base if they released one TV show every two years?
It’s a streaming world. The youngsters, the ones who replenish the music base are signed up to streaming. And artists who don’t want to be part of the streaming group are still debating the payouts.
The money will come. But you need to control your copyrights so you get maximum royalties.
The paradigm is different. Your musical output lives online and the money is in what lasts. Success is based upon cumulative streams, not sales of albums, and the streams go on forever.
8 Years Ago (2013)
I watched Dream Theater in Australia on the “Systematic Chaos” Tour and they played for three hours (with an intermission of about 10 minutes in between). For some reason that was perfect, however when I saw them again on the “Black Clouds and Silver Linings” Tour, they played just over 2 hours and it was too much.
I think hitting the same market too quickly and the flow of the set list was the problem. The 2009 show took place almost 12 months since the 2008 show.
They did “Solitary Shell” with extended solos. It is not the strongest song in the Dream Theater catalogue, so what happens when you take a song that isn’t your best and make it longer?
You get a yawn fest, a toilet break or a beer/smoke break.
And at the time did we really need a live album from Metallica?
They had released four DVD packages of Live Concerts during the Death Magnetic tour, as well as the Six Feet Down Under EP’s plus all the stuff they release on Live Metallica.
When Metallica created the “Black” album, the main members were 27 years of age and the producer was 36. Life experiences were on their side.
The main classic rock bands were all about individuality. The Eagles, Boston, Styx, Deep Purple, Black Sabbath, Led Zeppelin, Kiss, Rush, Bad Company, Foreigner, Aerosmith and Cheap Trick all had a unique sound.
The Eighties gave us Metallica, Motley Crue, Guns N Roses, Bon Jovi, Def Leppard, U2, Duran Duran, AC/DC, Journey, Whitesnake, Van Halen (and yes i know that some of these bands formed in the seventies), Aerosmith again and Foreigner.
Metallica played fast speed metal that was labelled thrash, Motley Crue played a hybrid version of pop, punk, rock and metal. Van Halen wrote the book on the nuclear band, Guns N Roses rewrote the seventies classic rock period with a dash of punk and Def Leppard merged Queen, with Bowie with Mott The Hoople with their NWOBM leanings into a pop rock format. Each band spawned thousands of imitators.
Rush could have recorded a mainstream radio friendly album in 1976 just to please the record label. Instead they recorded “2112”, an album that set up a very lucrative future for Rush and an album that made the record label very nervous when they heard it. As guitarist Alex Lifeson has stated in numerous interviews, “2112” set up a career for Rush.
What happened to the uniqueness?
“Kill Em All” Metallica’s first album was celebrating 30 years in July 2013. At the time of its release it didn’t really set the world on fire, however if you look at the reviews and praises the album is getting now, it is like the album came out and created a movement called thrash metal right off the bat. In other words a lot of revisionist history was taking place.
Let’s put into context the lifespan of “Kill Em All”.
It came out on July 25, 1983. By February 1984, seven months after “Kill Em All” was released, Metallica was in the studio, writing and recording the “Ride The Lightning” album.
The victory lap of “Kill Em All” was seven months. That’s it. If the band wanted to have a career, they needed to get back into the studio and record a new album.
Motley Crue, Twisted Sister and Def Leppard had break through albums with “Shout At The Devil”, “You Can’t Stop Rock N Roll” and “Pyromania”. Quiet Riot’s “Metal Health” was the first American heavy metal debut album to ever reach No. 1 in the United States on the Billboard album charts.
But RNR history is written by the winners. Since Metallica is now inducted into the Hall of Fame, everyone that can put fingers to letters on a keyboard is rewriting their back story.
Bands like Quiet Riot will be written out. Artists like Vinnie Vincent and Jake E.Lee will be forgotten. The impact of other bands will be diminished because Metallica won.
History is written by the winners.
And does anyone know what the Metallica movie, “Through The Never” is about.
Dream Theater were promoting their new album with webisodes which didn’t feature any musical snippets from their new album.
Has anyone purchased a Dream Theater album because Billboard Magazine rated it highly or poorly or from a Village Voice review?
The answer would be a definite NO.
Dream Theater built their career outside of the mainstream. It was the mainstream that came knocking on the door for Dream Theater and they let them in.
Remember back in 1991, Metallica had arena sized listening parties for their fans before the release of the Black album.
Connect with fans first and they will support you.
“Themata” is the debut album by the Australian band Karnivool. The album was released independently on 7 February 2005. In 2007, Bieler Bros. Records picked it up for a U.S release and in 2008 Happy Go Lucky picked it up for a U.K release.
The band has a “progressive rock” label, but they are not a band that plays a million notes per minute with polymath time signatures. They are a band who are progressive in their song writing, as verses could have different riffs, and a groove could be jammed out over different time signatures. Other labels the band is given is “alternative metal” or “alternative rock”. Whatever the label, they created a metal album which got radio air play.
Karnivool are Ian Kenny on lead vocals, Drew Goddard on guitar and string arrangements plus he wrote all of the album’s songs and performed drums on every track, except for “Life Like” which was performed by Ray Hawkins. Mark Hosking on guitar and Jon Stockman on bass.
24 years later it still sounds as fresh as it did back in 2005.
“Cote”
I like the mood this song sets up. It’s a great opener, almost like “A Perfect Circle”.
I suppose this question will be answered And I suppose the answers are here to save us
“Themata”
The title track that hooked me in.
And Ian Kenny is one talented vocalist who also has a very successful mainstream pop rock act called “Birds Of Tokyo”. His delivery on the title track is “Lead Singer Hero” worthy.
The “Kashmir” like violins that come in towards the end are haunting and hypnotic. It’s a beast of a song and it was doing the rounds on Australian radio.
It’s so good to see This world is alive
And by the end of the song, Kenny is singing, “it’s so good to see this world I’m in loves me”.
And I was reminded of “The Tea Party” so I listened to this song over and over and over again.
“Shutter Speed”
It’s got a heavy groove that reminds me of Disturbed and a great Chorus.
Check out the small melodic lead riff in the middle of the song, which brings back memories of Mark Tremonti from his Creed days.
“Fear Of The Sky”
The jarring intro reminds me of songs from “The Mars Volta” and “At The Drive In”.
Another song with a great chorus. At the 3 minute mark it quietens down only to build up again. Check it out.
“Roquefort”
It’s a fan favourite.
The intro riff grooves around various time signatures but it still sounds like its in 4/4, almost Tool like.
You want to chase, this rabbit down a hole You start to slide and lose grip of control
Ian Kenny delivers another great vocal merging Deftones and Tool like vocals.
Listen to the vocal and bass section from about 3.10.
And remember that the drums are played by the guitarist.
“Life Like”
It’s got the embryo of what “Themata” would become. It was released as a single about two years before the album came out.
Its more Nu-Metal than what “Themata” is, almost Linkin Park like musically, but with David Dramain singing.
“Scarabs”
It’s a 2 minute, Groove Nu Metal instrumental, with some frantic drumming and bone crushing riffage.
“Sewn and Silent”
An acoustic guitar led song, comes in at the perfect time, like the eye of the storm.
Check out the section from about 2.30 to 3.01.
“Mauseum”
Djent like riffs before “djent” became a style. At 2.20 it changes to a slower melodic groove.
Press play and listen.
“Synops”
It’s “Themata” part 2 and another highlight with its exotic eastern feel. Another song which reminds me of “The Tea Party”.
Leave no light on, this war, it rages in me Leave no light on, this war, I fear it won’t end
“Change (Part 1)”
An anti-climax. But like a Marvel movie, it’s an end credits scene to forecast the next album and the style to come.
“Themata” is an excellent example of Australian metal with some progressive overtones. There are pop choruses, big Mesa Boogie riffs or fuzzed out tones, vocals that cover a lot of different styles. Maynard Keenan, Chris Cornell, Chester Bennington, David Draiman, Chino Moreno, Mike Patton, Jonathan Davis, Thom Yorke, Davey Havok and my favourite, Serj Tankian when he’s doing his exotic clean tone melodies are all covered and mixed in with Kenny’s life experiences and emotions.
In between Karnivool albums, Ian Kenny worked on his “Birds Of Tokyo” project with great success.
Fast forward to 2021, Karnivool has been recording new music. It will be their first bit of new music since 2013 and the “Asymmetry” album. And an audience awaits.
The band changed. There was no one left except for Ronnie James Dio. 18 year old guitar wiz, Rowan Robertson was on guitars, Jens Johansson on keys, Teddy Cook on bass and Simon Wright on drums who left his AC/DC gig that he held from 1983 to 1989 to join.
Actually Robertson was only 17 when Dio announced to the world that he was the new guitarist in July 1989 after more than 5,000 guitarist submitted audition tapes.
“I saw an item in Kerrang! about Craig Goldie leaving Dio, so I knew they needed a guitarist. I sent in a tape just for the hell of it, you know, not expecting much, but figuring I had nothing to lose.
I was 16, learnt to play guitar in my bedroom by banging around to Bad Company records and the only stage experience I had was with a couple of pub bands that were going nowhere. I thought if I was lucky, maybe I’d get an audition”. Rowan Robertson
I was surprised to see that Jimmy Bain was out. But he was fired (along with Claude Schnell) in mid-1989 and Vinny Appice was let go two weeks before work began on the album.
The production team also changed a little bit, with Tony Platt in the producers and engineer’s chair along with Ronnie. Suddenly the sound became better thanks to Tony Platt’s engineering experience.
According to guitarist Rowan Robertson and mentioned on Wikipedia, two more songs were written and demoed for the album but left off at the decision of Wendy Dio: “Hell Wouldn’t Take Her” and “The River Between Us”. Maybe she felt the songs were too personal.
In 1990, MTV still ruled.
It was simple. You get a music video in mass rotation and watch the album go Platinum. And the Dio camp tried. They really tried.
The photos of the band had them with a bit of a tease and hairspray in their hair. They spent some decent money on a clip for “Wild One”.
And MTV still avoided Dio, who at 48 years of age was seen as a relic of the past with nothing new to offer. My Dad turned 46 that year and I saw him as old.
Also Dio’s lyrics of jesters, clowns, gypsies and rainbows had run its course for the TV station but not for the fans.
While I ignored the “Dream Evil” album when it came out in 1987, I purchased this one.
It was a tab of “Wild One” in the “Guitar School” magazine which got me interested. I was playing along to the song before I even heard it and the guitar solo was a highlight. And I was like, “man, this dude is of a similar age and he’s smoking on the guitar, I need to get practicing”.
Wild One
Written by Dio and Robertson, it’s a great fast song to kick off the album and announce the new guy in town.
That Pre-Chorus, reminds me so much of Savatage.
And the lead break starts off as a blues-a-metal-thon, almost jazz fusion like. Then it goes into the super-fast tapping section. Another great way to announce the new gun slinger .
Check out the head banging outro. How can you not like it?
Lyrically, it was another “stand your ground and be who you want to be” message, although done in a very Dio way full of riddles.
Born On The Sun
A mixture of “Egypt (The Chains Are On)” and “Holy Diver” but with Rowan Robertson providing a more EVH approach to decorating simple grooves.
Check out the drumming on this.
The song is credited to Dio, Robertson, Bain and Appice. It sounds like Appice wrote the drum parts but its Wright who plays em.
You can hide in a circle It’s a way to survive Be another number At least you’d be alive
Great lyrics. So much truth in the words.
Scared to be different or speak our minds because of the resistance and the blowback. Especially these days, with social media and how a point of view can blow up and suddenly we have trolls and haters all spamming our inboxes.
Hey Angel
Written by Dio and Robertson.
The majority of stories I read when Grunge came, was how the lyrics from the Seattle bands were more deeper and darker, focusing on depression and anxiety and rooted in real life. It’s like the Seattle artists were the only artists doing stuff like that. Sort of like how the heirs to Marvin Gaye believe he was so original that they sue everyone to oblivion.
Well, heavy metal and hard rock artists did have songs dealing with isolation, loneliness, depression, conformity and being in dark places after a relationship breakdown.
How do you feel right now? How does it feel to be alone?
My parents never asked me how I feel. These kind of emotions and questions are frowned upon when your ancestry comes from Eastern Europe.
I also grew up in life being told that angels are these all powerful beings that shine a bright light and can’t be hurt.
I suppose if you feel, you can get hurt. If you bleed, you can die. Or in the words of Schwarzenegger in “Predator”, “if it bleeds, we can kill it”.
The solo is excellent on this.
From just one album, Robertson was given a chance to do an instructional tape. His “Speed Picking” VHS tape is out there on the Net.
Between Two Hearts
Another song written by Dio and Robertson. It starts off with an acoustic arpeggio riff that reminds me of “Children Of The Sea”.
Then the slow groove kicks in, it’s almost like a blues dirge.
Check out the way Robertson plays the riffs in the second verse, combine palm muted arpeggios, diads and pedal tones.
Put on your party faces and come along Join in the big parade Here comes the camera Do you look as good as your sister Smile at the animals They should be the ones in the cages Turn the pages
A photo for Instagram before it was even invented.
Or a song about the paparazzi and the price of fame when we lived in a monoculture. These days, we live with many different sources informing us, and a person could be making millions from music and be walking the streets and shopping aisles with us and we wouldn’t even know.
Night Music
This one is written by Dio, Robertson and Bain.
So open up your arms Let the night time in Say the word and it begins
I love the night. I feel the most inspired then and there was nothing better than listening to music at night, reading the lyrics and singing out aloud, like the lyrics to this song, “Night music, you’re singer and I’m the song”.
Lock Up The Wolves
Another song written by Dio, Robertson and Bain.
The sound of a clock ticking. Its normal paced. Then it picks up in speed, almost frantic like. The music is ominous, giving the listener a feeling that time is running out. By the time the distorted guitars kick in, the ticking is relentlessly fast.
And the doom feel of the song reminds me of “Sign Of The Southern Cross”.
In the houses of the holy To the middle of the mystic sea At the cradle of the world
Its back to his fantasy places, about wolves, screaming for sanctuary and how there is no back door to heaven, just a front door to hell. I guess we’ll meet again.
Evil On Queen Street
Written by Dio, Robertson and Cook. It’s like a 12 bar blues dirge with another killer solo by Robertson.
Walk On Water
Written by Dio, Robertson and Johansson, it reminds me of “Stand Up And Shout” but while “Stand Up And Shout” screams rebellion, “Walk On Water” tells ya to not even try because you can’t “Walk On Water”.
The lead break is guitar hero worthy.
Twisted
A Dio, Robertson, Bain and Appice cut.
And when I told the truth They were sure it was a lie
What would you do if no one believes you?
When your truth is seen as a lie.
Why Are They Watching Me
A Dio and Robertson cut.
It’s confusing lyrically, about being ready to rock and someone watching.
My Eyes
A Dio, Robertson and Johansson cut.
I’ve seen it from heaven and hell I’ve seen it from the eyes of a stargazer
Great song titles to drop into a song.
Rock and roll eyes Tell rock and roll lies And rock and roll lies Never end
I guess what happens in rock and roll stays in rock and roll.
“I think obviously, my defining moment is the “Lock Up the Wolves” album, and I feel very fortunate for it. It was a good album…it captured excitement and I played really well on it.” Rowan Robertson
From memory it’s Robertson’s only album.
As soon as the album was released it was met with mixed reviews. Early sales were positive in the U.S and then the album spiralled down the charts as it disappeared altogether.
But it had longevity in the European markets as Dio’s brand was still big business there. So it was no surprise that the first leg of the tour was in Europe.
And Black Sabbath was a just a phone call away, and when that call came, the “Lock Up The Wolves” band was put on ice and never re-awakened after the Sabbath gig fell apart.
The album cover captured my attention immediately.
The “Red Star” was easily associated with the Communist governments of the time. Kids these days would have no idea, but in 1976, Eastern Europe and parts of South East Asia, Africa, the Middle East and Central/South America were under Communist governments or military dictatorships. And these kind of governments like to control everything and everyone.
Coming into 2112, Rush was in a predicament. D
o they stay true to themselves and their art or do they give in to what the label wants?
In the Guitar Legends magazine focusing on Rush, Neal Peart said the following;
“Caress didn’t actually do any worse than the albums before it, at that point, all three had sold about 100,000 copies a piece in the U.S.
But if our record company hadn’t been in such turmoil I don’t think we would have been able to keep our recording contract.
By the end of that year we were unable to pay our crews salary or even our own. Things were dire and we were getting a lot of pressure.
Polygram had written us off before “2112” had come out. We’d seen their financial predictions for 1976 and we weren’t even on the list!”
In the same magazine, Alex Lifeson said the following;
“The Fountain Of Lamneth” on “Caress of Steel” was really our first fill concept song and “2112” was an extension of it.
That was a tough period for Rush because “Caress of Steel” didn’t do that well commercially, but we were really happy with it and wanted to develop that style.
Because there was so much negative feeling from the record company and our management was worried, we came back with full force with “2112”. There was a lot of passion and anger on that record. It was about one person standing up against everybody else”.
History shows that they made the right decision.
And for all the hate “Caress Of Steel” got from the label, it was the album that bridged the first era of Rush albums to “2112”.
The entire Side One is all “2112”. Which is broken up into 7 sections.
I. “Overture”
An instrumental that acts as a summary in which you get to hear all of the melodic pieces which appear on the song.
II. “The Temples of Syrinx”
A sombre melody with the words “And the meek shall inherit the Earth” is sung before the distorted guitars kick in for “The Temples of Syrinx”.
This is a future where individualism and creativity are outlawed and the population controlled by a cabal of malevolent Priests who reside in the Temples of Syrinx.
And the way copyright law is going, creativity can be outlawed as every single melody known to the human race has been used and corporations are doing their best to lock them up under ridiculous terms, like life of the creator plus 90 years after death. But they seem to forget that creativity is based on influences.
We’ve taken care of everything The words you read, the songs you sing The pictures that give pleasure to your eyes
The schooling system is designed for conformity, a one size fits millions approach. The schools are factories for degrees later on. You can’t even get an Administration role in a Company without a Uni/College degree. And Masters Degrees are the biggest scams ever. A pure profit making product for the colleges.
III. “Discovery”
A classical acoustic guitar announces the arrival of “Discovery”, found inside a cave and the founder rediscovers the lost art of music.
I can’t wait to share this new wonder The people will all see its light Let them all make their own music The Priests praise my name on this night
Creativity and imagination is progress. Without it, we stagnate.
IV. “Presentation”
This is like Zeppelin Rush which tells the story of how the guitar is presented to the priest of the Temple of Syrinx, who then proceed to destroy it and banish the man who found it.
Listen to my music And hear what it can do There’s something here as strong as life I know that it will reach you
But the Priests didn’t want to know about his ancient relic. It was the downfall of The Elders. The emotion and escapism that comes from listening to music.
Just before the song finishes, they go into the “Temples of Syrinx” riff and Lifeson solo’s over it. Check it out, its guitar hero worthy.
V. “Oracle: The Dream”
A shimmering chorus guitar kicks off the song in which the man who found the guitar dreams of another world in which creativity and individualism is allowed and full of song and laughter.
VI. “Soliloquy”
We are back to the sounds of water running down, like how we heard in “Discovery”. But the lyrical theme is heavy. The man who was filled with joy at finding the guitar, is now in despair at living a life that’s cold and empty. So the only way for him to be with the world in his dream is for his life’s blood to spill over.
Make sure you check out Lifeson’s solo. So bluesy, full of bends and emotion. Brilliant.
VII. “Grand Finale”
Major key chords kick off the “Grand Finale”. And it’s up to the listener to decide what happened.
When I first heard the lines “Attention all planets of the Solar Federation, We have assumed control” I presumed that the “Solar Federation” put down some uprising and assumed control again.
Then I thought it meant that the “Solar Federation” was overthrown by someone and they are alerting all the planets that there is a new government in control.
“A Passage to Bangkok”
It kicks off Side 2.
A great riff to start a song about all the places in the world that grow the best weed. The track names a number of cities and countries, including Bogotá, Acapulco, Morocco, Bangkok and Kathmandu, Nepal.
I just finished watching “The Serpent” on Netflix and how the main character preyed on tourists who came to Bangkok and Kathmandu in the late 60s and 70’s to experience those weed highs, kidnapping them, robbing them and then killing them.
“The Twilight Zone”
I like the harmony guitars to kick off the song.
How good is the music in the section, when Lee sings, “you have entered the twilight zone”?
Use the key, unlock the door See what your fate might have in store…
I never watched “The Twilight Zone” on TV. I’ve read some short stories on it and in the 80’s a documentary was aired on Australian TV’s about strange phenomena and they called it “The Twilight Zone”.
“Lessons”
It’s Lifeson expressing his love for Led Zeppelin. It’s got hard rock distorted chords and clean tone strummed verses.
“Tears”
This is a great song.
How good are the verse riff arpeggios?
“Something for Nothing”
The acoustic guitar intro gets me interested. And the way Lee and Peart come in, they change the groove completely.
The song is about freewill and decision making, a topic I write about regularly on this blog when I’m putting my point of views out there on certain songs and the lyrical message.
You don’t get something for nothing You can’t have freedom for free
In the end “Freedom isn’t free”.
If you don’t believe me, why does it cost so much to live in a free country.
What you own is your own kingdom What you do is your own glory What you love is your own power What you live is your own story In your head is the answer Let it guide you along Let your heart be the anchor And the beat of your own song
The lyrics are prophetic. Rush didn’t wait for someone to tell them what to do. They did what they wanted to do and they wrote their own story. In the end, it was a backs against the wall album. If it bombed commercially, they would go down in flames. But it didn’t.
They stuck to their guns, did what was important to them and built a career from it.
3x Platinum in the U.S and 2x Platinum in Canada.
Press Play, relax and “Attention all Planets of the Solar Federation. We have assumed control.”
That was the predicament affecting Dio. And no one was talking about the elephant in the room, his shrinking fan base.
The audience he had in 1984 was diminishing. “Sacred Heart” in 1985 was seen as a commercial disappointment and the live EP “Intermission” in 1986, didn’t help matters, seen as a pure cash grab.
But the biggest problem for Dio’s brand of Hard Rock and Heavy Metal was MTV. The TV service went all in and embraced the “hard rock” sounds of bands like Bon Jovi, Motley Crue, Def Leppard and Poison. Whitesnake and Guns N Roses would be added to that list, along with Skid Row and Warrant a few years later.
So on July 21st 1987, Dio released “Dream Evil”.
His last album to feature some “Rainbow” elements in it as from this point forward he started to move more towards his Black Sabbath days.
And the band had a member change. Vivian Campbell was gone. It was a bad split. Craig Goldy was in, joining Ronnie, Bain, Appice and Schnell.
The album is produced by Ronnie and engineered by Angelo Arcuri. The same team from the previous albums.
“Night People”
“Neon Knights” part two and I like it.
“Dream Evil”
“Man On The Silver Mountain” part two and I also like it.
“Sunset Superman”
How good is the riff to kick it off?
The verses remind me of “We Rock” and Appice thunders all over this track, especially during the solo.
“All The Fools Sailed Away”
An Intro like “The Last In Line”. But when the music comes in, it’s more moody, almost doom like.
But with a melodic rock anthemic Chorus and an instant classic is created.
“Naked In The Rain”
The riff in the verse is like “Eye Of The Tiger” just a bit slower but it’s the vocal melodies from Dio which rock. If anything it’s overall vibe is doom rock.
“Overlove”
A ZZ Top like blues Intro gives way to the same riff being played in high octane distortion sort of like the verses and main riff in”Hot For Teacher”.
“I Could Have Been A Dreamer”
I came across the lyrics in Hit Parader and I quickly copied em into my lyric book. I hadn’t even heard the song but in my head I already had.
And when I did hear it, an instant classic it became.
In the vein of songs like “King Of Rock N Roll” and “Hungry For Heaven”.
“Faces In The Window”
It’s a melodic rock cut. Just listen to the melodies that came from Dio.
“We are evil and we are all divine”
A familiar lyric is back, just a bit different.
“When A Woman Cries”
Goldy came up with a riff rooted in the late 80s sounds. It’s good to play but as a song it’s one of the weaker moments.
Overall, it did good business in Europe and it was well received in Australia.
Fun fact, Dio along with Scorpions and Black Sabbath were just some artists from metal and rock allowed to be played in Eastern Europe (behind the Iron Curtain) legally.
But in the U.S, it didn’t receive a certification.
The album exited the charts pretty fast as it didn’t really stand a chance once the “Whitesnake” album blew up. That album was released in March, the same year, but the “Here I Go Again” single came out in June. And from then on the album went through the roof. By July it was Platinum, by August 2x Platinum and by December that same year it was 4x Platinum.
Def Leppard’s “Hysteria” came out in August that same year. By November 1987, it was 2x Platinum. But it’s big movement would happen from April 1988 when “Love Bites” hit the airwaves. By the end of 88, “Hysteria” had gone 8x Platinum.
The album was also competing against his previous albums. “The Last In Line” went platinum in Feb 1987 (the same year “Dream Evil” came out) and “Holy Diver” went platinum in March 1989. People were still buying Dio, but with limited funds, we had to be selective.
Because of my limited funds and my friends jumping off Dio’s ship, (I guess we are all fools who sailed away), I didn’t hear “Dream Evil” until many years later. In a confusing time called the mid 90’s.
P.S. I don’t own this album anymore (lost in those many house moves) hence why the post isn’t called “The Record Vault”.
I thought I’ll go with a Dio title for this post since I’m on a Dio kick at the moment.
Ahh, Copyright. A right created for creators to have a monopoly on their creations for a limited time, which was hijacked by corporations (Record Labels, Movie Studios and Publishers) and recently Investment funds.
I’m not a fan of “The Jesus and Mary Chain” but like so many artists before them, they are going to court because their label Warner Music doesn’t want to give them back the rights to their debut album, “Psycho Candy” released in 1985, even though the law states that they should.
This got me thinking about John Waite, who also went to court, because UMG wouldn’t give him back his rights.
And he didn’t win, because on the contract he signed, it was his “loan out company” on the paperwork and not him. Loan out companies are set up by the creator to employ themselves. This gives the artists a lot of tax benefits and when organisations make agreements with the artists, it is via their “loan out company”.
So UMG took the position that Waite didn’t grant them the copyrights, his company did and a company is not eligible to terminate a copyright.
Now for the triple smack down.
Are you ready?
The termination clauses in the Copyright Act, only allow natural persons and the heirs to terminate a copyright, so individuals benefit and not corporations. Yet, it is a corporation like Warner Music and UMG who benefit if the copyrights don’t revert back to the creators.
What a mess?
Waite’s tax-planning vehicle has crashed his termination rights and he had no idea that would be the case when he formed his loan out company.
And while creators are fighting to get back their songs, other creators are fighting to get back control of their brand. The estate of Chris Cornell, which is run by Vicky Cornell, has been controlling Soundgarden’s website and social media accounts. The surviving members of Soundgarden have asked previously for access, but they have been denied and they have not been happy about it.
Vicky Cornell sued the remaining members in 2019, accusing them of withholding royalties to force her to hand over recordings that Chris Cornell worked on before his death. And at the start of 2021, she sued them again over money and then offered to buy out the other members so she could control the Soundgarden brand.
But the change of ownership is a step in the right direction.
Meanwhile, Gene Simmons from KISS has become a lobbyist, making his prophetic lyrics in “Cadillac Dreams” come true. Instead of recording new material, he is meeting with members of Congress to get laws passed so streaming services pay them more.
From the lips of Gene Simmons, “most people don’t realize every time you download a song, the songwriter is making minuscule amounts of one penny”. Umm is he talking about downloads or streams. Two totally different things there. And he goes onto a rant that there will be never be another Lennon, etc., but when you live in an ivory tower, you’re so out of touch, you have no idea what is happening and how much money new artists are making.
New Organisations which come from the labels or the publishers are still rooted in the same crappy innovation ideals of those organisations. So when Congress passed a law to create a new arm to match the unpaid royalties to artists, the first thing the new organisation did, called MLC, is nothing.
Their claim portal for artists to log in and search through unmatched songs and claim the ones they own is still not up and running.
Someone should tell Gene, to lobby this corporation to get the Claim Portal up and running.
So potentially, the unpaid royalties will now sit with MLC for at least 5 years and maybe more, before they even get a chance to be distributed.
But in all honesty, this will be a disaster, because there are a lot of conflicts of interest present when it comes to songs. Ex band members will claim songs out of spite, not because they wrote them.
And the Federal Court of Australia made Clive Palmer pay even more money back to Universal Publishing, for his recreation of “We’re Not Gonna Take It” into the song “Aussies Not Gonna Cop It”, which he then used in all of his campaign videos across the nation. So instead of paying $150K for a 12 month licence to use the proper song, he has ended up paying $1.5 million in damages plus lawyer fees and what not.
What a dickhead?
And on the topic of dickheads, the major record labels (Sony Music, UMG and Warner) along with the music publishing companies are doing their best to own the title.
There hell bent nuclear strategy to go after internet service providers (ISPs) for the actions of a few users, these organisations have found a way to cut people off from the internet based on a mere accusation of copyright infringement.
A recent court decision in the U.S, has given these organisations unprecedented power and the Electronic Frontiers Foundation (EFF) is doing their best to get this bad decision overturned due to the incorrect instructions the judge had given the jury.
Basically these organisations claim for damages when people use the songs they have the rights for and then they get the courts and the law and the politicians to fight their battles.
Meanwhile, in Germany, the labels, publishers and independent copyright holders have teamed up with the ISP’s to block sites without the need of a court approval.
Each Copyright complaint by a label or TV producer is reviewed by a committee made up of retired judges. Streaming services make up 55% of revenue in Germany and piracy has reduced significantly. However people still seek out P2P services hence the reason why they want this kind of power.
But web-freedom activists are not happy as they believe this kind of power restricts internet freedom. The method here is to attack the services that offer illegal content rather than the users.
As the article in Billboard stated: “In Germany, the legislative environment is heavily weighted against censorship and attacks on internet freedom. Having lived under the Nazi Third Reich and communist East Germany, Germany considers privacy a hard-won freedom.”
The power granted to corporations for Copyright Infringements is a form of censorship and for the German people, censorship will never happen again.
Meanwhile Twitch is getting hit with thousands of copyright infringement claims on a daily basis. So the entertainment corporations close down or take down or shake down people and services from trading in pirated works, and then when they use music in their live streamed videos, these same bodies issue infringement claims to take it all down.
Maybe a conversation between Twitch and the entertainment corporations would have resulted in a better outcome.
But that’s too difficult.
Talking, that is.
And remember when Steven Spielberg was trying to destroy streaming services and Netflix in general and he didn’t want Netflix movies nominated for Oscars because the movies that Netflix makes are shown on TV screens. Well Netflix won seven Oscars at the recent Academy Awards and that was more than any other studio.
Soen is a Swedish progressive metal supergroup consisting of various extreme metal musicians. Their debut album “Cognitive” came out in 2012.
It was like hearing Tool and I was all in.
“Tellurian” came out in 2014 but their rise really started with “Lykaia” in 2017 and “Lotus” in 2019. And in 2021, we have “Imperial”.
And while the debut sounded a lot like Tool, this one is more metal and hard rock with some progressive grooves and textures.
And the band has been stable in the line-up. Founding members Joel Ekelöf (vocals) and Martin Lopez (drums) are still there along with Lars Enok Åhlund (keyboards and guitar), Cody Ford (lead guitar) and new bassist Oleksii “Zlatoyar” Kobel.
Lumerian
How good is the Intro riff?
And the Chorus, so melodic and haunting.
In the middle, the band introduces its main dynamic, which is heard throughout the album, in which they quieten down the song and rebuild it.
Deceiver
It’s almost Disturbed like from the “Believe” album in the Intro.
Monarch
That Intro riff. So heavy and intricate.
Listen to it.
A Pink Floyd Pre-Chorus gives way to an anthemic Chorus.
Illusion
A Pink Floyd like cut. Think “Sorrow”.
And the solos. Wow.
Antagonist
Another head banging killer metal riff kicks it off.
The Chorus. Wow.
From the 3.50 mark it goes into a mellow interlude with an emotive solo. Then the vocals come in and I get emotional.
And it becomes quiet. And once you hear the words “fire up your guns”, the music crashes back in.
Modesty
The Chorus is so haunting.
From 2.10 a Maiden like harmony riff plays while a shred-a-licious and emotive lead is played over it.
The last 40 seconds are excellent.
Dissident
The Tool like track on the album but with a heavy dose of metal and hard rock.
Listen to the Chorus riff when they sing “we are one”.
At 2.50 it quietness down. A piano plays and the vocals come in. Then the drums and everything else comes in as they build it up slowly.
By 4.36 it’s back to a being a metal tour de force.
Fortune
Dio and the Sabbath “Heaven And Hell” version would be proud. The groove and feel is as doomy as the influences.
That Chorus is haunting, with the violins and emotive vocal melody.
I like the lead break. Almost bluesy and the phrasing is excellent.
At the 3.20 mark, a sing-a-long ohhh and ahs happen. This section happens again for the outro but this time the guitars are in harmony.
The only thing left to do is to listen to it again.
David Z, Chris Cornell and Chester Bennington passed away. Ivan Moody was in a dark place at the time.
So many people make money from artists, and some make way more than the artists. The vicious cycles that artists are on from labels and management is borderline negligence.
The show must go on but there is no show when there is no artist.
The Jungle Giants is a band that plays a form of pop rock with dance/techno elements. I’m not a huge fan but in 2017 they were an unsigned artists that racked up over 50 million streams on Spotify. Those stats are impressive and a lot more than artists who actually have label deals.
It’s hard work controlling your own destiny. But you have the freedom to decide what path to take.
And Album number 4 just came out.
When is inspiration/influence just that and when is inspiration/influence copying?
It is possible to borrow without “stealing”. When ideas appear in ones mind, quite often they are unconsciously inspired by a piece of music the artist has heard.
And it’s perfectly okay and very common to take an existing idea and turn it into something new.
According to manager Barry McKay, Steve Harris stole an idea. I don’t know how you can steal an idea, but hey it happens.
Streaming companies need to license music from the legacy players for a substantial fee and then pay royalties to these organizations when the songs are listened/viewed.
And these organizations like the labels and publishers keep the bulk of these payments and pay cents to the artists they represent.
Then they remain silent when Spotify gets sued for having music on their service.
But.
It was these organizations that approved Spotify to license their catalogues.
And I compared music streaming to Netflix who at that time had no problem growing its subscriber base and making profits, however it produces its own content, which earned it over 90 Emmy nominations.
And it’s monthly fees are identical to music subscription services, even though it costs a lot more to create a TV show or a movie than a song/album.
Corporations and Unions run this country. The Courts have been compromised by money. The mainstream media is all about half-truths and likes. No one reports with any substance or an opinion anymore as they had served whoever paid them the most.
Game Of Thrones was the most pirated show in the world, with Australia leading the way.
Why?
Unless we pay $300 plus for a PAY TV subscription, we couldn’t watch it.
Nine years later nothing much has changed. We’re still a mess. We can’t get our population vaccinated and we have a leader who just looks for the photo opportunity and has best friends who run QANON sites.
I’m an Amazon Prime Video subscriber and due to a deal they have with another PAY TV provider in this country, I couldn’t watch Bosch S7 on Amazon.
So I downloaded it.
Imagine that. I’m a paying legal subscriber and I couldn’t watch a show that the service created on their platform.
Why did guitarists like Yngwie Malmsteen, Steve Vai, Joe Satriani, Eric Johnson, Alex Skolnick, John Petrucci and Paul Gilbert rise above all the other shredders of the era that came on the scene between 1984 and 1994?
Guitarists like Tony MacAlpine, Greg Howe and Vinnie Moore are all great guitarists, however they are still relatively unknowns outside of their guitar instrumental niche market.
Someone like Vinnie Moore played with Alice Cooper and is holding down the fort with UFO. He’s been there since 2003, 18 years. Michael Schenker only did 11, his first stint between 1973 and 78 was only 5 years.
Perseverance is a massive skill. Especially when it comes to life as a musician in an internet era with information overload each day.
And success happens when you contemplate giving up.
Dream Theater almost called it a day, between 1988 and 1991, when months rolled by and no suitable singer appeared.
Quiet Riot during the Randy Rhoads years, couldn’t get a U.S deal. After Randy left to join Ozzy, Kevin Dubrow persevered under his own surname, only to resurrect the Quiet Riot brand after the death of Randy Rhoads and turn it into a Number 1 act.
George Lynch auditioned for Ozzy’s band on two occasions, losing out to Randy Rhoads once and then to Jake E. Lee. One of his earlier bands “The Boyz” had a showcase gig organised for Gene Simmons to attend. Van Halen opened the show and the rest is history. Gene even said to Lynch, to consider changing his name as he will never make it.
Ronnie James Dio spent 18 years paying his dues before finding success with Rainbow in 1976.
How many musicians starting out today, would put in 18 years of service to music?
Don’t chase trends because what is here today will be gone tomorrow.
Of course it’s more difficult going your own way, however that is the future. If you are successful you will get label interest and a deal that suits you, because without an artist, there is no profit from music for the labels.
But.
The major labels want radio hits so they find artists that are easy to sell and easily expendable.
“The Heat” with Sandra Bullock and Melissa McCarthy was one of the funniest movies I had seen that year.
I provided my thoughts on the Metallica “Death Magnetic” DVD which included footage on the making of the album. It came with the Coffin Edition of the album.
James Hetfield still rules. As much as the documentary tried to paint Lars as this hands on kind of guy, if James didn’t agree or say yes, the musical idea wouldn’t be part of the song. Bob Rock once said that the problem with “St Anger” was that the main songwriter wasn’t there mentally. You can see that he is back for “Death Magnetic”.
And they went on a two year victory lap touring behind the album. They released DVD’s from shows, for the French and Latin America markets. They released live EP’s for certain markets. In Australia we got the “Six Feet Down Under” EP’s part 1 and 2.
When that died down, they orchestrated the “Big 4” shows and the “Orion” festival. They played the summer festivals around the world.
Then they celebrated their 30 years anniversary with a week of shows in San Francisco. When that died down they released the “Beyond Magnetic” EP, which had 4 songs that didn’t make the final cut. Then they released “Quebec Magnetic” and at that point in time they were doing the “Through The Never”movie.
So did anyone remember the debacle of “Lulu”?
It was old news, history. It’s like it never existed.
What a difference two years make?
“The House of Gold and Bones” by Stone Sour was becoming a favorite so I posted my review here and a review of a song “The Uncanny Valley” here.
At the time I was reading about how artists deserve to be paid for their creations because they put their blood, sweat and tears into those works.
Released in March 2010, “No Guts. No Glory.” is album number 2 for Airbourne, the follow-up to their 2007 debut “Runnin’ Wild”. While the debut caught a lot of people by surprise, the follow up was anticipated. On the same day of its release, the “Iron Man 2” soundtrack hit the shelves, which is seen as an AC/DC “Greatest Hits”.
You can’t get too much Acca Rock.
The album cover forecasts what the album would sound like. There is a steel works, an out of control truck driven by Lemmy, alcohol, women, raising the flag at the Eureka Stockade, a twister, the band and an Explorer guitar raised high like a trophy by one of the band members.
Airbourne is Joel O’Keeffe on lead vocals and lead guitar, David Roads on rhythm guitar, Justin Street on bass and Ryan O’Keeffe on drums. Production is handled by Johnny K and mixing is done by Mike Fraser. All songs are written by Joel O’Keeffe and Ryan O’Keeffe.
The album was recorded in Chicago at Johnny K’s studio. The band even slept in the studio.
“Born to Kill”
The intro guitar lick is like an out of tune national anthem. Then the rock and roll power starts, to kick off a song about being in a rock and roll band, being loud and doing what you love.
“No Way But the Hard Way”
It feels like “Rock N Roll Aint Noise Pollution”.
The idea of the song originated when the guys in the band lived together in a house (like a band house), while on welfare payments and trying to get the band up and running, and noticed.
As told by the band members in the track by track breakdown of the album on YouTube, after the album was released they were touring in Canada. The vehicle they were in, skidded off the road. They were stuck in freezing conditions for 24 hours, waiting for help.
No way but the hard way indeed. It’s a very Bon Scott like title.
And the film clip has them taking their rage out on the record labels as they enter the office of one and smash it all to bits. As I read in one interview, the labels are big powerful monsters who get demos from thousands of bands so they could put it in a box and never respond. So it was an F.U to them.
“Blonde, Bad and Beautiful”
“For Those About To Rock” or “Powerage” gets a makeover into a “Blonde, Bad and Beautiful” wrecking ball woman with long legs and the moves to break a man.
“Raise the Flag”
An anthem. Airbourne hit the market at the right time, just when AC/DC’s album output was slowing down and they quickly became the next best thing.
So if you love rock and roll, raise the flag. That’s the simple message of the song.
And how good is the intro?
“Bottom of the Well”
The title is self-explanatory, from being in a crap situation to turning it around. This song is more Kiss than AC/DC.
“White Line Fever”
More Kix like but still sounding like it came from the Aussie Pubs. Lyrically, I guess it’s that time again when you’re feeling stressed out.
“It Ain’t Over Till It’s Over”
The fastest track on the album. Like “Let There Be Rock” just faster.
“Steel Town”
It was written for people from working class towns. Australia has a few “steel cities” so a lot of their fans here can relate.
“Chewin’ the Fat”
Read the lyrics. It sums up oral sex.
“Get Busy Livin'”
It feels like a Free cut at the beginning, but when the whole band kicks in, its AC/DC all the way.
“Armed and Dangerous”
The intro and verse riff rock.
From the words of the band members, just think of a hot chick walking past and you get a hard on, well you’re armed and dangerous. Enough said. Press play.
“Overdrive”
It’s about living hard and no sleep, having a good time and not caring about the next day. Easier said when you’re young.
“Back on the Bottle”
Another fast rocker, to close the album off, and a subject matter about getting on the piss.
I guess I’ll have one more glass of whatever then.
It charted well in Australia and New Zealand, and it also did good business in Austria, Finland, France, Germany, Greece, Sweden, Switzerland, UK and Canada. In the U.S it peaked at number 10 on the Billboard Hard Rock Charts as in some states they rocked and in other states they were unknown.
A shrewd business decision by the band and its management to license a lot of the songs from the album to various video games and movies, which brought in a different source of revenue, much higher than what the sales revenue would have generated.
“Born to Kill” is featured in the film “Jonah Hex”.
“Heads Are Gonna Roll” is featured in the video game “Madden NFL 10” and the official trailer.
“Raise the Flag” is featured in the video game “Twisted Metal”.
“Bottom of the Well” is featured in the video game “NHL 11”.
“Blonde, Bad and Beautiful” is featured in the trailer for the film “Bachelorette”.
“Back on the Bottle” is featured in The Good Guys episode “The Dim Knight”.
It’s not original in anyway and there is no great “hit” song to sell the album. But it’s a fun album, cool to listen to and in the words of Bon Scott, “Let There Be Rock” as the album has its foot on the accelerator pedal from the outset.
destroyerofharmony 