Guitar World (September 2001 issue): What guitarists have been most inspirational to you?
Daron Malakian: Dave Murray of Iron Maiden and Randy Rhoads. The thing about Maiden’s solos was they were melodic, tasteful and easier to play than Yngwie Malmsteen’s. But as much as I loved Randy Rhoads or Eddie Van Halen when I was young, I still never wanted to play like them. I always wanted to play like myself.
The answer made me depart with $20 for the “Toxicity” album. But System Of A Down took me a while to get into.
This band is capable of delivering whacked out but accessible instrumental passages, enormous riffs and bone shaking grooves, augmented by a vocalist with a style which is hard to describe.
“Toxicity” came out in September 2001 with Rick Rubin overseeing the production. The terror attacks couldn’t stop the album from selling and going Platinum within 2 weeks in the U.S.
In Australia, we made it 5x platinum. It was basically huge.
Let’s start with my favourites.
“Aerials”
I call it “Whisper A Prayer For The Dying” as the clean tone arpeggio riff in dropped D reminds me of the Coverdale/Page song. This familiarity made it a favourite straight away.
Hang around until the 2.30 minute mark, when that intro riff is played with power chords and Serj starts singing “Aerials, in the sky”. It’s powerful and a sing along.
Aerials in the sky When you lose small mind You free your life
“Toxicity”
The power of the music and the drumming.
Serj is again delivering a killer vocal.
Conversion, software version 7.0 Looking at life through the eyes of a tire hub
How can you not like it?
No one was writing shit like this.
At the 2.40 minute mark, this Iron Maiden like riff comes in, which they then jam on.
“Chop Suey”
It opens with an acoustic guitar strummed riff, then the drums come in and a Spanish flamenco like feel is created. Then the madness starts when the distortion riff kicks in.
And the verses.
WTF..
The way the vocal line is delivered, it just doesn’t make sense. Then the pre chorus kicks in and it’s all melodic and somehow it all hangs together.
But it’s a song about suicide and they are trying to capture the frantic killer thought process about putting on your make up and leaving the keys on the table.
But the outro.
Wow.
Serj is nailing those melodies and when you think he couldn’t get higher, he goes higher. And Malakian is there as well, harmonizing. At 3.27, it ends. So I pressed repeat on my CD player just to hear it again.
And now for the rest.
“Prison Song”
It’s the opening track.
It has clean tone singing, rapping, death metal growls, high pitched falsetto funk and talking. They cover so much ground with this song.
They’re trying to build a prison for you and me
The private prison system needs inmates, so there are people doing time for minor drug offenses instead of being treated for their addictions.
Serj always writes about politics and this is basically a song on the three strikes law. The three-strikes law significantly increases the prison sentences of persons convicted of a felony who have been previously been convicted.
“Needles”
I usually skip it.
Then again just listen to it, as the lyrics talk about pulling a tapeworm out of your arse.
Which Serj has explained is symbolism for releasing yourself from the toxic control of society.
Okay.
Next.
“Deer Dance”
This is what SOAD is about. Weirdness and still making it sound like a rock or metal song. At some stages it sounds like a Rammstein cut, with weird vocal lines.
Then at 1.41, this palm muted riff kicks in, and a vocal line from Serj which is catchy.
“Jet Pilot”
The way the music sounds, if you play it with clarinets and accordions, it sounds like an Eastern European folk dance.
But in this case it’s all distorted and Serj’s manic vocal line brings a crazed intensity about wiring eyes of a horse on a jet pilot while he flew over the bay.
Yes.
“X”
It’s less than 2 minutes long. Actually the majority of the songs are short. It’s like SOAD knew that streaming is on its way and having shorter songs means that you get paid more.
For example, you still the same cents if the song is 2 minutes or 4 minutes or 8 minutes long. The only difference is that 2 minute song can be played a lot more within the hour than the 4 minute or 8 minute song.
Then again they did mention that The Beatles songs structures played a huge part in condensing these songs . And if you look at the times of The Beatles songs, most are under 3 minutes.
“Bounce”
A song about a pogo stick and orgies.
And Disney had no idea on the content when they used it for the family-friendly animated film “The Secret Life of Pets”.
“Forest”
It’s got this Dio “Gates Of Babylon” vocal melody when Serj sings “Why can’t you see that you are my child / Why don’t you know that you are my mind”.
“ATWA”
It’s melodic and heavy and the vocals are chaos personified.
“Science”
The riffs in this song are excellent, hard rock like.
And the vocal melody is hypnotic, about science failing the Earth and the people and how letting the reigns go is what faith is about, not control.
Make sure you stick around to the 1.40 mark. That whole exotic feel.
“Shimmy”
It’s like classical and punk which rhymes education and fornication and indoctrination with nation.
“Psycho”
It movies between aggression and melody.
Like the lyrics which go “Psycho, groupie, cocaine, crazy”.
“Arto”
An instrumental using traditional Armenian instruments.
Check out the first three songs I mentioned and if you like then go deep and pull out that tapeworm.
I didn’t get this album in 1983. I got it much later.
Dokken was introduced to me in 1986 via a dubbed VHS copy of their “Unchain the Night” video and it was a great introduction.
“Into the Fire”, “Alone Again” and “Just Got Lucky” from the “Tooth and Nail” album appeared.
“Breaking the Chains” appeared.
“The Hunter”, “In My Dreams” and “It’s Not Love” from the “Under Lock and Key” also appeared.
I was an instant fan.
At the same time, I started to buy various Guitar magazines and George Lynch was appearing.
Also in 86, a badly dubbed copy of “Heavy Metal Parking Lot” came my way and in that video, the filmmakers interviewed people before a Dokken and Judas Priest concert.
Then “Dream Warriors” came out via the “Nightmare on Elm Street 3” movie and suddenly Dokken was on my radar of bands I needed to purchase.
So my first actual purchase was the “Back For The Attack” album.
An accumulation of events via word of mouth and pirated video tapes led me to Dokken fandom.
I purchased the LP first via a used record and book store.
Breaking The Chains
Written by Lynch and Dokken.
The riff is excellent and far removed from the L.A sound that was happening at the time. But what I remember most about this song is the tacky camera angles on the chain like strings on Lynch’s guitar in the film clip, plus Don’s terrible lyrics.
“Breaking The Chains” had the title for another teen angst anthem however Don delivered very confused lyrics loosely based on heartbreak.
How can you take these lines seriously!!
Got this letter Came today From my baby Who left me yesterday Said she loves me She’ll come back She wants to try
But it was the 80’s and it was cool to be this tacky once upon a time.
In The Middle
Written by Lynch and Dokken.
This is more in the vein of the L.A sound. The groove of the song would feature prominently when RATT did “Lay It Down”.
In the middle Of love
I dig the music, the vocal melodies, but not the choice of words.
Felony
Written by Lynch and Dokken.
Check out the swingy lead break.
Live To Rock (Rock To Live)
Another speed metal song. This one is written by Lynch, Croucier and Dokken.
Run out of breath And I feel I’m moving too slow Backwards and forwards I don’t know which way I should go
You know the feeling. You worked hard all week and you spent so much time away from loved ones and things that you like. You get paid and nothings really paid off. Outstanding bills still remain and to top it off, your car broke down. And you ask yourself the question, “Did you live up to your promise?”
Live to rock Rock to live It’s all you got when You’re down on the skids Live to rock Rock to live One way or another Survive until the end
When we purchased an album, we stayed up all night listening to it. Even though it had one good song on it. Our view was, if we gave our money, we had to get a return on our investment because we knew we didn’t have any more funds to purchase new music for at least another fortnight (if we were lucky), so we had to listen to it.
Feeling it flow through my veins Rock will never get old
Damn right. It’s always been there in the undertow. And in some era’s it’s the raging river.
Nightrider
Musically it’s excellent, but the lyrics are stupid.
In the car, slam the door, turn the key and I’ll be free On that highway tonight
See what I mean.
Paris Is Burning
The original studio version didn’t cut it, so a “live version” was used instead. Live is not really live, as all of the tracks get re-recorded in a studio, along with the vocals. So after some doodling by Lynch that made me want to go back in time and unplug his guitar cable, good ol’ Mick Brown blasts the song off.
I don’t get the lyrics but I love the music and the vocal melodies. I just wished they used better words for the melodies.
The first two lines in the opening verse deal with getting out of his town, sort of like “We Gotta Get Out Of This Place” and then the verse finishes off with two lines about a woman who became so hard and cold. Check it out for yourself.
This town I’m in can’t take no more Decadence and sin You were my woman Why’d you have to be so hard and cold
And then we are into a Chorus that again doesn’t make sense or have any logical flow.
Paris is burning Want to see it from afar Paris is burning Want to get to where you are
But that was the 80’s and it was allowed.
And there are two versions available. A 1981 version with a different bass player to the 83 version and the Elektra 1983 version.
And according to Lynch, 500 copies of exist that has Don Dokken as the band name.
Then sometime in the 2000s circa 2009, I purchased the CD via a box set.
“V” is album number five, released in 2001. The band for the album is Ed Kowalczyk on lead vocals and rhythm guitar, Chad Taylor on lead guitar, Patrick Dahlheimer on bass and Chad Gracey on drums. Like most of the albums, the majority of tracks are written by Ed Kowalczyk.
Wikipedia tells me that the collection of songs that became “V” was never intended to be released as an album. Guitarist Chad Taylor said, “The goal was to prepare songs for the next studio session. MCA got a hold of the material and pushed us to call it an album.” The songs were originally going to be released free to fans as a collection called “Ecstatic Fanatic”.
“Deep Enough”
One of their most creative songs. I was hooked from the intro.
It basically starts off with a music box piano riff, and then a Middle East music melody crashes in, which keeps repeating under a catchy verse vocal line which I’m pretty sure Karnivool was influenced by for the verse melody on “Themata”.
And the track was meant to be the album’s first single but the record company pulled rank and released “Simple Creed” instead which proved to be a big mistake.
Maybe they got scared from the lyrical nature of the song, about skirts rising and male appendage excitement rising with it.
“People Like You”
It feels like a Guns N Roses song from the “Use Your Illusion” album. In the Chorus, Ed even sounds like Axl.
In a dream I had you were standing all alone With a dyin’ world below and a microphone Singin’ hallelujah I finally broke their mold
We take and cop so much crap as we go through life. People try to shape us to some version that they believe is true. Be unique, be free and don’t let others drag you down.
People like you! people like you! Motherfuckers like you! people like you!
It’s my favourite part of the song, when Ed sings the melody for the above lyrics and the guitar plays the octave guitar melody. And yes, he does say “motherfuckers”
“Transmit Your Love”
This track could have been an album cut on “Secret Samadhi”.
“Forever May Not Be Long Enough”
The piano riff to start the song is excellent.
It’s a co-write with Glen Ballard, who everyone wanted to work with after “Jagged Little Pill” blew up around the world in 1995.
In 1997, Aerosmith worked with him on the very underrated “Nine Lives” album and it’s the song “Taste Of India” which Ballard co-wrote with Steve Tyler and Joe Perry, that I’m reminded off when I hear this song, which was also played during the closing credits of “The Mummy Returns” movie.
“Call Me A Fool”
The Beatles influences come through on this.
“OK”
Musically, this is Live bringing the funk and soul.
Take away my TV don’t want your fuckin’ therapy it’s all decay decay decay not today, not today
Kids listening to this song today, won’t even know why someone would want their TV taken away. For them, the TV is like how the radio was for others, background noise. Most of our attentions are fixated on our small black screens.
“Overcome”
It’s got a piano riff and violins to set the mood and a nice vocal melody, but the lyrics about “holy water in lungs” are way to pretentious.
“Hero of Love”
The Beatles are back again for the album closer. Listen to this song for the Chorus.
“Throwing Copper” at 8x Platinum in the U.S was never going to be topped. It was part of a cultural movement. And “Secret Samadhi” is a great album, but it only went 2x Platinum in the U.S.
No small feat, but a massive drop in commercial expectations. “The Distance To Here” is at Platinum for U.S sales. “V” has no certification, not even a Gold.
And their commercial trajectory was similar to the 80’s bands on albums four and five except Metallica who had their biggest success with album number 5.
But they still do good live business, when live shows used to happen.
I felt like I was the only W.A.S.P fan around during this period. Most of my metal head friends had jumped off the W.A.S.P train after “The Headless Children” or “The Crimson Idol”. But I kept going. Actually my cousin Mega and I kept going.
“Unholy Terror” is album number nine, released in 2001 and produced by Blackie Lawless, which from reading some of the reviews online recently, people hated, as they found the production flat. But I never did have a problem with it, as most productions circa 2001 sounded like this.
The band at this time is Blackie on vocals and guitar, Chris Holmes on lead guitar, Mike Duda on bass and Stet Howland on drums. But, the album was started in February 1999 and finished at the start of 2001. So during that two year period, the band was a bit different. Which means, you get some other players.
The late Frankie Banali plays drums on “Hate To Love Me”, “Loco-Motive Man”, “Charisma”, “Raven Heart” and “Wasted White Boys”. Basically, my favourite tracks. And Roy Z plays lead guitar on “Who Slayed Baby Jane?” and “Wasted White Boys”.
But.
Chris Holmes left the band during the recording process for this album. And even though he is credited, Holmes has said in interviews he didn’t play a note on it.
Coming into this album, I didn’t like “K.F.D” and “Helldorado”.
So, I was skeptical.
In the CD booklet, Blackie writes that “this album is similar to “Headless” in some ways with the social and political references but “Unholy Terror” brings my religious upbringing into the picture”.
“Let It Roar”
It’s got that “Love Machine” vibe merged with “The Headless Children” solo section.
Come on and stand for what you believe Oh you gotta get up on your feet Or die on your knees Let it Roar, cause I wanna be oh yeah
Before Kate Perry was telling people to roar, Blackie was doing it from way back.
“Hate To Love Me”
Blackie is channelling his Who and Jethro Tull influences.
“Loco-Motive Man”
It’s got that main theme from “The Crimson Idol” as its centrepiece. Think “Chainsaw Charlie” meets “Black Forever” from the “Still Not Black Enough” album. Its familiar, its flawless and I like it.
Oh God I’m coming Read my words I’m coming I got a gun I’m coming You won’t hear me coming
Inspired by the recent rash of school shootings in America. Then again, it’s still relevant today. Nothing has really changed in that regard. If anything, they have gotten worse and worse.
“Unholy Terror”
Crowned messiah, I crucified him And still ya don’t believe I am Kings – I am queens Unholy terrors me
It’s like a Tool song, with a repeating and percolating clean tone riff, sounding sinister as soon as Blackie’s whispered vocal line starts. As the vocal line builds in intensity, so does the guitar. And it bleeds into “Charisma” because “Unholy Terror/Charisma” is one song divided into two tracks.
“When I was writing the lyrics for “Charisma” and “Unholy Terror”, I was talking about the preconceived idea that most of us have about world figures such as entertainers, politicians or athletes that we admire.” Blackie Lawless in the CD booklet to “Unholy Terror”.
“Charisma”
I’m hooked as soon as the John Bonham drum groove and Zeppelin like guitar groove (which reminds me of “When The Levee Breaks” merged with “Kashmir”) kick in. It’s probably one of Blackie’s best songs of the 2000’s era.
I wrap myself in the American Flag And tell people I’m for which it stands I’m coming back till you know I’m God Till you believe, till you know my charisma
In the CD booklet, the first line is attributed to “Ronald Reagan” and the second line to “Richard Nixon and Al Gore”. Typical of politicians to proclaim themselves as Gods.
I’m a fear from a shadow land I seduce you all Here I come new messiah man To bow to me, make me your God
In the CD booklet, these four lines are about “The Anti-Christ”.
I got them all marching to the rhythm Believing me, oh yeah, their new religion I’m a racist with a waving flag Of domination with a fascist plan
These four lines are about “Adolf Hitler” which is bizarre, because if you didn’t have the CD booklet pointing that out and you heard this song for the first time in the last few years, you would attribute these to an ex U.S President that just got booted.
“Who Slayed Baby Jane?”
TELL ME NOW who slayed oh my Little Baby Jane Rolling down the stairs Her Little head has rolled away Put it in my hands
This is the stuff that Alice Cooper writes. And it works in Blackie’s world as well.
“Euphoria”
It’s an instrumental.
It has this “Hold On To My Heart” feel merged with “Albatross” from Peter Green/Fleetwood Mac and “Planet Caravan” from Black Sabbath.
In the CD booklet, Blackie wrote that its “one of the greatest little tunes I’ve ever done. I love it. It’s music to get high by. Enjoy!”
“Raven Heart”
From the intro riff, which reminded me of “Schools Out”, I was hooked.
“Evermore”
It’s interchangeable with “Forever Free”. It’s actually an demo that goes back to “The Headless Children” album. The CD Booklet mentions that the song was originally titled “Circle Of Legend” and it was meant to act as a reprise to “Forever Free”.
Do the shadows of my memory From a long ago time Lead a path to the other lives of me Souls of past great divides
The song is inspired by Native American Indian stories and mythology.
Who knows what kind of spirit world exists and if it does, how it all interconnects.
“Wasted White Boys”
Man, the whole W.A.S.P catalogue is in this song.
Throughout its six minutes, the song sounds like a derivative version of “Blind In Texas”, “On Your Knees”, “Dirty Balls”, “Mean Man”, “Arena Of Pleasure” and “I Am One”.
Wasted boys feeling no pain Howl at the moon in the night Just give me shooters and that demon cocaine I’m the devil alright
And the outro is like “Free Bird”, with “Wild Child Holmes” allowed to spread his wings and fly on this one. Or was it Blackie wailing away or Roy Z. I guess we will never know the true story because those wasted white boys are keeping secrets.
Now if you haven’t heard W.A.S.P previously, go and checkout, “The Headless Children” and “The Crimson Idol” first. If you are a fan and liked those albums, you will like this album as well. It’s W.A.S.P or Blackie doing what they do best. Rocking out.
“The message here in this album is think for yourself, seek out answers for yourself and not be manipulated (as I was) by some guy, selling you “prepacked” beliefs whether they are religious or political (which often times go together)”. Black Lawless in the CD Booklet to “Unholy Terror”
There are a lot of stories of how the recording industry has been transformed since Napster and most of those stories centered around the losses of income to the record labels. They blamed the technology as its never the fault of the record labels.
Then came iTunes and the purchase of mp3’s became legal, putting money into the labels balance sheets. But the labels still complained.
Then YouTube appeared, then streaming came on the scene in Pandora, Grooveshark, Deezer and Spotify and the conversation shifted to the pennies paid per listen. The labels blamed the technology for the low payments because it’s never the labels fault.
In the end if you are signed to a label, creating music which is being listened too and are not getting paid, your issue is with your employer, the record label.
If you read this blog, you will know of my appreciation for The Night Flight Orchestra.
It all started in 2012 with the excellent debut. “Internal Affairs” and it continued in 2015, with “Skyline Whispers” and in 2017, we have “Amber Galactic”, which you can read my review here.
Artist Don Brautigam passed away and I wrote about him here and here.
If you’ve seen the Metallica “Master Of Puppets” or the Motley Crue “Dr Feelgood” covers, then you’ve seen his work.
The album cover is a forgotten art form, but man, it’s an important one. Once upon a time, the look of an album cover would be the deciding vote if a person outlaid their money.
It carried the brand of the band.
It was the first thing that spoke to the music buyer. And as time has gone on, the artists who created some of the iconic covers are never mentioned.
8 Years Ago (2013)
I was listening to Vaudeville. They merge the styles from Muse, Deftones and Radiohead with Hard Rock. It sounds beautiful and original. And if you want an entry point into the band, check out the song “Restless Souls”.
Will you stand up And fight against their wrath Or will you run Until there’s nothing left
Their first album “Dismantle The Sky” came out in 2009. The next album “Vendetta” came out in 2012, and this is the album with “Restless Souls”. In March 2013, they released an EP called “House of The Rising Sun”.
And after I wrote this post they released “Masquerade Part 1” in 2014 and “Masquerade Part 2” in 2015.
Which I didn’t know about. So I have some listening to do.
Daft Punk entered the charts this week in 2013 at Number 1, moving 339,000 copies of their “Random Access Memories”.
And streaming/digital was king as 65% of Daft Punk’s sales came from digital sources. And I was thinking, why couldn’t metal and rock artists get these kind of numbers.
It first began in August 2006, when Hawthorne Heights filed a lawsuit against Victory Records, accusing the label of creative accounting practices, unpaid royalties and for damaging the band’s reputation and relationship with their fans.
In 2011, A Day To Remember also filed a suit against Victory Records for unpaid royalties.
And in 2013, Streetlight Manifesto is telling their fans to not purchase the album from any physical and online retailers and to only purchase merchandise from the band’s website because of their dispute with Victory.
After this post, in 2017, another band called “Darkest Hour” said that they never received a penny from their Victory contract.
And to slap the artists in the face even more, it sold for more than $30 million in 2019 and the artists didn’t get a cent from the sale.
TesseracT is one band that really got my attention and you can read my review of their excellent “Altered State” album here.
Dream Theater announced a “Live At Luna Park” DVD/CD release in February 2013 for a May 2013 release. May was almost at its end and no news had been forthcoming.
Well the release finally came out in November/December of that year.
And people were getting arrested and locked away for copyright offenses. Their jail terms for non violent crimes were longer than violent crimes.
And Police Departments were not doing any investigation of their own. They simple took the evidence of the movie studios and record labels as being true and correct.
This is where I draw the line This is where the old me dies Light a match, let it burn, kiss it goodbye Give it up, what I was, this is where I draw the line
I always like to write posts that highlight how certain songs are inspired by other songs. You can read my post called “The Kashmir Effect”.
And I started a new series called “Classic Album Closing Songs”, thinking it will be a monthly post. And I’ve only done one.
Which actually covered a few albums.
Like “Diary Of A Madman” (1981), “Hallowed Be Thy Name” (1982), “Who We Are” (2011), “S.M.F” (1984), “Shogun” (2008), “Aerials” (2001) and “The Count Of Tuscany” (2009)
And “What About Now” disappeared from the charts and the sales.
Bon Jovi (the band) spent over 5 months recording and writing this album, a few more months promoting it, only to have it do a run of 10 weeks before it disappeared.
From Bon Jovi I went to Megadeth and the lyrics of Dave Mustaine.
And my iPod shuffle was on fire with its selection so I wrote about “Chainsaw Charlie (Murders In The New Morgue)”, “California Morning”, “Crazy Train”, “Caught In The Middle”, “Caustic Are The Ties That Bind” and “Cardiff”.
The band is a natural evolution from the band Dungeon, who sounded more in the power and thrash metal style. Lord is like the classic metal and rock sound I grew up with, and I wouldn’t have it any other way.
We did a some shows with em back in 2010 while they were out supporting their “Set In Stone” album in our hometown of Wollongong. Otherwise known as “The Gong”.
I’ve also seen Lord live a few times opening for overseas acts and on their own run of shows.
The band is currently made up of Lord Tim on lead vocals, guitar and keyboards, Andy Dowling on bass and Mark Furtner on guitar.
“Undercovers” is a 2021 release.
This review is based on the Spotify release. To get the full version (23 songs deluxe), you need to go to Bandcamp.
To The Moon And Back
From Savage Garden.
It’s an Aussie Pop classic. Darren Hayes co-write the song and on Twitter he mentioned how there is a section of fans who like heavy metal and Savage Garden and Lord has given em, an awesome Metal version of the song.
Judas Be My Guide
From Iron Maiden.
That’s how quickly Tim can change vocal styles. From pop rock to Bruce Dickinson.
“Fear Of The Dark” album was maligned for sounding too hard rock but I disagree. To me, it sounded like Iron Maiden.
Send Me An Angel
From Real Life.
There is an 80s like synth as the main riff that makes me think of “Sweet Dreams” from Eurythmics.
I remember this from the “Rad” soundtrack.
Shattered
From Pantera.
This song was Pantera doing Judas Priest on their major label debut. Even Anslemo’s vocals mirrored Rob Halford.
Well Lord Tim is an unbelievable vocalist, so his Halford vocal style was all on show to be heard.
Hard To Love
Readers of this blog know that I have a lot of time for Harem Scarem and their underrated and excellent guitarist Pete Lesperance.
This song is from their debut and Lord don’t mess with perfection much, nailing every part of the song musically and vocally.
(I Just) Died In Your Arms Tonight
Lord Tim passes the vocal duties to bass player, Andy Dowling.
This song is from Cutting Crew.
I always liked the melodic rock overtones of this song and I still like it to this day.
Reckless
From Judas Priest and the much maligned “Turbo” album.
But.
I like the “Turbo” album. And this version is as powerful as the original with a modern mix. If you like Judas Priest you would want to hear this.
I Want Out (Live)
From Helloween.
It’s faster and energetic. They always delivered in the live arena.
Touch The Fire
From Icehouse.
It’s an Aussie classic and Lord make it a melodic rock classic.
Break The Ice
From John Farnham.
This is an excellent cover of Farnham’s melodic rock era when he was cashing in and singing songs for 80s movies. Before “You’re The Voice” took over the charts around the world.
This song is also from the “Rad” soundtrack.
On A Night Like This
From Kylie Minogue.
Check out the hilarious piss take video clip on YouTube.
Bassist Andy Dowling also has a podcast running called “Nod to the Old School”. Here is the Spotify link.
Finally if you like your 80s hard rock and heavy metal than Lord’s music is waiting for you to invest some time.
I grew up with “Gutter Ballet” and “Streets”. I owned those albums and I played em like I owned em.
Constantly.
My cousin Mega, was also a fan. He’s older than me by 4 years and had more cash, so he had “Hall Of The Mountain King”, “Edge Of Thorns”, “Handful Of Rain”, “The Wake Of Magellan” and “Dead Winter Dead”. Of course, my trusty TDK tapes didn’t fail me in copying those albums, until the time came when I had the dollars to buy em myself.
From a vocal style point of view, I didn’t mind Jon Oliva or Zachary Stevens. Both offered different styles. But I was heaps bummed when Criss Oliva died in a head on car crash with a drunk driver. His guitar playing was and still is, inspirational. His work on the “Gutter Ballet” album is up there for me.
“Poets and Madmen” was hard to get in Australia. Released in 2001, there wasn’t a lot of brick and mortar shops looking to import Savatage and zero distributors to release it locally. So studio album number 11 remained elusive. It didn’t help matters that Atlantic Records dropped them and their German label was still seen as an “IMPORT” label in Australia. But Mega was always resourceful and he got it, albeit a few years later. He called to tell me about it, but by then, I also had a copy of it, via AudioGalaxy.
The album had a last minute concept added, inspired by the career and death of South African photographer Kevin Carter, who committed suicide by carbon monoxide poisoning, a few months after winning the Pulitzer Prize for his “The Vulture and the Little Girl” photo, of a frail famine stricken child, who had collapsed on the ground with a vulture in the background, waiting. This photo also caused an uproar about the ethics of photographers.
Is the shot more important than the welfare of a child?
“Stay With Me Awhile”
The outro lead break by Al Pitrelli (who actually left the band to join Megadeth) reminds me of “Empty Rooms” from Gary Moore.
“There In The Silence”
An 80’s like synth lead kicks off the song, before a foot stomping groove kicks in.
The lead break here from Chris Caffery is guitar hero worthy
“Commissar”
The symphonic elements to kick off the song are excellent.
Then it goes into an Iron Maiden like riff while Oliva delivers a schizophrenic King Diamond like vocal.
And the lead breaks are excellent. The first part of the main solo and the outro is Al Pitrelli and the others are Caffery.
“Morphine Child”
One of my favourite riffs. Its foot stomping, head banging heavy metal. It reminds me of classic Savatage, even “Handful Of Rain” is in this song.
The main solo is Al Pitrelli and its one of those special album songs which has the multi-layered counterpoint vocals.
They sort of go something like this.
There is a bunch of voices repeating one word, another group of voices repeating a different melody, another group of voices doing something else and another group doing something different and blended in they all seem to work.
They started this kind of counterpoint vocal arrangement with “Chance” on the “Edge Of Thorns” album, when Zachary Stevens was the singer. In order to pull it off for this album, three other singers came in.
“The Rumour”
The main solo is Al Pitrelli. I had to mention it.
“Surrender”
It’s a haunting piano riff and vocal kicks it off, before the metal comes. The lead break from Caffery has some massive sweeps happening,
“Back To A Reason”
The first two minutes and twenty seconds is country rock awesomeness as a piano like Free Bird. Then it changes like Jekyll and Hyde, similar to “New York City, Don’t Mean Nothing”. And if there is a fault of the album is that all of the songs move between these kind of moods all too regularly.
The by-product of Savatage existing is Trans-Siberian Orchestra. And that project had just started to play to a lot of people, so clearly the inspiration for Savatage was not there while Oliva and O’Neill started to focus on TSO.
“Back in the Streets” is a bootleg released in 1989 by a German label who had apparently stolen the demos from Don Dokken back in the day.
Well that demo must have been found because these recordings also ended up on “The Lost Tapes”.
While the songs are written by Don and George Lynch, only Don plays on this album along with drummer Gary Holland at far left, and guitarist Greg Leon second from the left, both former members of the band “Suite 19”. At far right is bassist Gary Link.
But the band members mentioned on the back gives the buyer an impression that George Lynch, Mick Brown and Juan Croucier are actually playing on it.
But there not.
In the bottom writings there is a line which states; “Reminder to Don Dokken for not returning Thomas’ vintage 100 W 4 x 12 Marshall Cab”.
Maybe this is why the EP bootleg was released, as a F.U to Don Dokken?
Even though the band, Dokken had broken up at this point, people were still interested in their music and like me, purchased this as soon as it hit the streets.
“And the minute you get a record deal, all the fun is stripped away. You start analyzing music in a different way. You don’t listen to it for the enjoyment of listening to it, you don’t play it for the enjoyment of playing it”.
“They (the record label reps) will call you up and say, “hey did you hear this new record, maybe you should write a song like it.”
That’s the way “The Dehumanizing Process” documentary starts off.
I was in a band between 1999 and 2005. The singer/guitarist of that band was into the whole Groove metal scene and he burned me the “The Impossibility Of Reason” album which is covered here in the documentary.
And it’s the only thing I own from Chimaira.
The DVD package has the excellent 90 minute documentary, a live concert, the band’s music videos (up to 2004) and a nine track CD, called “This Present Darkness” which is the bands 1999 independent album.
The band went on to sign with Roadrunner Records and released the “Pass out of Existence” album in 2001. It sold okay and they got another chance from Roadrunner Records to do another album.
All the band members were really unhappy with their last album “Pass Out Of Existence” as it was a Nu-Metal album they were pressured to make.
“The Impossibility of Reason” came out in 2003 and you get to see the ending of one journey and the start of a new one in the 90 minutes documentary. Even if you don’t like the band the documentary is worth watching and it’s detailed.
By sticking to their guns and telling the label to get stuffed, Chimaira delivered a career defining album.
The live show is from the tour, filmed in Holland. Watch it, just for the “Wall Of Death”.
The band would do one more Roadrunner album in 2005. Then they got dropped. Signing to different labels, they kept releasing albums up to 2013. And the line up was always evolving with vocalist Mark Hunter the only original member left at the time.
But in 2017, the original band members returned for a few reunion shows and at the moment they are looking at doing a few more.
In between, vocalist Mark Hunter became a journalist for various metal mags and his social media accounts are very active with his views on the music industry and other opinions.
Apart from the great listening experience it also changed the way I played and wrote songs. After this album, I was okay with jamming on a groove instead of soloing.
This album joined albums like “Tribute”, “Powerslave”, “Somewhere In Time”, “Appetite For Destruction”, “Slave To The Grind”, “The Great Radio Controversy”, “And Justice For All”, “Metallica Black Album”, “5150”, “Hysteria”, “Wicked Sensation”, “No More Tears” and “Images And Words” as my “Bible” albums. These “Bible” albums are albums that I devoured, learning the riffs and the licks.
Tool is Maynard James Keenan on vocals, Adam Jones on guitar, Justin Chancellor on bass and Danny Carey on drums. Production is handled by David Bottrill.
The album debuted at No. 1 on the Billboard 200 chart. It went to No. 1 in Australia. In the U.S its certified as 3x Platinum and in Australia it’s also certified as Platinum. People were listening and unable to turn it off. Even on streaming services, the song “Schism” has only been on Spotify just under two years and it’s at 49.3 million streams, And it’s a 8 minute song.
The album is a product of the members being at the peak of their creativity and a four year label dispute.
At the time the band was critical of file sharing, so as part of the marketing for the album, they announced a different album title and a bogus 12 song track list, with stupid titles like “Encephatalis” and “Coeliacus”. Of course, the unregulated Wild West of file sharing sites, were flooded with bogus files bearing the titles’ names. It wasn’t until a month later that the band revealed the real album name and that the name “Systema Encéphale” and the track list had been a bunch of bullshit.
CD’s can pack 79 minutes of music and Tool gave em a few seconds back. Because at 78 minutes and 51 seconds long, it’s got every groove and landscape packed in across the 13 tracks. And to think that they kept editing the album at the mastering stage to get it under 79 minutes.
The Grudge
The whine of a machine starting up and it all comes crashing in, the toms are syncopated with the guitar riff and the bass is unique, taking the lead here to outline a different melody.
Once the vocals kick in with “Wear the grudge like a crown of negativity / Calculate what we will or will not tolerate”, they syncopate with the guitar riff. Maynard is telling ya, don’t let your grudges hold you back.
At 1.22, the song changes. It takes you into uncharted territory. The previous landscape is gone, in the rear-view mirror. And we are into the verse.
Clutch it like a cornerstone Otherwise, it all comes down Terrified of being wrong Ultimatum prison cell
You can’t imagine your life without the grudge you might have against the person who wronged you, the scarlet letterman. And what if your grudge isn’t justified and you have been wrong the whole time. You don’t want to be in that position, so you keep holding onto the grudge.
The song changes again after the bridge, with the vocal melody of “Choose to let this go”. The riff is heavy, Sabbath like heavy.
Give away the stone Let the waters kiss and transmutate These leaden grudges into gold
Let the burden go, it’s okay. Don’t let your hate and prejudices define you anymore.
The song then percolates and builds from 6.25 as the intro riff returns. Then there is silence and just the bass. And then an explosion of music from the 7 minute mark as Maynard belts out a scream that he carries for 24 seconds.
Studio trickery. Maybe.
The last 30 seconds is how you end a song. Listen to it. You will not be disappointed.
The Patient
A creeping guitar riff starts the song off. At the Sydney concert I watched, Maynard did say the song is about the vampires that you come across in your life, who try to get you down.
But I’m still right here Giving blood, keeping faith And I’m still right here
Wait it out Gonna wait it out Be patient (wait it out)
The vampires could be anything. The education system, society, the corporations, the government, a friend, a lover, a family member. Be patient. Everyone comes undone eventually.
Schism
8 power chords are played on the bass, then silence for a few seconds, before the iconic bass riff starts the song. Justin Chancellor announces himself as a bass hero.
I know the pieces fit cause I watched them tumble down No fault, none to blame, it doesn’t mean I don’t desire To point the finger, blame the other, watch the temple topple over To bring the pieces back together, rediscover communication
Once upon a time, all religions were the right one, than, they fell apart. The pieces are now corrupt, moulded shadows of the once great temple. This song says if the pieces don’t communicate with each other than we are doomed.
Parabol/Parabola
They are two tracks on the album. But they exist as one as the last note of “Parabol” flows into “Parabola”
The three minutes of “Parabol” feels like I’m in the vast plains of the Middle East, looking at the night sky.
The Pre Chorus and Chorus of “Parabola” echo Maynard’s work with A Perfect Circle.
This body holding me, reminding me that I am not alone in This body makes me feel eternal All this pain is an illusion
Live in the now people. It’s easier said than done. I know people who can’t let go of the past. It consumes them to the stage of insanity. They feel wronged. But all this pain a person feels focusing on the past is an illusion. It’s not real, it manifests in the brain. The pain that you think you are experiencing will pass.
At 2.04 it changes from being a standard hard rock song into a typical Tool song.
At 3.58 the bass takes over for a brief moment before the band kicks in, setting up the finale, the last 2 minutes.
At 4.40, a Black Sabbath fuzzed out riff kicks in. it plays while the drums play like a ceremonial fill.
Ticks And Leeches
A drum pattern kicks off the song. The bass kicks in, with a riff that is played along with the bass drum. It’s weird and off putting. Then the guitars kick in with some repeating single notes, the bass gets busier and so do the drums. By the 50 second mark, the double kick is frantic.
And then it changes for the verses.
Maynard’s melody is bordering on the periphery like a chainsaw.
Hope this is what you wanted Hope this is what you had in mind Cause this is what you’re getting I hope you’re choking I hope you choke on this
How good is that that Pre Chorus and Chorus riff, when Maynard is singing the melody of “hope this is what you wanted” and “I hope your choking”.
At 3.24 it changes into a clean tone guitar riff that keeps repeating forever. It percolates up to the 5.58 minute mark, before it explodes for the final 2 minutes.
Got nothing left to give to you
Every person with a dream or a goal has ticks and leeches waiting to suck em dry. Even good old Mother Nature will have nothing left to give us except floods, droughts and fire, for the humans are parasites here, sucking the wealth of resources dry for profit.
Then the massive ending from 7.20. The double kick drums are relentless, that Pre Chorus/Chorus riff kicks in and Maynard starts with his “is this what you wanted” melody.
Lateralus
The epic title track at 9 minutes and 22 seconds long.
The clean guitar riff is basic and it keeps repeating. Then the bass comes in and the drums, an explosion of poly rhythms and exploration.
How good is the main riff from 1.15? It’s a metal tour de force.
At 4.50, it’s just the bass, playing a triplet of notes with a brief pause.
And the intro guitar kicks in again.
And it keeps building.
Then at 7.17, the best part of the song kicks in. The drums play a simple beat, while the guitar is staccato like and the bass is doing something different, highlighting the vocal melody with a choice selection of notes.
It needs to be heard to be understood.
Reaching out to embrace the random. Reaching out to embrace whatever may come.
A song in which the “spirit” lives outside the norms but the person is still human and divine at the same time. They touch on these kind of themes with “Forty Six & 2” from the “Aenima” album.
Listen to it and read the lyrics. It’s like a complex novel coming to life.
Disposition/Reflection/Triad/Faaip De Oiad
The final tracks are part of a large suite but separate tracks on the album.
“Disposition” is like a tribal drum groove with a clean tone guitar riff. It only goes for about 3 minutes and 20 seconds.
It carries into “Reflection” which is the centrepiece at 11 minutes. It has a drum groove that evokes the Middle East, another iconic bass line, synths and an exotic guitar and vocal line.
So crucify the ego, before it’s far too late To leave behind this place so negative and blind and cynical And you will come to find that we are all one mind Capable of all that’s imagined and all conceivable Just let the light touch you And let the words spill through And let them pass right through Bringing out our hope and reason
It’s an incredible Tool song.
How good is the line “capable of all that’s imagined and conceivable”?
It’s the same mantra put forward by the self-development industry. You know the one, the 10,000 hours, showing grit, emotional intelligence, a growth mindset, resilience and creating a culture in which people feel safe to express their thoughts and everything will turn out okay.
From 8.28 it really kicks into a groove. Watching it live, is a memorable experience.
“Triad”
A 6 minute conclusion as the vast plains of the Middle East are back.
“Faaip de Oiad” is Enochian for “The Voice of God”. Now if you’re wondering what Enochian is, I also had to look it up when I came across it years ago. It’s basically an occult language that two spiritualists from England came up with, who claim angels divined this language to them.
As for the song, it’s just abstract noise and nothing worth talking about.
I was introduced to Tool in 1998. My best man burnt me the “Aenima” CD. I immediately got it. It was exactly what I was looking for. I didn’t want the album to end.
This album has sustained 20 years. It’s not something you play a track from and then forget about, it’s something you go deeper into. It’s a journey.
They covered so much ground with this album and “Aenima”, that they next two albums that came after in “10,000 Days” and “Fear Inoculum” got stigmatised as sounding like “Aenima” and “Lateralus”.
And progressive rock/metal is meant to be dead. But Tool doesn’t fit into that category. It’s a little bit of metal, a little bit of rock, a little bit of progressive in its time changes and song structures and in its lyrics, they push different boundaries and messages. And Tool doesn’t care what the labels want or what the charts like. They push their own envelope, catering to their own needs first and taking their listeners with them.
Most of Tool’s songs since the “Aenima” album, are over seven minutes long. Their most recent album “Fear Inoculum” has every song over ten minutes. From a streaming point of view, this is a bad idea, as one Tool song from start to finish equates to three to four pop songs. And in an hour, you will hear a 15 minute Tool song 4 times whereas a 3 minute pop song will be heard 20 times.
So when you see a Tool song in the multi-millions, just think of the time invested listening to these songs.
If you hate Tool, then keep ignoring em. If you are into hip-hop only, ignore em. If you like your 3 to 4 minute pop fix, ignore em. But if you are a rocker and you liked how bands used to experiment with a song or two on an album, then you need to check out Tool.
And like Tool, I couldn’t edit this post any shorter. It is what it is, because it is.
destroyerofharmony 