Tag Archives: 1984

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

Australian Method Series: Jimmy Barnes – Bodyswerve

I always saw Barnesy as indestructible, taking the world head on, with no fucks given.

But there was fear. He was like all of us. Unsure of choices and decisions.

He had the uncertainty and fear of going it alone after Cold Chisel broke up. He had fear incase he couldn’t come up with songs for his first solo album as Don Walker was the main writer in Cold Chisel.

But he persevered and he wrote and wrote and delivered.

Once the songs were written he had to assemble a band.

He got people he felt “safe with”.

Drummer Ray Arnott recorded with Barnes on Cold Chisel’s final album, Twentieth Century.

Bruce Howe was the bass player in Fraternity a band that Barnes had sung in for a short time in 1975 after Bon Scott left to join AC/DC.

Bruce Howe was a hard taskmaster and he should be credited for pushing Bon Scott and Barnesy vocally, as they did develop their high octane vocal style with Howe.

Mal Eastick had played with Stars which was a Country Rock band in Australia who did the rounds in the late 70s.

Seeking a second guitarist to make the band more “hard rock”, Barnes chose ex-Dingoes guitarist Chris Stockley, who played, “old-style rock, like Little Richard and Gene Vincent”. The Dingoes are also a country rock band.

And then they went on the road, playing small pubs. Something unheard of these days for a band to road test songs.

The more shows they played the better the songs became and when they went into the studio to record, the energy of the band and their tightness transferred onto the tape.

And the rest is history.

The album dropped in 1984 and went straight to Number 1 in Australia. Jimmy Barnes was reborn as a solo artist.

Listen to the riff and groove of “Vision”.

Or check out the Soul Rock style of “Daylight” which reminds me of songs like “Mustang Sally” but with a hard rock guitar riff that wouldn’t be out of place on an AC/DC album.

“Promise Me You’ll Call” is a slower tempo song, ballad like with a soul rock vocal melody. And that Chorus with the Gospel like backing vocals. Press play to hear it.

“No Second Prize” has that “Stand By Me” progression, all rocked up, 80s style. And it became an Aussie pub rock classic.

“Boys Cry Out For War” has a riff which reminds me of “Let’s Stick Together” from Bryan Ferry and a little bit of “Get It On” from T Rex. And I like it.

“Paradise” is a rewrite of the song “Rising Sun” song from his Cold Chisel days. A 12 bar rockabilly blues romp.

“A Change Is Gonna Come” is a cover, a blues like ballad written by American singer-songwriter Sam Cooke. It came out in 1964 as a B-side and then became part of the Civil Rights Movement.

“Thick Skinned” is a southern country rock cut.

“Piece Of My Heart” is another cover. It feels misplaced here.

“Fire” has this “Strutter” vibe in the verses and a Melodic Rock chorus.

And “World On Fire” is another rocker to close the album with a bass groove which thunders along while the guitars decorate.

Crank it loud.

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The Record Vault: Deep Purple – Perfect Strangers

Mark 2 was back.

It made perfect business sense to have one of the premier bands of the early 70’s come back in the 80s MTV era.

“Perfect Strangers” is album number 11, released in 29 October 1984 and it became the most successful album from the ‘Mark II’ line-up.

Like nomads, they all arrived from different directions. Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath and his solo band, Jon Lord from Whitesnake and Ian Paice from Whitesnake and Gary Moore’s backing band.

But problems existed from the outset. Business problems.

Gillan and Glover wanted the credits to be of the collective. Blackmore didn’t. As the main writer, he didn’t want to share any song writing credits with people who didn’t write anything. After years in the business, Blackmore knew how valuable the publishing is.

It wasn’t until Blackmore left the group in 1993 that the issue was finally resolved within Deep Purple.

I missed this in 1984 because I was into the whole Motley Crue, Twisted Sister, Iron Maiden, Quiet Riot and Judas Priest phenomenon. These guys were just old dudes. Just look at the “mo” on Jon Lord. It’s classic 70’s.

All songs are written by Ritchie Blackmore, Ian Gillan and Roger Glover except where noted.

Knocking at Your Back Door

By now Blackmore had the experience of Rainbow and the commercial success that came with that, so when this song exploded out of the gate you get the best of Blackmore’s influences from Deep Purple and Rainbow.

If you don’t believe me, listen to the Verses, which is very similar to other Deep Purple verses like the one on “Smoke On The Water” and then the Chorus riff which has that Rainbow melodic rock feel, circa Graham Bonnet and Joe Lynn Turner.

And Ian Gillan has a smile on his face as he feels it coming while he’s knocking at someone’s back door, while probably cool for Motley Crue or Ratt, this is Deep Purple we are talking about.

But stick around for the outro solo.

Under the Gun

It was the first track I heard via a double compilation LP called “Headbangers Heaven”.

The intro riff grabs my attention right away, making me think of Rainbow and I like the way it all works with the Jon Lord’s keys.

But Ian Gillan is in form here, as it’s not an easy riff to sing over which then gets me thinking of his Gillan project.

Nobody’s Home

It’s a blues rock number and the only song listed as written by all Deep Purple members.

It’s like the band never left and continued to make albums after “Who Do We Think We Are?”

And if it sounds familiar, it should. “Lay Down, Stay Down” comes to mind.

Mean Streak

But press play to hear the Chorus Riff as Blackmore shows he can compete with the LA bands and do it better by taking “Schools Out” from Alice Cooper and making it sound a bit modern.

In the verses I am reminded of “Black Night” and in the solo break, the riff behind it like “Roadhouse Blues” from The Doors.

And I like it.

Perfect Strangers

The side 2 opener.

It’s a classic and one of their best songs.

How good is the “Kashmir” style groove when it kicks in at the 2.30 minute mark?

Whatever Jimmy Page could do, Blackmore could do as well, at a time when Page was not as prolific as he used to be.

A Gypsy’s Kiss

It could have come from “Rising” but “Highway Star” also comes to mind. Gillan’s bluesy delivery suits.

Check out the unison keyboard and guitar riff/melodies. It brings back memories of the work that Lord and Blackmore did on “Burn”.

And Ian Paice behind the kit. He is relentless.

Wasted Sunsets

Remember in the 70’s when these kind of slow blues rock ballads sounded progressive and epic and then in the 80’s they morphed into clichéd power ballads.

While this song isn’t a 70s classic, Blackmore is in his element here with his emotive soloing.

Hungry Daze

That exotic Eastern European melody hooks me. It could have come from the Balkans, maybe Hungary or even Russia.

Not Responsible

I don’t have this on the album, but how good is that intro. It reminds of “A Light In The Black”. It’s an extra track on the cassette and CD release. And Spotify has it.

Son of Alerik

At 10 minutes, this Blackmore penned instrumental is for the diehards.

The song appeared on the 1999 CD issue as a bonus track and it also appeared in an edited form on the 7″ B-side of the “Perfect Strangers” single, or in full on the 12″ “Perfect Strangers” single and the European version of the compilation “Knocking at Your Back Door: The Best of Deep Purple in the 80’s”.

The thing is, if a band reforms these days, or in the last 30 years, it would have been quite a media show, but their comeback in 1984, didn’t cause a ripple in the news outlets who had jumped on board the LA Sunset Strip Train or the San Francisco NWOBHM Thrash Scene.

But their comeback was met with success in the European markets which loved em back in the 70’s. The U.K, Switzerland, West Germany, Norway, Sweden, France, Austria, Finland and Holland jumped back on board the Deep Purple train.

Japan never left em. Australia and New Zealand also provided em with a certification.

And The Boss was the only artist on the touring circuit that out grossed out em.

Crank it.

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The Record Vault and Australian Method Series: Dragon

I’ve already covered this album under the Australian Method Series here.

It’s album number seven and it was released in June 1984, peaking at number 5 on the Australian charts and gaining a platinum certification.

But it was their first album since 1979.

And there’s a story.

Formed in 1972 in New Zealand, Dragon was about to break in the larger North American market.

But when you’re doing heroin, the only thing that’s gonna break are your chances of breaking big.

They had a US tour opening up for Johnny Winter that went bad when lead vocalist Marc Hunter called Winter’s blues rock audience rednecks and faggots, he was lucky he even escaped the venue.

And Marc was fired from Dragon, by his own brother Todd. Marc went solo and had some success, however the band new they could make some serious coin if they got together again.

“Rain” was the output in 1983. Written by Johanna Pigott, Marc Hunter and Todd Hunter, it’s 3 minutes and 40 seconds of pure hard rock glory.

Make sure you stick around for the “if you go out in the rain” melody towards the end.

Due to its success, the band went into the studio to record an album worth of songs.

As a side note, the writing team of Johanna Pigott and her partner, Todd Hunter (Dragon bass player) also wrote the smash hit title track “Age Of Reason” for John Farnham a few years later.

The album kicks off with “Rain”.

If it wasn’t for “Rain”, then “Cry” would be a favourite.

“Body And The Beat” has a bass groove and a feel that bands like INXS were making popular.

“Magic” feels like a driving song, with the window down and the warm winds blowing through.

But.

Apart from “Rain”, this album is forgotten.

Everyone told the band the album would break the band overseas. But it didn’t. Within a year they were back in the studio recording another album..

A year after this album came out, keyboardist Paul Hewson and the writer of their classic songs “April Sun In Cuba” and “Are You Old Enough” was found dead in a friend’s car, hours after he told the band he wanted to leave.

Dragon continued and released the super successful (in the Australia market), “Dreams Of Ordinary Men” in 1986 and “Bondi Road” in 1989. A review of “Bondi Road” is coming up.

A few greatest hits and acoustic re-recordings hit the shelves. And then tragedy struck again.

Marc Hunter was diagnosed with throat cancer in November 1997 and he died on 17 July 1998. Dragon have continued on with Todd Hunter still the driving force.

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The Record Vault: Dio – The Last In Line

The Vinyl Cover
The Cassette Cover.

Did anyone else think that the Dio logo upside down spelled Devil?

I did.

“The Last In Line” was my first Dio purchase and I played the cassette a lot. There isn’t a song I don’t like on it and if you want an introduction to Dio, then this is the album to sink your teeth into. Vivian’s guitar work also became very influential to me.

To this day, I still have the original cassette.

But I cannot locate the LP and the CD which I purchased much later on. As part of my many house moves I lost a lot of music.

The band is the same as the “Holy Diver” album with Ronnie James Dio on vocals, Vivian Campbell on guitars, Jimmy Bain on bass and Vinny Appice on drums.

We Rock

How good is the Intro?

Appice is working away on that snare while Campbell plays the A minor pedal point riff.

And that solo from Vivian Campbell is perfect. It’s fast and melodic and it has a bluesy feel with doublestop bends and pentatonic licks.

The best part is the outro chorus when Vivan is playing the Am pedal point riff and the chords change from Am to F under it via Jimmy Bain whole Dio is ad libbing his vocals and Appice is driving the song home.

You can’t get better at that.

On Spotify it’s got 22 million streams.

The Last In Line

Sitting at 33.2 million Spotify streams.

That fingerpicked intro.

How good is the section when Dio holds the “home” vocal note and the band comes crashing in around him with an epic “Kashmir” like groove.

And the stop start music in the verse so the vocal melody is the centerpiece, goes to show how a strong melody can carry a song.

“Well know for the first time if were evil or divine” is one of the best lines Dio has put to paper.

For so many of us we live a life which we think we’ve done good and when it comes to judgement at the pearly gates, the almighty one might have other views.

Breathless

If the sound of a person being breathless in the intro isn’t enough to get you interested, then that groovy riff that kicks in will do it.

Dio’s strength (apart from his voice and good business sense) was the addition of a young guitarist that resonated with the youth and all the new young shredders who wanted to make their mark in Hard Rock and Metal.

Even though they parted ways bitterly, the three albums Dio did with Vivian set up Dio’s solo career, in the same way the two albums Ozzy did with Randy Rhoads set up Ozzy’s solo career.

Check out Campbell’s solo on this and the snare work from Appice to come out of the solo.

One other thing that I always enjoyed with Dio songs is Dio’s ability to ad lib in the Outro.

I Speed At Night

A speed metal song before speed metal became a thing or a genre. If you don’t believe me, then press play on this song.

If the riff sounds familiar, it should. It’s “Stand Up And Shout” re-imagined.

And that solo again from Vivian. It’s perfect.

One Night In The City

The music is head banging material for a song that introduces a dark child called Johnny, who was promised but seemed to get into trouble and then found some form of love.

Did you get that?

Cool. I’m still confused.

And what about the drum fills from Appice after the solo and into the outro.

Who said drummers are not important?

I can even air play the fills.

Evil Eyes

They promise you treasure if you fly and fly Dio did. It’s a perfect combination of fast blues and metal.

And Campbell again steals the spotlight with his guitar hero solo.

Mystery

It’s in the key of Dm and it moves between major and minor keys throughout like F major in the chorus and D minor in the verses.

The Intro has moments of “Rainbow In The Dark”.

And Vivian is on form again in the guitar solo department.

Eat Your Heart Out

In the key of Em and Vivian is all over this one. From a guitar point of view there is a lot to unpack in the riffs department.

And for the guitar solo, what can I say. Vivian kicks it off with a tapping lick before blazing into some arpeggios and finishing it all off with some pentatonic lines.

It might not be Dio’s most famous song but it’s a guitar players delight.

Egypt (The Chains Are On)

The best track on the album for me and the drumming from Vinnie Appice is excellent under the epic and groovy guitar riff.

The verse riff is basically the feel of “Heaven And Hell” and Dio references his singing style from the same song in the verses.

I love the lyric line, “when the world was milk and honey”. Dio puts it out there that the world was nice and sweet once upon a time and so far removed from the warmongering, greed and ills that came after. For singer well known for introducing the Devil horns salute, his lyrics are influenced by the Bible.

Did I mention that Appice lays down some serious groove?

Well he does. It’s so effective, so simple and fucking frightening.

And in the outro, Vivian plays the intro riff and the Jimmy Bain changes the chords under it, like in “We Rock” and it’s brilliant.

This is a band in form and on top of their game. Vinny Appice on the drums is an unsung hero on this.

For such an influential album in hard rock and heavy metal circles it’s certifications are at platinum for US sales.

By the end of the album I was doing the Devil horns. \::/

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A to Z of Making It, Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Dokken – Tooth And Nail

Elektra wanted to drop em. Lynch and Dokken wanted to drop each other. Croucier dropped them for Ratt. Werman dropped the producing gig because of the baggage that came with it. Lynch dropped in and out of the band a lot of times. Eventually Pilson dropped into the band to replace Croucier on the recommendation of Shrapnel Records boss Mike Varney. Michael Wagner dropped in to record the vocals, while Roy Thomas Baker dropped in to do the rest.

For a band threatened to be dropped, the production team was top notch in Werman, Roy Thomas Baker and Michael Wagner. And then you have the record deal that Don Dokken got by using the songs Lynch and Brown had written. Imagine being in a band where Don Dokken would get the money and then he would need to pay Lynch, Brown and Pilson.

But they had Q Prime Management in their corner. In Cliff Burnstein and Peter Mensch, Dokken had an influential team who could build them up into global superstars, organise the tours, the record deals, the funding, the video clips and what not.

The “Breaking the Chains” clip was all over MTV but no one was buying the album of the same name.

The band was doing an arena tour with Blue Oyster Cult and the label still wanted to drop them.

“Tooth and Nail” was Dokken’s last shot. Released in 1984. The band recorded it and Mick Brown and George Lynch went back to driving trucks while Don Dokken went back to buying, fixing and selling cars.

Then the album blew up.

Put aside the band politics and the legendary Lynch/Dokken wars. Just pay attention to the songs, especially the backs to the wall attitude that you can hear emanating from the speakers.

“Without Warning” kicks it off the one/two punch, with its ominius minor key build, before it breaks into the frantic “Tooth N Nail”.

The song is written by Mick Brown, George Lynch and Jeff Pilson and it is a definitive piece of hard rock and heavy metal. To me , the song is up there in the same throne room as the work that Randy Rhoads did with Ozzy.

Desperate living, driving me mad
Writings on the wall
Crushed all our hopes and the dreams we once had
Just to watch them fall

What a lyric.

Dokken’s last chance. The hopes of a musical career are hanging in the balance.

Dokken delivered a speed metal anthem to open up their do or die album.

And with the rise of the “Guitar Hero”, George Lynch really announced his presence, when he delivered a Randy Rhoads inspired lead break that is reminiscent to “Flying High Again”.

Also isn’t it funny how in 1984, the same theme resonated. It was always that “us versus them” attitude. The “We’re Not Gonna Take It” message of Twisted Sister. In this case, “Tooth and Nail” is a protest song against the record label that wanted to drop them.

Seriously, what kind of life is it, when someone has so much power to make or break a career. But that is exactly what the recording business came to be. A business with gatekeepers who could crush dreams or make dreams. Like “Chainsaw Charlie” in “The Crimson Idol”. Or like “Mr Recordman” from Ugly Kid Joe.

MTV took the artists from the magazines and brought them into our lounge rooms. And it was free. Yeah I know there was radio, but if people wanted information on artists, they had to buy magazines or their albums. Suddenly, their TV set was doing it all for them. The reason why blank VHS cassettes sold like crazy was music and movies. People dubbed/taped their favourite clips from TV or from VHS to VHS.

“”Just Got Lucky” written by Lynch and Pilson came next and it was the single that announced the arrival of the album but it didn’t get as lucky as the label wanted it to on the charts. George Lynch’s playing is excellent.

“Heartless Heart” written by Brown, Lynch and Pilson deals with a heartless baby who lied.

And finally, lead singer Don Dokken gets a song writing credit for the side 1 closer “Don’t Close Your Eyes” co-written with Lynch and Pilson. Lyrically it could have been used for the first “Nightmare On Elm Street” movie.

“When Heaven Comes Down” is another Mick Brown, George Lynch and Jeff Pilson composition. This time they veer into heavy metal territory.

Ashes to ashes, sorrow and shame
Look at the future again
Angels in heaven walking the streets
Searching for someone to blame

Again, when you don’t have the pressure to write to a formula and when you throw everything against the wind, you end up with something great. In this case the subject matter is darker. It is not the usual sex, drugs and rock’n’roll.

“Into the Fire” is a Don Dokken, George Lynch and Jeff Pilson composition and this is more in line with the LA Glam sound hence the reason why it became a single.

“Bullets to Spare” is written by the band and seriously it’s terrible lyrically, linking bullets to spare to a certain substance that comes out of a male.

“Alone Again” is a Don Dokken and Jeff Pilson composition and for a power ballad it is wicked.

How good is that solo section?

It is a song within a song lead break.

“Turn On the Action” is another speed metal song by the Mick Brown, George Lynch and Jeff Pilson composition.

I’m looking over my shoulder
I’m running reckless through the night
Forever young not getting older
Satisfaction guaranteed tonight

Who didn’t do something naughty or slightly illegal in their youth and when we made our great escape, we laughed but constantly looked over our shoulder in case someone was chasing us.

“Tooth And Nail” was released at the right time of the hard rock movement and within 12 months it was certified GOLD for sales in the U.S. It paved the way for Dokken to become a household name.

On “Tooth And Nail”, Pilson is a co-writer on all of the 10 tracks and he is the true unsung hero of this album, the glue between George Lynch and Don Dokken. And if you listen to the album, you will hear speed metal (“Tooth And Nail” and “Turn On The Action”, heavy metal (“Don’t Close Your Eyes”, “When Heaven Comes Down” and “Bullets To Spare”), hard rock (“Just Got Lucky” and “Heartless Heart”), ballads (“Alone Again”) and mixtures of all those styles in (“Into The Fire”).

And while Lynch got a lot of press and front covers in the guitar mags, and Don Dokken got a lot of press and covers in Hit Parader, Metal Edge, Faces and what not, the real hero is Jeff Pilson.

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

Some Heads Are Gonna Roll

Bob Halligan Jnr wrote the song, and he was becoming a go to guy for melodic rock songs. He wrote “(Take These) Chains” from 1982’s “Screaming for Vengeance”.

He wrote the whole “Midnite Dynamite” album for Kix plus he co-wrote their biggest hit “Don’t Close Your Eyes” from the “Blow My Fuse” album.

“Rock You” is a hard rock song written by Bob Halligan, Jr., and the first track from Helix’s 1984 album “Walkin’ the Razor’s Edge”. It is best known for its call and response of “Gimme an R, O, C, K.”

Kiss (aka Paul Stanley) also used him a fair bit as well throughout the 80’s with the songs “Rise To It” and “Read My Body” included on “Hot In The Shade” released in 1989.

Plus he wrote songs for a band called “Icon” and for one of my favorite melodic rock bands “Bonfire”.

But regardless of the writer it sounds like a Judas Priest track.

The way Tipton and Downing interpret the basic chord progression and add their own embellishments to it via single notes and artificial harmonics is the reason why it works. And when Halford sings, his signature voice connects it all together.

If the man with the power cant keep it under control
Some heads are gonna roll

So relevant today as it was back in the 70’s and 80’s. All of our male leaders have dick ego “Lord Farquhar” syndrome.

But the biggest problem that we have allowed to happen is the destruction of our environment. Nature is a balanced ecosystem and when species and trees become extinct in the quest of profit over progress, well its only a matter of time before we start to see evidence.

And we have been seeing signs since the 90s.

The power mad freaks who are ruling the Earth
Will show how little they think you’re worth

And these power mad freaks are not just the leaders in charge, they are also the giants in control of the biggest global corporations we have ever scene. And let’s not kid ourselves here.

The owners of Facebook, Google, Amazon, Netflix or ex-owners like Bill Gates from Microsoft or Apple execs have their influence all over the current world we live in, along with the sheiks and various oil barons and the bankers.

But let’s not forget the current crop of Presidents and Prime Ministers in charge of democratic countries.

In the US, the President tweets information which exposes the Ukraine informer who had enough evidence to get the president in trouble and then threatens a few country’s on Twitter.

In Australia, the East Coast of the country is burning and the Prime Minister is looking for some work life-balance as he holidays in Hawaii in secret and then holds a $6 million fireworks display in Sydney to please the rich. To make it worse, he watches cricket and tells people to get on with it like generations did in the past. But in the past, the fires burned for a week and in some cases up to two weeks. These fires have been burning since September.

Yep from September.

In the UK, well, there is nothing to be said there. The stories all over the net paint a picture of those leaders if you read critically and from different sources.

I guess it’s time for some heads to roll from the political side. We all have a voice, use it wisely when you get to vote.

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

1984 – VII – The Crusader Blitz Lays Down The Law To Steal The Light

Here is the playlist for 1984-7.

If you want to read the previous 1984 posts, here are the links.

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Keel – Lay Down the Law

Ron Keel did everything at 12. When he delivered a vocal, he was up there at an 12 intensity.

I really thought Keel would go on and do great things. They had Gene Simmons writing and producing the band at one stage. By 1987, they had Jimmy Bain from Dio writing with them, along with Jack Ponti. But each new album started to become the same as the previous album, that even the core audience started to move on. I felt like the same theme carried over four separate albums.

How many times can you re-write, “Metal Generation” into “The Right To Rock” into “Raised On Rock” into “The Final Frontier” into “United Nations”?

Anyway.

“Born Ready” starts off with a “Sabbath Bloody Sabbath” style riff for a song about coming of age and being ready to take control.

“Metal Generation” has this Ratt like riff based on “Lack Of Communication”, but hey, the LA scene was awash with similar sounding riffs and bands. And while the song sounded generic, the lead break is worthy of guitar hero status. Listen to it, and if you are not playing air guitar by the end of it, you don’t appreciate shredding.

“You’re The Victim (I Am The Crime)” is just a fast dumb song that’s too good to turn away. The double kick throughout brings back memories of “Overkill” from Motorhead and the riffs are that fast, that they could have been lifted from “Kill Em All”. But the lead break steals the show again. Marc Ferrari and Brian Jay proved to be a dynamic guitar duo.

If you dismissed Keel because of the vocals or the generic themes, you need to revisit them just to hear the lead breaks.

Hagar Schon Aaronson Shrieve – Through The Fires

What a great idea to get a few guys with chops in a room and letting them jam. HSAS is a perfect example of what is beautiful about music. These guys didn’t get together to create songs to sell millions of albums. They got together because they wanted to create. And from those creations, they wanted to gig. And then they ran out of time to record more studio albums because Schon went back to Journey and Hagar joined Van Halen.

“Top Of The Rock” has this foot stomping riff to kick it off and Sammy Hagar during this period is in top form. And his lyrics about life, status and society are brilliant.

It aint easy speaking out, some people take it to heart

And if you’re not standing on top of the rock they will tear you apart

“Missing You” for such a generic, ballad sounding title is nothing as such. If you want to hear where “Ghost” takes his influences, then you need to check out this song. Take out Sammy’s voice and add the voice of the clergy and you will have a Ghost song. The vocal line that Hagar delivers here is out of the park.

And Neal Schon, is referencing his “Don’t Stop Believin” riff with a few tweaks here and there for the Chorus. Plus he really lets loose on the lead break, as Journey Neal Schon started to become a decorator instead of a shredder.

“Valley Of The Kings/Giza” has everything, as HSAS become world musicians and take the exotic Phrygian Dominant scale into their set list. “Whiter Shade Of Pale” is a song I always enjoyed playing and hearing, as it was one of the first songs my guitar teacher showed me back in the day. It’s got such a cool chord progression that soloing over it is awesome and Neal Schon does exactly that. “Hot and Dirty” while dumb lyrically, is great melodically and musically.

“He Will Understand” has a riff which should have been a number 1 pop riff. Sammy again delivers a great vocal, although lyrically the song didn’t connect. But the music. It’s excellent. And check out these lyrics.

“Friendships can fade away”

“There’s not much to talk about because there’s too much to say”

And then Neal Schon starts to deliver a metal like riff from the 2.20 minute mark and then the band morphs into a 70’s progressive style band, in the Chorus. Plus have I mentioned how Neal Schon goes to town in each song and shows the world why he’s one of the great guitarists.

I thought “My Hometown” would have been a ballad when I saw the title, but man, in my mind, it’s a song that is influenced 100% by Van Halen and ZZ Top. And that Chorus riff, is the Seattle sound and groove. Check it out if you don’t believe me.

The Rods – Let Them Eat Metal

When Johnny Rod joined WASP, I thought he came from a band called The Rods (it was actually King Cobra). I was always curious to hear the origins of musicians, but to hear an album meant I had to spend money on it and I had other more higher profile releases earmarked for that. So I didn’t hear these guys until well into the 2010’s decade and it was all because I thought a bass player came from the band but he didn’t.

And this album is a cool listen. You can’t take it seriously but you can enjoy the hell out of it.

There isn’t really a stand out song, but there isn’t a bad song either. But if I was been tortured by some doctors from a dictatorship government and I had to pick a favourite, it would be “Nuclear Skies”, for its enlightening lyric, “from the air we are breathing, we should all be dead” and its vocal harmony chorus.

And I don’t know how they had the balls to release “Bad Blood” because man, that song is “Breaking The Law” from Judas Priest. But hey, music is based on the sum of our influences and you can hear in this song, The Rods had a pretty big Judas Priest influence.

Saxon – Crusader

They’ve had a career in music for a long time and they still write and record albums today. When they came across my radar, my initial impression was that they would be as big as Iron Maiden. And it didn’t happen and I was confused as to why.

The “Crusader” intro was enough to get me ready to break desks. The bass rolls along like “Heaven And Hell” and the guitars decorate.

“Fight the good fight, believe what is right”

The song is about the Crusades, but some of the lyrics can be interloped with the current world situation. We have democratic countries, with democratically elected leaders, spying and carrying out surveillance on their citizens, in the same way that dictatorship governments do/did. And the hypocrisy is that our leaders then stand on their soapbox and condemn these kinds of governments, but it’s okay for our leaders to do it, because they tell us they are the good guys, but we all know they are beholden to the corporations.

“Sailing To America” actually took me by surprise, because the vocals sounded like a cross between Sting and Steve Perry and I really dug that vibe. And this is probably the predicament Saxon had. They dabbled in many different styles, but the record labels like to promote (in other words pigeon hole) an artist in a particular genre/style, which is totally wrong.

“Do It All For You” has one of those intro’s that makes you pay attention, like “The Hellion”. And when I was expecting an “Electric Eye” style riff it goes into a ballad, which was okay, but not worthy of the intro. And I enjoyed “Just Let Me Rock” and “Rock City” but they didn’t connect. I think I was over all the song titles coming out with “Rock” in the title. In saying that, did Dee Snider get influenced by this song for a certain song on “Come Out And Play” called “You Want What We Got”. As “Rock City” states, you want it, we got it.

Krokus – The Blitz

I think they tried really hard to shake their AC/DC tag on this one, bringing in a lot of Judas Priest like elements, a cover songs and some outside writers. But when you have a vocalist who sounds like an AC/DC vocalist, it’s hard to shake that tag.

The production team behind the album is unbelievable. Bruce Fairbairn is producing, Bob Rock is an engineer and Mike Fraser is an assistant engineer. Even Survivor’s Jimi Jamison makes an appearance as a backing vocalist.

I want to talk about “Hot Stuff”. Now this song is what Krokus is all about to me. The intro is like “The Hellion” from Judas Priest, while the verses roll along like AC/DC and the Chorus is very LA sounding. And the lead break combined elements of Schenker, Young and EVH.

On “Boys Nite Out”, Bryan Adams and Jim Vallance are also co-writers, so the label really wanted this album to succeed.

Legs Diamond – Out On Bail

So Legs Diamond (stupid band name by the way) came into my radar because I kept hearing from the one person in the area I grew up in (that seemed to have every single rock and metal album), that if I liked Tom Keifer’s voice, then I would like Legs Diamond. The band could play, and they bordered on NWOBHM and melodic rock.

The electronic drums. You either like em or you don’t. To me, they are a major distraction from the rawk and roll of the music.  

The band was actually broken up, but when they saw that their albums started to sell here and there, they reformed to capitalise on this new found interest.

The way I see it, “One Way Ticket” captures what the band is all about, combining all of their rock, metal and melodic influences into their own style. And at seven minutes long, it wasn’t long enough for me. It made me, press repeat. To compare, the title track “Out On Bail” comes across as rooted in the AC/DC/NWOBHM groove, “Radio” feels like a ZZ Top/Deep Purple medley and then “Fugitive” comes across like Journey synth AOR. Three distinct compositions. “Walkaway” should have been a Top 10 hit, but it wasn’t.

But “One Way Ticket” is the song and its unknown.

And the other song that defines their sound is “One Last Kiss”. Musically, it has so much happening, it has a flute solo and its over pretty quick.

Tony Carey – Some Tough City

I didn’t know what to expect on this album. I saw it on a melodic rock list, so I cued it up as the name Tony Carey appeared on a few Rainbow albums as a keyboardist. And I swear, it feels like “Lost Highway” from Bon Jovi was written after hearing the song “A Fine Fine Day”, then again maybe Mellencamp was an influence here.

Q5 – Steal The Light

I knew about this band, because Floyd Rose played guitar in the band. And for those who don’t know, Floyd Rose invented of course,  the “Floyd Rose” tremolo locking system that stopped guitars from going out of tune whenever the whammy bar was activated. In a Guitar World issue, years ago, this invention was rated as one of the most ground breaking guitar inventions.

So one day in the 90’s, my fingers were walking over the $1 bin LP’s in a second hand record store and it was there I came across Q5’s album. I took it and a lot of other obscure metal and rock bands home, dropped the needle and I just enjoyed every note and every word. There is not a bad song on it.

The opening NWOBHM style riff of “Missing In Action” hooks me. The intro harmony leads in “Lonely Lady” get me playing air guitar. “Steal The Light” has an intro riff that forces me to pick up the guitar and learn it.

“Pull The Trigger” is AC/DC all metalized. “Ain’t No Way To Treat A Lady” could have come from the “Highway To Hell” album. “Rock On” feels like it’s a metal version of “Peter Gunn” in the verses and “Hells Bells” like in the Chorus.

They had one more album on Polygram a few years later, argued when it didn’t do anything commercially and disbanded. Frontiers then resurrected the band around 2014 and a new album came out a few years after that.

Well that’s it for another 1984 post, I am pretty sure I have a few more to go.

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Classic Songs to Be Discovered, Music, My Stories, Unsung Heroes

1984 – IV – The Warning

It’s time for another 1984 post. Part 1 can be found here, Part 2 can be found here and Part 3 can be found here.

And here is the Spotify playlist.

Quiet Riot – Condition Critical

This album was always going to be a hard sell. Kevin DuBrow had troubles controlling his ego. He slagged off other LA bands who got signed to major labels post Quiet Riots success.

He said Ozzy sings like a frog, then Nikki Sixx and Rudy Sarzo got in a slanging match, with Rudy winning the day, with his quote of “the only difference between Quiet Riot and Motley Crue is that QR had a hit with somebody else’s song and Crue didn’t. But Nikki Sixx won everything else after that. And Peter Mensch who was managing Def Leppard at the time, said that QR had already peaked. If you don’t believe me, check out the article over at LouderSound.

So how do you follow up a number 1 album that had a cover song which also went to number 1?

You release an album with a different cover song but from the same band the first cover song came from.

All Quiet Riot did was make a shitload of money for the original writers of the songs from the band Slade.

The rewards go to those testing the limits. And Slade got the rewards, while Quiet Riot got their 15 minutes of fame, because apart from Bang You Head, Quiet Riot (the 80s version) really struggled in the songwriting department.

On this album, “Mama, Were All Crazee Know” and “Condition Critical” are worth a mention.

Actually what came first “Condition Critical” or Motley Crue’s “Louder Than Hell” (as it was called “Hotter Than Hell”) for the “Shout At The Devil” demos. Even the drum feel reminds me of “Too Young To Fall In Love”. And I dig the “While My Guitar Gently Weeps” Bridge/Solo section.

In the end, the audience might like where you’ve been, but if you stay where you are, others pass you by. That’s the Quiet Riot story.

And according to Wikipedia, this album is famous for a two word review: “Prognosis: Terminal”.

Strangeways – Strangeways

Not sure when this was released 1984 or 1986. Regardless, I’ll take the earlier date.

Tony Liddell is on vocals on this one and he would be replaced by Terry Brock who would be known as fronting the “classic” line up.

When I heard the debut, the following three tracks rock hard.

“Hold Back Your Love”, “Power Play” and “More Than Promises”.

Helix – Walking The Razors Edge

My cousin Mega likes the whole album, but for me, it’s these four songs; “Young and Restless”, “Animal House”, “When The Hammer Falls” and “My Kind Of Rock”.

Actually I dig the typical head banging riff, in “My Kind Of Rock” as it’s in the vein of Y&T.

Anthrax – Fistful Of Metal

The definitive story is over at loudersound.

Give it a read, but be warned, you just need to survive all the ads.

“Deathrider”, “Metal Thrashing Mad” and “Death From Above” are the standouts for me. And vocalist Neil Turbin is a bit over the shop, but hey, it’s energetic and trashy and that’s exactly what we wanted.

Hanoi Rocks – All Those Wasted Years

I don’t know what to make of this band or album. During my reefer days, “Up Around The Bend” always got me laughing and I thought “I Can’t Get It” was a Rolling Stones song.

Alcatrazz – Live Sentence

I picked this up on vinyl at a record fair in the 90s. I enjoyed listening to it and hearing Malmsteen before he became the fury.

Hiroshima Mon Amour has got the dumbest lyrics about a serious subject matter, but musically Malmsteen brings it.

There are a lot of Rainbow songs like “Since You’ve Been Gone”, “All Night Long” and “Lost In Hollywood” plus a cool cover of Michael Shenker’s “Desert Song”. The last two mentioned songs are not on the vinyl version.

And of course, Malmsteen is the star here, so he gets to introduce “Evil Eye” an instrumental song which would appear on his debut album.

Queensryche – The Warning

It was a game changer. Fates Warning built a career on this style. Mike Portnoy made the decision he wanted a Geoff Tate like vocalist for a band he was about to start up called Majesty after hearing this album.

“The Warning had a prophetic tinge, with an apocalyptic element. I suppose you could say it was a mystical look into the future.” Chris DeGarmo, Raw, November 1988

The Warning

“The song was about this gifted child who could see everything and knew what was coming, and it wasn’t a very good picture. A warning was being issued.” Chris DeGarmo, RIP, October 1991

Now see the hands of the working man
He’s leaning back against the wall
Once busy hands are idle.
Standing ready for the fall

We attach our status to the money we earn, the job we have and the life we portray to others. Unemployment is real and scary. And in the times of today, nothing is certain, not even employment.

En Force

The battered remains of a world gone insane

What’s happening to the world?

Money rules the day while all sides of religion are trying to keep their control. In the end, the ones who control the money will get a win in the short term but in the process there will be long term pain.

Deliverance

It’s the embryo of “Speak” from the “Operation Mindcrime” album.

This one is about a king who will die, to be reborn, so he can deliver them from the wrongs.

No Sanctuary

Oh, can’t you see the lies in front of you

A lot of us try, and the rest surround them selves with people who hold the same point of view as them.

Until the end I’ll fight and die to be free

No you won’t. You’ll do what you need to do to remain comfortable. No one likes to operate without a safety net these days and the ones who do, end up changing the world.

NM 156

It could have been on a Megadeth album about a dystopian Orwellian future.

Now social control requires population termination

When social control is needed, a war is just around the corner. Anyone seen the movie “The Purge”. For a 12 hour period, all murder and crimes are legal, so basically you have the poor and homeless who can’t afford security systems get eradicated.

Is that future closer to becoming a reality?

Microchip logic
Have we no more thought

I see people everyday spend forever on their Facebook or Twitter or Instagram or Snapchat feeds. Just aimlessly scrolling without any thought, squandering their potential and power by clicking and following instead of innovating and leading. It’s exactly like they have no more thought and the microchips are the social tools who make billions from our personal data.

Take Hold Of The Flame

You can hear the embryo of the ‘Operation Mindcrime” album in this song.

“The song is about people who have missed opportunities. The opening line is, “We see the line of those who find the world has passed them by / Too late to save a dream that’s gone cold.” It’s about people who have missed their chance; they didn’t capitalize on their potential for whatever reason. The light just seemed to pass them by. We felt that we had ahold of the light, and when Geoff wrote the chorus, he rewrote it as, “Take hold of the flame.”
Chris DeGarmo, RIP, October 1991

So take hold of the flame
You’ve got nothing to lose but everything to gain

People don’t realize how much power they actually have. Our data made Facebook, Google, Twitter, Snapchat and Instagram billions. We watch YouTube videos instead of making them.

But it’s uncomfortable to take hold of the flame and the majority of people don’t like this responsibility.

Child Of Fire

It’s like “Children Of The Damned” from about the 2 minute mark.

Conquering masses in wonton deception
Blood red your black flag waves high

Any leader in a democracy who does the bidding of the Corporations instead of the people.

Road To Madness

Most of this is memory now
I’ve gone too far to turn back now
I’m Not quite what I thought I was but
Then again I’m maybe more

You know those times when people tell ya “trash is all your worth”. But it’s not the case. No one is special but everyone is worth so much more.

Foreigner – Agent Provocateur

Yeah, everyone knows the story about how “I Want To Know What Love Is” sold this album, but man, I was really surprised by the other songs, which are more or less ignored and “Tooth And Nail” became a staple for me.

Tooth And Nail

It sounds over produced on the album but I used to cover this song in one of my bands and that opening riff on my 5150 amp sounded heavy as fuck. People even thought it was an original.

Other tracks outside the mega ballad worthy of a listen are “That Was Yesterday”, “Growing Up The Hardway” and “Reaction To Action”.

That’s it for Part 4, stay tuned for Part 5.

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

1984 – III – Are We Evil Or Divine?

Music television was everywhere which meant music in general was everywhere and since we had so much access than what we had before, it was no surprise that certain styles started to become popular.

At the time I was looking for a sound, a look and a feel that resonated and I wasn’t the only one. But some times great songs came from artists that didn’t have the metal look so in my head there was a war going on.

Should the LPs of Bruce Springsteen, Tina Turner, Bryan Adams and U2 just to name a few artists be standing side by side with Dio, WASP, Motley Crue and so forth.

In the end, a great song is a great song and I’m content I didn’t succumb to peer pressure. Even to this day I still cop shit for having Madonna next to Metallica, Motley Crue, Marillion, Molly Hatchet, MSG and Megadeth.

Anyway here is the playlist and here are the previous 1984 reviews to date.

Part 1

Part 2

Dio – The Last in Line

Did anyone else think that the Dio logo upside down spelled Devil?

I did.

“The Last In Line” was my first Dio purchase and I played this album to death. There isn’t a song I don’t like on it and if you want an introduction to Dio, then this is the album to sink your teeth into. And Vivian’s guitar work at the time became very influential to me.

To this day, I still have the original cassette, plus the LP and the CD which I purchased much later on.

We Rock

The key of A minor gets a good work out on “We Rock”.

And that solo from Vivian Campbell is perfect. It’s fast and melodic and it has a bluesy feel with doublestop bends and pentatonic licks.

The best part is the outro chorus when Vivan is playing the riff and the chords change from Am to F under it and Dio is ad libbing his vocals in the outro.

You can’t get better at that.

The Last In Line

That fingerpicked intro.

Man, that’s what I call music and when Dio holds the “home” vocal note and the band comes crashing in around him with an epic Kashmir like groove.

Well what can I say?

And the stop start music in the verse so the vocal melody is the centerpiece, goes to show how a strong melody can carry a song.

“Well know for the first time if were evil or divine” is one of the best lines Dio has put to paper.

For so many of us we live a life which we think we’ve done good and when it comes to judgement at the pearly gates, the almighty one might might have other views.

Breathless

If the sound of a person being breathless in the intro isn’t enough to get you interested, then that groovy riff that kicks in will do it.

Dio’s strength (apart from his voice and good business sense) was the addition of a young guitarist that resonated with the youth and all the new young shredders who wanted to make their mark in Hard Rock and Metal.

And even though they parted ways bitterly, the three albums Dio did with Vivian set up Dio’s solo career, in the same way the two albums Ozzy did with Randy Rhoads set up Ozzy’s solo career.

One other thing that I always enjoyed with Dio songs is Dio’s ability to ad lib in the Outro.

I Speed At Night

A speed metal song before speed metal became a thing or a genre. If you don’t believe me, then press play on this song.

And that solo again from Vivian. It’s fucking perfect.

One Night In The City

The music is fucking head banging material for a song that introduces a dark child called Johnny, who was promised but seemed to get into trouble and then found some form of love.

Did you get that?

And what about the drum fills from Appice after the solo and into the outro.

Who said drummers are not important?

I can even air play the fills.

Evil Eyes

They promise you treasure if you fly and fly Dio did. It’s a perfect combination of fast blues and metal.

Mystery

It’s in the key of Dm and it moves between major and minor keys throughout. It’s F major in the chorus and D minor in the verses.

And Vivian is on form again in the guitar solo department.

Eat Your Heart Out

In the key of Em and Vivian is all over this one. From a guitar point of view there is a lot to unpack in the riffs department.

And for the guitar solo, what can I say. Vivian kicks it off with a tapping lick before blazing into some arpeggios and finishing it all off with some pentatonic lines.

It might not be Dio’s most famous song but it’s a guitar players delight.

Egypt (The Chains Are On)

The best track on the album for me and the drumming from Vinnie Appice is excellent under the epic and groovy guitar riff.

And then Dio references his singing style on “Heaven And Hell” in the verses.

I love the lyric line, “when the world was milk and honey”. Dio puts it out there that the world was nice and sweet and so far removed from the warmongering and ills that came after.

Did I mention that Appice lays down some serious groove?

Well he does. It’s so effective, so simple and fucking frightening.

And in the outro, Vivian plays the intro riff and the chords under it change, like in “We Rock” and it’s brilliant.

Kiss – Animalize

Mark St. John (RIP) makes his appearance on a Kiss album. It’s a shame that he was just hired to play leads and not even asked to be a co-writer because I believe there was untapped potential there.

But Kiss was in such a state at this point in time, you could say “Animalize” is a combination of songs written for Paul and Gene’s solo albums.

I’ve Had Enough (Into The Fire)

You can see how co-writing with Vinnie Vincent, showed Stanley how easy it is to write a metal riff. Because I guarantee you, his co-writer Desmond Child didn’t come up with it.

And the lead by Mark St. John is a plethora of scales and repeating licks much in the same way Vincent wound attack a lead break. It’s okay to learn as a warm up exercise.

Heavens On Fire

To me, this is how AC/DC would sound if they went all pop rock.

And it’s because of this AC/DC groove, the song has survived to this day in KISS’s live show.

It’s also another Stanley and Child composition.

Under The Gun

It’s dumb, fast and fun and for some reason it reminds me of Y&T. And I dig it.

This is a Stanley, Child and Eric Carr composition.

Thrills In The Night

A Stanley composition in conjunction with Jean Beauvoir, who had a song called “Feel The Heat” which was in the “Cobra” movie, starring Stallone. Beauvoir actually plays bass on this song as well as on “Under The Gun” and another track I can’t remember right now.

And for the “Cobra” movie here is my favorite quote:

Supermarket Baddie: I got a bomb here! I’ll kill her! I’ll blow this whole place up!

Stallone’s character: Go ahead. I don’t shop here.

Only Stallone can pull that line off.

U2 – The Unforgettable Fire

“Pride (In The Name Of Love)” and “The Unforgettable Fire” got played every day on radio and the music video programs. They also got played on rock radio programs because U2 always got lumped in with hard rock bands.

In other words the band was fucking everywhere and these two songs are forever engraved in my mind.

Early morning, April four
Shot rings out in the Memphis sky
Free at last, they took your life
They could not take your pride

Deep Purple – Perfect Strangers

“Knocking at Your Back Door” and “Perfect Strangers” are the two that stand out here because I had those songs on compilation albums like “Headbangers Heaven”.

And to be honest “Knocking On Your Back Door” musically could have come from a Rainbow session. Especially the sing along Intro/Chorus riff.

For “Perfect Strangers”, distorted keyboards kick it off and that groove that comes in, is simple and effective.

Queen – The Works

This album has some cool rock tunes.

Tear It Up

It reminds me of a Billy Squier song with a simple stop/start riff and vocal groove. Rock fans satisfied.

I Want To Break Free

The big hit that was all over radio and TV. Pop fans satisfied.

Is This The World We Created…?

This a song that crosses genres. I think Queen introduced unplugged before it became a thing. Basically it doesn’t matter what kind of music you are into, the message of the lyrics is enough to connect.

Hammer To Fall – Headbangers Mix

As the title states, this mix is loud for Queen’s standards. And it’s a great song that reminds me of all these other songs that came before it, but I can’t put a name to those songs and that’s why I love music.

Tina Turner – Private Dancer

She is a rock goddess.

What’s Love Got To Do With It

There is excellence in simplicity and this song is evidence. This song is from the “Private Dancer” album. I cant claim I’ve heard the whole album but this song was played that many times on radio and music television it’s part of my Eighties days.

We Don’t Need Another Hero

I know it came out in 1985 but I’ve always associated it with the “Private Dancer” release cycle. As mentioned previously there is excellence in simplicity. Simple musical grooves propelled by strong vocal melodies.

It’s Only Love

It’s from Bryan Adams “Reckless” album however I always saw it as a Tina Turner song with Bryan co-singing and man she can rock it as good as the boys.

Part 3 is done and onto part 4.

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Music

1984 – Ep 2

the playlist

Coming into 1984, hard rock and metal bands started popping up everywhere in the mainstream. Magazines moved their reporting from different styles of music to cover only hard rock. The labels even started promoting rock music with glam metal, hair metal, glam rock, heavy rock and melodic rock suddenly becoming genres. And regardless of what “genre” a band got labelled with, we still found the albums in the heavy metal category of the record shop.

Part 1 is here.

Judas Priest still had the world in the palm of their hands with “You’ve Got Another Thing Comin” released two years before. And then they dropped “Defenders Of The Faith”.

Judas Priest – Defenders Of The Faith

Before Judas Priest there was metal music, but the mighty Priest woke us all up and got us addicted. With “You’ve Got Another Thing Comin”, they infected television, radio and the jukeboxes around the world. So the world was waiting with what they would unleash next.

“We’ve always maintained that albums are important from year to year, but especially after topping the platinum mark in the States, we knew that we had to come up with a follow-up which was going to carry on from there and take us to even greater heights.”
Rob Halford, Heavy Duty official biography, 1984

What an album.

Rising from darkness where hell hath no mercy and the screams for vengeance echo on forever. Only those who keep the faith shall escape the wrath of the Metallian… Master of all metal.

Freewheel Burning

How good is this song?

The speed, the lyrics, the riffs and those lead breaks. It’s all break neck stuff. I am pretty sure a few members from a band called “Helloween” were listening intently.

Fast and furious / Look before you leap has never been the way we keep / Our road is free / Charging to the top / And never give in never stops the way to be

The words that leap off the vinyl instantly capture the essence of the metal spirit of never giving in and dealing with whatever comes our way. And it sets the tempo for what the album is, fast and furious all the way.

Jawbreaker

There are no radio hits on this album, just songs made for the artist and the fan.

Rock Hard Ride Free

That guitar intro and harmony lead is enough to hook me in. And the lyrics sum up the 80’s movement to a tee.

No denying we’re going against the grain
So defiant they’ll never put us down

By this stage, rock and roll wasn’t becoming part of the grain and by 1986 it was the grain. But we still loved the “us versus them” lyrics.

Rock hard, ride free
All day, all night
Rock hard, ride free,
All your life

It’s what we wanted to do all day, to rock hard and be free.

The Sentinel

My favourite track on the album. I could listen to it over and over again.

This is music made for the sound system and not the earbuds. I would crank it up and the whole room would be filled with the sound. And it felt good. Halford sets the scene along deserted avenues with figures primed and ready for a quick surprise.

Sworn to avenge
Condemn to hell
Tempt not the blade
All fear the sentinel

It’s an arena rock chorus but it’s lyrical message is so far removed from the pop charts and the “We’re Not Gonna Take It” and “Cum On Feel The Noize” type of messages.

And how good are the riffs underneath the Chorus vocal melody.

Some Heads Are Gonna Roll

If the man with the power cant keep it under control
Some heads are gonna roll

So relevant today as it was back in the 70’s and 80’s. Especially with so many men in power with ego’s to match.

The power mad freaks who are ruling the Earth
Will show how little they think you’re worth

And these power mad freaks are not just the leaders in charge, they are the giants in control of the biggest global corporations we have ever scene.

Heavy Duty/Defenders Of The Faith

The simple drum intro reminds me of “I Love It Loud” from Kiss and then the riffs come crashing down. Brilliant. It sounds heavy and it suits the title to a tee.

And prove to all the world
Metal rules the land
We’re heavy duty
So come on let’s tell the world

And for a brief moment in time in the 80’s metal did rule the world.

Bon Jovi – Bon Jovi

The debut album from the “guys from Jersey” is tiny compared to the albums that came after, but still has some worthy riffs to talk about.

Runaway

The keyboard riff and the synchonrised drums and guitar all work together.

As much as Jovi hates playing this song or any song from the first two albums live because of the silly lyrical themes, “Runaway” has become a favourite amongst the “Slippery” fans who purchased the back catalogue once “Slippery” exploded.

And yeah, the lyrics are clichéd, but no can deny it’s catchiness.

Roulette

I actually dig the riffs on this, hence the reason why it’s on here.

She Don’t Know Me

It’s a cover song, and it’s perfect for Jovi’s first album.

Shot Through The Heart

Funny story, when I heard “You Give Love A Bad Name” on the TV music channels, I came in halfway through, so I thought the song was called “Shot Through The Heart”. So when I went to purchase the album, I saw the “Slippery When Wet” album first and it didn’t have a song on it called “Shot Through The Heart”. I picked up the debut album and saw it on there, so I purchased that instead.

“Shot Through The Heart” is written by Jon Bon Jovi and Jack Ponti and the track has this infectious piano riff in the intro and Sambora goes to town in this song, showing his melodic chops in decorating the song.

Burning For Love

It is written by Jon Bon Jovi and Richie Sambora. As with all of the earlier stuff, Sambora goes to town during the lead breaks, showcasing his abilities as a melodic shredder.

Come Back

It’s got some cool riffs and the lead break is very different.

Yngwie Malmsteen – Rising Force

For some insane reasoning, this album is not on Spotify Australia. It still blows me away how artists or the label/corporation who hold the copyright believe that geo-restrictions are a good thing in a world where we are all connected to each other. But it’s on YouTube, which pays less. Yep, it sure sounds like good business logic.

Marillion – Fugazi

The Fish led era of Marillion was an acquired taste and I enjoyed the music more than the vocals. Actually, certain sections of music, which I even used as templates for interludes for my own songs.

Punch and Judy

How good is the start from 0.00 to 0.22? Yep, those 22 seconds hooked me. That’s all it took.

Emerald Lies

Again, the intro hooks me in from 0.00 to 0.42.

Cinderella Search – 12” Version

And again, the intro hooks me.

And then from 3 minutes onwards, the piano starts playing a riff that is addictive, as the drums and guitars start to pick it up and I am hooked all the way to the end, while Fish is singing, “Welcome To The Circus”.

Assassing – Alternate Mix

Dream Theater have used this song as influence for quite a few DT songs. I think it’s one of Marillion’s best songs, combining a lot of influences and genres into one song, as it moves from Pink Floyd like grooves into more progressive adventures and new wave pop.

Three Boats Down From The Candy

Again the first minute of the song gets me interested and then when that guitar melodic lead comes in at 2.49, I am all in.

Metallica – Ride The Lightning

When I first heard the album I was blown away lyrically. Musically I didn’t even know what kind of music it was. I felt like a chainsaw assaulted my earbuds. Because it didn’t sound like the hard rock mixes I was used to, it took me a while to get used to it. What can I say, my ears were conditioned to enjoy the Tom Werman, Keith Olsen, Bruce Fairbairn produced albums.

And I still contend that “Ride The Lightning” is the album that should define Metallica. It was original, progressive and it set the track list template for future albums which followed.

Fight Fire With Fire

Man, those acoustic guitars at the start is the calm before the storm. Because once the chainsaw riff starts, it’s circle pit time and James Hetfield’s vocal delivery is bordering on death metal.

And it ends with a nuclear bomb going off, just before the harmonies of “Ride The Lightning” kick in.

Ride The Lightning

The harmony guitars and the drums in the intro hook me straight away.

For Whom The Bells Toll

A bell tolls. And there is a pause.

A bell tolls again. And there is another brief pause.

Then the staccato F#5 power chord comes crashing down, before it goes to the E5 power chord to ring out. Then the bass solo . Then the descending chromatic riff which mimics the bass solo. And when you think the first verse is about to come in, a harmony guitar lead happens, which is repeated over and over again, until the riff which underpins the Chorus comes in.

And then the first verse happens. 2 plus minutes after the song started. The approach to song writing is progressive and impressive, especially when you take into account the ages of the members.

Fade To Black

It’s a game changer song. The intro is influenced by the intro in “Goodbye Blue Sky” by Pink Floyd from 1979. The start of the outro when James is singing is influenced by the intro from Black Sabbath’s, “A National Acrobat” from 1973. And from all of these influences, the song still sounds original.

By the end of Side 1, I was floored by a four punch knock out. The needle went back to the start and I had to turn over the LP to side 2. But I played Side 1 again and again and again, until I basically overdosed on it.

Then I switched to side 2.

Trapped Under Ice

This song doesn’t get any love, but it’s a tribute to their NWOBHM roots. Kirk also provided the verse riff, which originally appeared in the Exodus song “Impaler”.

I don’t know how to live through this hell
Woken up, I’m still locked in this shell
Frozen soul, frozen down to the core
Break the ice, I can’t take anymore

Yeah, it could be about being trapped under ice or could be all metaphors. The “ice” is the home and the “frozen soul” is a life controlled by others.

Escape

The intro is excellent.

For the “fans” who criticised the “Black” album, they should really not forget tracks like “For Whom The Bells Toll”, “Escape” and “Leper Messiah” from “Master Of Puppets”. Slower tempo songs that would not be out of place on the “Black” Album. The theme of control and manipulation will come up again in “Welcome Home”, “Dyers Eve” and “The Unforgiven”.

Feed my brain with your so called standards
Who says that I ain’t right

Creeping Death

So let it be written that I loved covering this track with the bands I was in. It’s a classic metal song for the ages. “Am I Evil” and “Blitzkrieg” are covers that ended up as B sides to the “Creeping Death” single, but still worthy additions to be included here as people believed these to be proper Metallica songs.

The Call Of Ktulu

Another game changer track, a progressive 7 minute instrumental track. It’s got a bit of everything, written when Mustaine was still in the band and it’s got the embryonic riff of what will become “Hanger 18” in Megadeth many years later.

Y&T – In Rock We Trust

I didn’t know it in the Eighties, but Y&T would became one of my favourite bands in the Nineties, as I managed to pick up all of their albums up to “Ten” from a second hand record shop. Their big money Geffen move didn’t happen until the late 80’s and A&M was the wrong label for these classic albums. Regardless, Y&T’s music goes through my brain on a regular basis. They’re embedded there, part of my DNA.

Rock And Roll’s Gonna Save The World

Y&T always started off with a strong cut. This was even more important in the CD era as there was only one side and a lot of people never made it to the end of the album.

Kings and queens and presidents
Are tryin’ to take the world in hand
Jokers and freaks and Arab sheiks
Are fightin’ over chunks of sand

The same problems that exist today existed 30 years ago and way before that. Guess they never really went away.

Rock & Roll’s gonna save the world
Don’t you know that’s the way we’re gonna change it?
Rock & Roll’s gonna save the world
Rock & Roll

We believed we could change the world. Then we got jobs and got loans and became exactly what the institutions wanted us to be. Slaves by choice.

Tin soldiers march around the world
No matter what the people say
One man makes all the policies
While the rest of us get blown away

It’s what our leaders are fighting about right now. Who should make the policies? Who should tell others what to do? And democratically elected leaders want to dictate how people should live and then they take up arms against dictators. Ironic isn’t it.

Life, Life, Life

It’s a bloody scene
Hear the population scream
As the missile rushes in
Can’t you feel the flames of hell?

What’s changed in 2018 from 1984? Missiles are still rushing in and for people living in these war zones, it is hell. And for all of our technological advancements to integrate and socialise, we are even more divided.

We let the insane play their fools game
They’re runnin’ a race for death

These lyrics might have referenced a dictator, however democratic leaders today are no better.

It’s time to make a stand for
Life, Life, Life
It’s time to break down the chain of command

We are the only ones who can make change happen, but we choose to opt out so we don’t upset other people.

Masters And Slaves

What a song and how good are the lyrics.

It’s such a dirty game
That it fills you with rage
There’s only kings and queens
And you’re a pawn in their game

Truth in these words. If you don’t believe me, name me the one thing keeping you up at night. Money, security, safety. Kings and queens don’t have that problem. And if you borrow money, guess what, you become even a bigger pawn in the game.

Of masters and slaves
We’re divided that way
Are you a master or slave?
Do you rule or obey?

We are born, our parents rule and we obey. We go to school and our teachers rule, while we obey. We go to work and the boss rules, while we obey. We get married, and the other partner rules while we obey.

When they tell you it’s the home of the free
Well, they must be insane

Who would have thought that living in a free country would be so expensive?

‘Cause it’s dog eat dog from morning ’till night
And only the strongest survive
It’s the law of the jungle, only winners have rights
The losers relinquish their lives

There is no story about the losers. Only the winners. And they re-write history to suit their point of view.

So, you think you’re made
When you have your fortune and fame
But don’t you realize
Oh, someone’s running the game

These lyrics reference life, experience, skin in the game. It’s not all about being a red hot live wire, wanting to feel the noise. How many artists lost all the money they made when their career and the public acceptance of their music started to fade.

I’ll Keep On Believin’ (Do You Know)

I’ll keep on believin’
I won’t let our love slip away

Again, words of life, about being out on the road for long periods, leaving relationships and friends behind, only to find out when you come back home, they have moved on.

Break Out Tonight

The streets are misty in the mornin’ light
The fog hides everythin’ from view
It’s time to make a move to change my life
I gotta make my dreams come true

The song is simple, like the band just rolled the tape in the studio and when Dave Meniketti opens his mouth, truth comes out (courtesy of the lyrics written by bassist, Phil Kennemore). If you want to make your dreams come true, it rarely happens when you are sitting in the comforts of your hometown. You need to break out.

Don’t Stop Runnin’

Ahh, yes a song about being with someone as you are rising up the ladder of stardom and suddenly when you hit a rough patch, that person leaves, and as soon as your fame star starts to rise again, they want to come back into your life.

Umm, no.

When I had the world in the palm of my hand
You never looked at another man
But when I started to slip, you said bye, bye, bye

With you one day, gone the next.

Well you heard I got my big break
So now you’re sayin’ that you made a mistake
And you wanna come back for the ride, ride, ride

Does it really happen like this? I’m still not convinced. Once it’s over, it’s over. For me there are no second chances.

Well the word is out all over town
You’re not the only girl that’s chasin’ me down
Take your place at the end of the line, line, line

It’s a cool revenge song.

This Time

I always dig a good power ballad with cool music. And this one has got some nice guitar playing with clean tone apreggios and distorted chords crashing together to create a cool foundation to build the melodies on.

Darling, I’ve been so afraid
To share what’s on my mind
But I believe you’re just like me
And I can trust in you this time, this time

Safety is what connects us and when you find someone with similar values, you feel connected and by default you feel safe.

The past is full of fallen stars
Of love that I’ve denied
But somehow I know we won’t make
The same mistake this time

Oh, all those missed chances or words unsaid.

Whitesnake – Slide It In

From a copyright point of view, how the hell would David Coverdale do the accounting for it. There are the songwriters who would deserve their royalty and then there are the two versions of the albums, with different members and because those members played on the album, they would get a performance royalty.

The remixed US version of the album had John Sykes replacing the guitar parts of Mel Galley and Micky Moody, while Neil Murray replaced the bass parts of Colin Hodgkinson.

Good luck in working out the percentages.

Gambler

This little bluesy rocker opens the UK edition of the album, but not the U.S one. It’s written by David Coverdale and the very underrated and not very MTV friendly looking Mel Galley.

Slide It In

The Free/Bad Company style of blues rock influences this Coverdale composition about sliding a knife in butter right to the top. The lead breaks are different between the US and UK versions. For me, I prefer the UK version lead break as its more melodic and more sing-along.

Slow an’ Easy

The heavily influenced Led Zep “Slow an’ Easy” is written by Coverdale and Micky Moody. Lyrically it deals with a superstitious woman who will be taken down slow and easy. The US mix has a few pinch harmonic screams that the UK version doesn’t have.

Love Ain’t No Stranger

This classic is written by Coverdale and Galley. I liked the way Coverdale, had a slow intro before the whole band crashes in.

Give Me More Time

Another Coverdale and Galley cut that takes its cues from AC/DC in the verses. And the lead break is excellent and very reminiscent to the “Slide It In” lead break.

Standing in the Shadow

Another Coverdale composition. Seriously, is there a more broken hearted person than David Coverdale?

I’m running away from a feeling
Hiding my face in the sand
I’m scared to love and lose again
I don’t know if I can

It’s that moment in time after a relationship has ended. You are hurting and you feel betrayed. Then you come across someone who rekindles the fire. But you are still hurting and after being burned once, you are fearful to jump in, just in case it leads to another broken heart.

Life is short, so you need to live it. And that means, putting the fear away.

Spit It Out

Another Coverdale and Galley composition, which is basically saying if she doesn’t like it, she can “Spit it Out” while Kiss was singing, “Lick It Up”. I guess people just couldn’t make up their minds.

Guilty of Love

How cool are the guitar harmonies at the start, which again are written by the very underrated guitarist known as David Coverdale.

Cold Chisel – Twentieth Century

The final studio album for Australian band Cold Chisel before they went their separate ways in the 80’s. Hell the album even came out months after they played their final show in December of 83.

Side 1 had three Chisel classics in “Saturday Night”, “No Sense” and “Flame Trees”. Hard to believe that “No Second Prize” from Jimmy Barnes solo album that followed this was rejected from this album.

Saturday Night

Piano player and band founder, Don Walker wrote it about his views of Sydney’s King Cross district, with vocals shared between guitarist Ian Moss and Jimmy Barnes.

“The band I’d been in for ten years was breaking up. I think it’s just a ‘kissing all that goodbye and moving on into the unknown’ song.”

Don Walker

No Sense

A Jimmy Barnes composition, with a very reggae feel about people that make no sense at all.

Flame Trees

Drummer Steve Prestwich co-wrote the music on a bass and Walker added the lyrics, about growing up and his dreams of leaving his birthplace behind.

The Game

It’s the only track I like on Side 2, written by bassist Phil Small and lyrics by Walker, about losing your place in the game, which to me, the game could be life, a relationship, a workplace or even a gambling table.

Well that’s it for Part 2, stay tuned for Part 3.

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