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

2001 – Part 4.7: Ill Nino – Revolution/Revolución

The late 90’s and early 2000’s was a time of pushing the limits of heavy metal music. From when I first came across metal albums in the 80’s, the genre had evolved so much that the bands classed as metal back then became totally unrecognisable to the new breed of bands doing the rounds.

Bands like Tool, Dream Theater, NIN, Ministry, Faith No More, Limp Bizkit, Fear Factory, Korn, Creed, Disturbed, Slipknot, Mudvayne, Machine Head and Pantera pushed the genre forward during this period. Each act bringing into their sound something that wasn’t there before. Suddenly Metallica sounded like a pop band compared to these bands.

And then I came across Ill Nino. A fusion of Latin Flamenco rhythms and percussion with metal riffs and singing which moved between aggressive screaming and melodic singing.

On September 18, 2001, Ill Niño released their debut album, “Revolution Revolución”.

The album was a commercial success for Roadrunner Records, moving over 350,000 albums worldwide in the first two years after release.

The Personnel for the album is Cristian Machado on Vocals and Samples, Jardel Martins Paisante and Marc Rizzo on Guitar, Lazaro Pina on Bass, Dave Chavarri on Drums and Samples and Roger Vasquez on Percussion.

And seeing a person called DJ Skratch on Turntables as an additional musician will either scare people off or make them curious.

God Save Us

It’s like Groove Nu-Metal. Vocally its aggressive in the verses, with a melodic Chorus.

Check out the flamenco like interlude at 2.30.

If You Still Hate Me

It’s like Industrial Nu-Metal at the start.

But at the 2 minute mark a flamenco metal section appears and then a head banging circle pit riff afterwards. The movement between styles is why this album got my attention.

Unreal

Distorted guitars and Latin percussion working to create something unique.

Nothing’s Clear

Screaming verses and a melodic Chorus. The duality of modern American metal at the start of the new century.

And chuck in a Bridge delivered in Spanish.

What Comes Around

The most catchiest song on the album. A Nu-Metal riff kicks it off, and then an atmospheric Korn like guitar riff in the verses, while the melodic singing carries the vocal melody.

Liar

The flamenco and percussion in the intro gives way to a Disturbed meets Limp Bizkit riff.

Rumba

The Latin percussion and distorted guitars is a delightful mash up. Vocally, the screaming loses me and the melodic singing re-captures my interest.

Predisposed

I like the Intro riff on this. Its head banging groove metal.

I Am Loco

Who isn’t loco these days?

No Murder

Press play to hear one guitar play a riff on the higher registers while another plays chords.

Rip Out Your Eyes

So much violence.

Revolution/Revolución

The intro riff is head banging heavy.

With You

It’s a flamenco acoustic rock cut. Santana is not the only musician that plays this style, but he is one of the biggest crossover artists, and because of that, this song reminds me of Santana.

The next album “Confession” is a lot more melodic and my favourite but if you want to start with something, then start with this.

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2001 – Part 4.6: Within Temptation – Mother Earth

Within Temptation is a Metal band from Holland.

Their style of Metal has symphonic influences.

It was “The Heart Of Everything” album released in 2007 that made me a fan especially the song “What Have You Done”. And I wanted to hear more.

“Mother Earth” is the second studio album released on 24 December 2000 in the Netherlands, and 21 August 2001 in other parts of Europe.

It was a sleeper hit in Holland, reaching the number 3 spot, two years after it’s release and in the backs of the second single “Ice Queen”.

Wikipedia tells me how the band was enthralled by a movie at that time called “Braveheart” and the Celtic influences are very evident.

The band is Sharon den Adel on vocals, Robert Westerholt on rhythm guitar and vocals on “Mother Earth” and spoken words on “The Promise”. Michiel Papenhove is on lead guitar, Jeroen van Veen on bass, Martijn Westerholt on keyboards and Ivar de Graaf on drums.

Mother Earth

It’s soundtrack music. Medieval like “Braveheart”.

Ice Queen

It’s a hard rock song, with the symphonic elements. Vocally Sharon den Adel is very Kate Bush like and early Pat Benatar.

Our Farewell

It’s a piano piece. Evanescence would become famous on their “My Immortal” ballad, but Within Temptation was doing it earlier.

Caged

The start reminds me of “The Last Samurai”.

The Promise

When the distorted guitar riff kicks in with the Symphony, I am reminded of S&M from Metallica.

Never-ending Story

A piano riff that keeps reminding me of movies.

Deceiver of Fools

The symphonic choir starts it off. When the vocals come in, they are operatic.

But Press play on this to hear how the guitars kick in at the 2 minute mark. Powerful and emotive.

Intro

It’s like a horror/thriller soundtrack.

Dark Wings

This song is excellent. A mixture of progressive Metal with the symphonic

Arjen Lucassen from Ayreon plays the guitar solo.

But press play to hear Sharon den Adel do these exotic like ohs and ahs vocals between 1.50 and 2.20.

In Perfect Harmony

The song is in a Major key so it has that happy vibe to end the album. You know those end scenes in movies when the goodies have won and the end credits roll.

By the end of it, I felt like I was at the movies. The music is cinematic and grand.

And the rise was starting. Austria, Belgium, Holland, German, Norway and Switzerland were on board. This is how artists did it. A few places at a time.

In relation to certifications, the album was certified Platinum in Holland and Gold in Belgium and Germany.

Check em out.

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2001 – Part 4.5: Skillet – Alien Youth

It was the “Comatose” album released in 2006 that made me a fan of Skillet and I followed em up to to “Rise” album released in 2013.

And although I listened to “Unleashed” released in 2017 and “Victorious” from 2019, I didn’t really feel the need to relisten to em.

And when I went looking at their back catalogue I was surprised how much their sound had evolved.

“Alien Youth” is their fourth album released in 2001. Their sound on this is like industrial rock.

The band for this album is John Cooper on vocals, bass, sampling and programming, Korey Cooper on keyboards, sampling and programming, Lori Peters on drums, Kevin Haaland on guitars (except “Earth Invasion”) and Ben Kasica on guitars (“Earth Invasion”).

Alien Youth

It reminded me of Motley Crue’s “Generation Swine” album. And I like that connection.

Vapor

It reminds me of the whole “industrial rock” movement.

Earth Invasion

The best song on the album.

Very “Smells Like Teen Spirit” like.

You Are My Hope

The usual ballad.

It’s catchy and derivative.

Eating Me Away

A fuzzed out bass riff dominates the verses and once the Chorus kicks in, it’s Stabbing Westward and Korn like.

Kill Me, Heal Me

I like it’s swinging drum groove in the verses. I’ve heard Good Charlotte songs with these kind of beats and melodies, but they came after this.

Otherwise it’s all grunge rock.

The Thirst Is Taking Over

My favorite song on the album.

The verses have a programmed drum beat with clean tone and lightly delayed guitars.

And in the Chorus, there’s a distorted and fuzzed out guitar.

One Real Thing

The Chorus is hard rock and it has this “Teenage Dirtbag” vibe.

Stronger

Nirvana meets Ministry.

It has some cool riffs to jam on but lyrically it’s a bit cliched with the repeating “my god is strong” melody.

Rippin’ Me Off

It starts off terribly, with programming and sampling. Then a Nirvana like riff kicks in.

It’s a response to Marilyn Manson and his views on God being dead.

Check out the chorus. It’s heavy and angry.

You say that God is dead but you’re rippin’ me off/ You can’t infect my mind with your vanity/ You’re rippin’ me off!

Will You Be There (Falling Down)

This is a great ballad.

It feels like Bryan Adams and Celine Dion are singing it.

Come My Way

The closer. it starts off with a piano riff that sounds like it came from a soundtrack.

And it’s more hymn “Hallelujah” like.

They are labeled as a Christian Rock act, but they delivered an album that people from all walks of life would like.

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2001 – Part 4.4: Staind – Break The Cycle

Aaron Lewis has been in the news recently. He is touring in the U.S for his “Frayed At Both Ends” Country album, getting criticized for playing the same song at a gig twice and a few months ago he released a song called “Am I The Only One” in which he expressed his political views and questioned the patriotism of Bruce Springsteen.

Music industry blogger Bob Lefsetz didn’t like it and Lefsetz called out Lewis and his label boss Scott Borchetta. However Borchetta in an open letter back to Lefsetz, said that even though Lewis and Borchetta have opposing political views, Borchetta is not going to cancel or drop Aaron Lewis.

Moving away from “Politics 2021”, back in the early 2000’s, Lewis was busy writing and recording “Break the Cycle”, the third studio album by Staind. Released through Elektra and Flip Records in 2001, it is Staind’s most successful album to date, and it was the album that broke them into the mainstream.

Supported by Fred Durst who signed them to his Flip Records label originally, they had the fortunate or maybe unfortunate tag as Durst prodigies. The debut album, “Tormented” was ignored by the press, but Elektra wanted a piece of the action and “Dysfunction” is the result of major label support.

Then came “Break The Cycle”.

At 28 years of age, Aaron Lewis had lived and experienced enough sadness and happiness to put his life and thoughts into his lyrics.

A total of 5 singles were released from this album, “It’s Been Awhile”, “Fade”, “Outside”, “For You” and “Epiphany”, all of which did reasonably well.

On a side note, the album did cost $800K to make and Elektra along with Flip Records, just weren’t sure they would even get close to recouping.

But in its first three weeks, it sold over a million copies in the U.S. Currently it is certified 5x Platinum for U.S sales. In Canada and New Zealand it was certified 2x Platinum and in the U.K it was certified Platinum. In Australia and Sweden it was certified Gold.

And the label is still saying that Staind owe em money.

The band for the album is Aaron Lewis on Lead vocals and Rhythm guitar, Mike Mushok is on Lead Guitar, Johnny April is on Bass and Jon Wysocki on Drums.

Open Your Eyes

It’s like a Jekyll and Hyde. The lush strummed lightly dirty electric guitar which is the verse riff and part of the intro is calm and beautiful.

The riff that kicks in with the natural harmonics and downtuned riffing is aggressive and ugly. Sonically they just don’t go but the jarring difference works this time around.

Pressure

Written by Staind and producer Josh Abraham.

It has metal like riffs and a verse that is very Grunge like.

Fade

One of their best songs.

The bass groove is great and the way the guitar decorates the spaces shows the skills of Mike Mushok.

And of course, Aaron Lewis is more than capable of crafting and carrying a vocal melody.

It’s Been Awhile

I suppose this was the song that got a lot of people to check out Staind and at 194.497 million streams on Spotify it’s remained in the conversation and the various playlists.

Change

A huge metal like riff starts it off before the clean tone verses kick in.

The Pre-Chorus or is it the Chorus, feels like it could come from a Bush song.

Can’t Believe

Not a favourite. It sounds like the vocals are screamed through a loudspeaker and it does nothing for me.

Epiphany

An Aaron Lewis cut, as the acoustic guitar is prominent with a haunting vocal melody.

Suffer

It’s a hard rock riff however the down tuning and phrasing makes it sound like it isn’t.

Warm Safe Place

It’s just down-tuned too much, that the riff sounds like a muddled mess.

For You

My favourite track on the album.

That opening riff is good enough to challenge some of the best metal riffs from the 80’s.

Outside

Lewis again brings his acoustic guitar and melodies to the table.

The song has 95.057 million streams on Spotify.

Waste

A simple drum groove starts it off, almost jazz blues like. A clean tone guitar plays the riff and Lewis delivers his emotive vocal melody.

In the Chorus, the distorted guitar dynamic kicks in before it moves back to the subdued clean tone verses.

Take It

Another killer riff to start it off.

If there is a problem with the album, it’s the down tuning. On some songs it is excessive, to the point that it sounds muddled. But when they get it right, the songs elevate themselves and the slower acoustic pieces add a lot of variety.

Regardless of political alliances, Aaron Lewis does have a great voice. There are YouTube videos in which he covers “Black” by Pearl Jam and “Turn the Page” by Bob Seger live.

Lyrically, he’s copped a lot of flak for his lyrics to the point that people have called em depressive, but then again, no one said that life is all sunshine, happiness and smiling selfies in exotic locations.

Press play on this and start with “For You”.

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2001 – Part 4.3: Alice Cooper – Dragontown

Alice Cooper did really well between the difficult periods of 1993 and 2003 for rock artists. It didn’t matter what kind of music came out, the Alice Cooper brand was known for doing things different. The 70’s output alone is very diverse. The experimental early 80’s period, although not commercially successful, introduced new wave sounds into the mix. His stage shows bordered on the horror and macabre, with a lot of theatre thrown in. And one thing I do know as a fan of the horror genre, you don’t just stop being a fan.

Then “Trash” came out with its slick “hair metal” production and Alice was really back. His stage shows got even more extravagant and he hasn’t looked back since.

“Hey Stoopid”, the concept album “The Last Temptation” and “Brutal Planet” which told us we are all going to die, continued his brand in the 90’s.

And then there is “Dragontown” was released in 2001.

The band is Alice Cooper on Vocals, Ryan Roxie on Guitar and Greg Smith on Bass.

The studio session Guitar players are Wayne Swinny from the band Saliva and Tim Pierce who did a lot of session work and can be heard doing guitar on songs like “Runaway” from Bon Jovi, “Don’t Dream It’s Over” from Crowded House, “Iris” from Goo Goo Dolls and “Black Or White” from Michael Jackson.

Producer Bob Marlette plays about every string related instrument like Rhythm Guitar, Bass, Keyboards and String Arrangements.

Sid Riggs is on Keyboards and programming and Kenny Aronoff on Drums.

Backing Vocals are provided by Teddy Andreadis, Eric Dover, Calico Cooper and Gionvanna Morana.

If the first two names of the backing vocalists look familiar, they should, as Teddy has done a lot of work with G’n’R and Dover was the singer in Slash’s Snakepit. And the third backing vocalist is Alice Cooper himself, making an appearance as Calico.

All tracks are written by Alice Cooper and producer Bob Marlette.

Triggerman

The sound is definitely on that industrial hard rock style that bands like White Zombie, Coal Chamber and Orgy did.

But in its essence, it’s still a rock song.

Just listen to the Chorus, its 60’s pop. And the ending is in the vein of “Paradise City”.

I am always out of sight
A shadow in the mist
I don’t need no alibi, cos
I don’t exist

Lyrically, it’s about a nobody, a person ignored by society, a person who doesn’t exist, but when that trigger is pulled, they do exist.

Deeper

A very heavy and down tuned chugging riff opens the song. The Pre-Chorus is haunting, with the symphonic Church sermon like voices.

Down and down and down we go
We’re in a deadly spin

Dragontown

An ominous like Intro begins it.

Then Alice starts his vocal melodies.

Well, here you are
Lying bleeding on a grimy street
See the broken glass sparkling darkly
As it cuts your feet

So descriptive.

The Pre Chorus is heavy and I like the vocal melody when Alice is singing, “come on, I’ve got something to show you”.

And the Chorus tells the story of how anyone can disappear in “Dragontown”.

This song is as good as any “metal” song released during this period.

Sex, Death and Money

This cut could have been on a Rod Zombie album. And the Alice sarcasm is back as by the end of the song, we are all going to fry because of our lack of morality.

Sex, death and money, sonny
Makes this wicked world go round
Sex, death and money
It’s the Gospel here in Dragontown

Amen to that.

Fantasy Man

You just want to squeeze my masculinity
Why can’t you leave it alone

It feels like a cut from “Hey Stoopid”, a mixture between “Hurricane Years” and “Feed My Frankenstein”.

Somewhere in the Jungle

From reading the lyrics, you get the idea that somewhere in the jungle the devil is laughing, as an African genocide takes place, making even the wild animals run away from the madness and slaughter while the million bodies are piled on top of each other, arms and legs, feet and hands.

It’s heavy like Ozzy’s “My Jekyll Doesn’t Hide”.

Disgraceland

Downtuned 12-bar blues. That’s what this song is.

An Elvis Presley inspired verse, which also reminds me of a cross between Johnny Cash, Chris Issak and George Thorogood.

And Alice is doing a commentary on the absurdity of how the greatest rock ‘n’ roll hero of all time died on a toilet.

Sister Sara

How low can a guitar go?

In this song, very low.

And like “Sister Mary” in Operation Mindcrime, “Sister Sara” is in a bit of trouble. While “Sister Mary” had issues with an terrorist organisation controlling sleeper cells, “Sister Sara” gets caught with the Bishop and many other cardinal sins to feed her habit.

Every Woman Has a Name

An acoustic guitar arpeggio riff starts it off and Alice tells the story how dreams of youth are taken away by the cold hard and unforgiven world we live in.

I Just Wanna Be God

A bone crunching intro riff starts it off reminding me of Godsmack, Monster Magnet, Mudvayne, Static X and I like it.

And there’s a killer solo as well.

It’s Much Too Late

Then this one kicks in, more Country Rock and totally out of leftfield.

Alice is in his demented “Steven” character voice.

The road to hell is littered
with nice guys with good intentions
But once you’re there, you’re there

The Sentinel

And the album is rounded out by another dose of massive industrial downtuned riffs.

I am the sentinel
I want the world to know
I’m sending you all to hell
I’m tired and I’m wired here to blow

Amen. The countdown has begun.

While none of the songs became concert staples, the album did what it needed to do. Get Alice Cooper on the road.

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2001 – Part 4.2: Sevendust – Animosity

“Animosity” is album number 3 and it was released on November 13, 2001. Four months later it was certified gold by the RIAA.

This is their best album, a mixture of their Nu-Metal grooves with a lot of melody and head banging riffs.

Just think Rage Against The Machine riffs merging with Metallica riffs and melodies and Faith No More riffs and melodies.

Sevendust is Lajon Witherspoon on lead vocals, Clint Lowery on lead guitar, and co-lead vocals on “Xmas Day” and “Angel’s Son”, John Connolly on rhythm guitar, Vinnie Hornsby on bass and Morgan Rose on drums.

This album really highlights what a great talent Lajon Witherspoon is. His vocals are exceptional.

T.O.A.B.

Written by drummer Morgan Rose, it stands for “Tits On A Boar”.

In case you are not familiar with it, it means a person, place, event or item in which there is little or no value.

Musically and vocally it could have come from the debut.

And any song that starts off with “Die you piece of shit!”, well you know you ain’t gonna get a love song.

Praise

Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.

A great riff kicks this off, something that Stone Sour would do a lot off.

Trust

Written by Clint Lowery and Lajon Witherspoon.

The power of the Intro riff hooks me in immediately.

Then it’s just bass and drums for the verses and Lajon delivers a killer vocal melody.

And if you are in any doubt, press play for the Chorus.

Also it wouldn’t be a Sevendust song with a head banging interlude.

Crucified

Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.

It continues the standard set with “Praise” but the Chorus is more melodic. Very Disturbed like.

And lyrics like “Don’t you feel like a bitch / Don’t promise shit you’ll never be” set the aggressive tone.

Xmas Day

Written by Clint Lowery.

A ballad, which reminds me of Soundgarden, Alice Cooper 70s version and other

Don’t know how she gets by
Sleeps with a phone on her chest
And a bottle that’s totally dry
Forgets the day I was born
But if she saw me right now

The lyrics more or less sum up what the song is about.

But press play to hear the Chorus and the great vocal performances.

Dead Set

A Lowery, Rose and Witherspoon composition. It’s a heavy rocker with another killer Chorus.

I dodge the grave almost every day

Shine

A Witherspoon composition with a syncopated groove riff in the verses which is head banging material.

I’m on a free fall / So hard for me to shine

Follow

A Lowery and Connolly composition with Aaron Lewis doing additional vocals. Goddamn it could pass as a Staind or A Perfect Circle song.

And how good are the opening lyric lines.

Time can take everything that surrounds you

Damaged

It’s a Connolly and Rose composition.

How could you really know as your blood flows
The damage left inside

No one will ever know the damage done especially the mental damage.

Live Again

Another Connolly and Rose composition. And if you press play on a track from this album this is it.

Look at yourself and live again

That Chorus. So emotive and catchy.

Beautiful

A Lowery, Rose and Witherspoon.

Another killer heavy Intro that gets me thinking of Faith No More with a Chorus that reminds me of Godsmack.

Redefine

A Lowery, Rose, Witherspoon with a heavy riff that reminds me of Disturbed.

But that Chorus riff. So cool to play with the octaves.

Angel’s Son

A Lowery and Witherspoon acoustic composition.

It was originally released on “Strait Up”, a tribute album of Lynn Strait, former lead-singer of the band Snot. Strait died in a car accident on December 11, 1998, at the age of 30.

If you thought Sevendust was just too heavy for ya, then check this album out.

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2001 – Part 4-1: Aerosmith – Just Push Play

Aerosmith had a way of making the blues sound current and modern but for them to do that, they needed to jam.

But on “Just Push Play”, released in 2001, the majority of the album is co-written with Marti Frederiksen and Mark Hudson. It was recorded at eight different studios, so it would have been impossible to get all the band jamming and financially irresponsible to get the whole bands gear set up and then packed up and then transported and then set up again.

Joe Perry hates it. The Wikipedia entry for this album carries a 2010 quote from Perry which states;

I don’t think we’ve made a decent album in years.

Just Push Play is my least favorite.

When we recorded it there was never a point where all five members were in the room at the same time and Aerosmith’s major strength is playing together.

It was a learning experience for me: it showed me how not to make an Aerosmith record”.

From a sales point of view, Aerosmith was on a spiral down. The gaps between albums started to become every 4 years.

But not a lot of 70’s bands had a renaissance like Aerosmith when it came to album sales.

It started with “Permanent Vacation” released in 1987 and it has a 5x Platinum certification in the U.S.

“Pump” released in 1989 has a 7x Platinum certification in the U.S and “Get a Grip” released in 1993 has a 7x Platinum certification in the U.S.

These two albums are the pinnacle of Aerosmith’s comeback.

“Nine Lives” released in 1997 showed a downward trend as it has a 2x Platinum certification in the U.S and “Just Push Play” only has a Platinum certification in the U.S.

Beyond Beautiful

It sounds heavy and exotic while Kramer is channelling John Bonham, with his Kashmir like groove.

And it doesn’t sound anything like the blues, but that verse riff is a bluesy groove. If you don’t believe me, check out that bluesy solo in the outro which is played over the verse riff.

Just Push Play

“Walk This Way” gets a rewrite.

Even in the Chorus, instead of saying “Walk This Way”, Tyler is singing “Just Push Play”. Replacing three single syllable words with three other single syllable words.

And I like it.

Jaded

Kramer lays down a groove, while Perry and Whitford bring out riffs that reminds me of bands like “The Foo Fighters”, “Filter”, “Matchbox 20” and “Tonic”.

Fly Away From Here

Piano ballads and Aerosmith go hand in hand.

While “Dream On” is my favourite, its “I Don’t Wanna Miss A Thing” which is their streaming star, much to the disgust of Tyler and Perry.

While they were paid well for doing the song for the “Armageddon” movie, they didn’t think that it would become their most streamed song ever. Well they couldn’t have, because streaming didn’t exist back then.

For the numbers, “Dream On” is at 541.59 million Spotify streams and “I Don’t Wanna Miss A Thing” is at 650.1 million Spotify streams.

And this one doesn’t have an Aerosmith member in the songwriting credits either.

But, there is this section which I call the Bridge, that reminds of a section in “Livin On The Edge”.

Trip Hoppin’

Its old school Aerosmith, jamming on a blues groove and writing about having a good time and getting laid.

With the addition of the horn section, the song takes on a Soul Rock feel.

Sunshine

I like this song.

The riff has this laid back feel which sort of reminds me of “Kings And Queens” and “Don’t Fear The Reaper” in the Verses.

And lyrically, Tyler is in his element here.

Under My Skin

Like the song “Beyond Beautiful”, this one is also a great example of taking the generic blues riffs and making em sound heavy and current.

The verses are my favourites here, how the guitar riff and the vocal melody are the same, and while they pause the horns mimic it.

In the Pre, there is a symphony, evoking memories of “Kashmir”.

Luv Lies

A ballad that reminds me of songs like “What It Takes” and “Crazy”. Perry is bringing out his repertoire of country licks here.

Outta My Head

Another attempt to recreate “Walk This Way” in the verses, with a more modern Alanis Morrisette style Chorus.

Drop Dead Gorgeous

Check out the groove that Hamilton and Kramer set up to allow Perry and Whitford to play blues/jazz like 7ths and 9ths triads.

But the vocal melodies are pretty average.

Light Inside

Electronica drums start it off, but as soon as the fast bass riff from Hamilton kicks in, the song is anything but electronica.

Its heavy for an Aerosmith song. The Modern Rock sounds are different and I like it.

Avant Garden

I think this is one of Aerosmith’s better ballads.

It has a chord progression that reminds me of “Sweet Home Alabama” and “Werewolves In London” in the verses and a Chorus which has this Beatles feel.

Check out the Bridge, very ELO with the violins and the debop backing vocals.

And finally, Perry gets a chance to do a guitar solo longer than 5 seconds.

And Perry goes a chance to go again in the outro.

Press play on the album just to check out this track.

Overall, it’s Aerosmith trying to be modern, trying to be bluesy, trying to have Arena Rock choruses and trying to have a bigger ballad to rival the ballad that they didn’t write.

At times it comes across confusing, but it’s still Aerosmith and I’m okay when artists don’t stick to formula and try something different.

But it’s not an album I push play on a lot.

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2001 – Part 3.7: Adema – Adema

Labelled as Nu-Metal. I never understood what that label meant. Even though I hated the “hair metal” tag back in the late 80’s, it was easily understood why the record labels and media outlets labelled bands with that term.

But Nu-Metal always had me confused. To me it’s all just music.

The bands that started to make inroads in the early 2000’s, had the same aggression and rage as a lot of the bands I grew up with. Just because they didn’t have guitar solos, had shorter hair, dressed differently and played syncopated riffs, it didn’t make them that much different.

And the majority of these bands had even bigger arena rock choruses than the bands who made it in the 80’s and still had a level of success without MTV pushing them, which was very different to the 80’s as all the bands then got to a million in sales on the back of the exposure MTV generated.

The vocal tones of singers in the 2000’s were different as well.

Growing up in the 80’s my ears got used to the Bruce Dickinson, Geoff Tate, Sebastian Bach, Ronnie James Dio, Tom Kiefer and David Coverdale style vocals.

And then in the 90’s with the advent of Grunge, Kurt Cobain, Layne Staley and Eddie Vedder (along with others) changed what a vocalist should sound like.

Rob Thomas, Trent Reznor and Jonathan Davis further changed the expectations. And I was like a pariah within my hard rock friends, who hated all of these singers because they didn’t have the range of the metal and hard rock singers of the 80’s.

Back to Adema, the album came out in 2001, but I didn’t hear it until 2003. I have written about them in a Record Vault post, previously.

Adema is Mark Chavez on vocals, Tim Fluckey on lead guitar and keyboards, Mike Ransom on rhythm guitar, Dave DeRoo on bass and Kris Kohls on drums.

Everyone

The Intro riff reminds me of P.O.D and Godsmack.

The Chorus reminds me of Korn. I like how songs do that.

Everyone is the same
Quick to point the blame
All I know is that life is a struggle

Truth right there.

Blow It Away

So many influences here.

The Intro music reminds me of Godsmack.

In the verses, there is a Nirvana bass feel, with Korn like guitar embellishments.

Lyrically, it’s a nasty song about a relationship gone bad and if you’ve seen American Psycho, you will know what the singer is thinking.

Giving In

The Intro hooks me in, with its combination of Deftones and “Come Undone” from Duran Duran.

And it’s one of my favourite tracks on the album, about giving in to your addictions or giving in to the darkness that loneliness brings due to your addictions.

Freaking Out

The rapped verses have enough melody to keep me interested and the music/feel of the song reminds me of New Order.

The Way You Like It

My second favourite and the flow of the song is great, with a catchy Chorus.

More Linkin Park like.

Close Friends

A bass riff in the verses which reminds me of “Smells Like Teen Spirit”.

Do What You Want To Do

Aggressive song about living the life you want to live.

Skin

Phased out chorused guitars shimmer and glimmer in the verses over a jazz-rock fusion drum groove. Then the Chorus riff kicks in, abrasive, compared to the verses.

Pain Inside

It’s got all the synth electronics that bands were using back in the day.

The chorus gospel effect on the guitars gets me interested and the verse drum and bass groove keeps the momentum going.

Once the power chords come crashing in for the Chorus, I’m sold.

Speculum

The acoustic guitar gets some use but it’s not a ballad.

There’s so many people dying
You complain about your situation

Death gives perspective.

Drowning

The intro riff reminds me of Muse.

It’s like a needle in my spine
It stings inside
Poisons me with time
I can’t deal with your lies

Relationships are tough. They could lift you up or bury you.

Trust

It feels like a song from “The Crow” movie with a bit of “Come Undone” by Duran Duran as an influence.

I’m so alone, empty and lost, it’s easier to let you go
Time will erode the shame and the fault, it’s easier to let you go

We become focused on achieving something and when we do, we realize we also lost something along the way, like a relationship that you didn’t want to lose.

And that’s the album.

The band was active up to 2009 and then disappeared, only to resurface in 2021 with a new song and possibly a new album.

But it all started here. The debut gave them the valuable rookie card.

Crank it.

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

2001 – Part 3.6 and Australian Method Series: The Living End – Roll On

“Roll On” is the second album by The Living End. It was released in Australia and New Zealand in November 2000, and internationally in March 2001, so I’ll go with the 2001 date.

The band for the album is Chris Cheney on vocals and guitar as well as writing the songs, Scott Owen on double bass and backing vocals and Travis Demsey on drums.

The album is the last work to feature drummer Travis Demsey. In the downtime following the album’s release and subsequent tour, he would leave the band, to be replaced by Andy Strachan.

The album was certified 2x platinum in Australia by November 2007.

Roll On

1,2,3,4 and the band crashes in.

“We roll on with our heads held high” is the catch cry. It remains with you long after the song is finished about a wharfies strike in Melbourne in 1998 and how after a month of striking, if the wharfies didn’t go back to work they would be replaced.

The riffs are classic Aussie Pub Rock riffs, rooted in the blues. You can smell the sweat of the working class in the notes.

Check out the guitar lead.

It’s their big single from the album and a live favorite.

Pictures In The Mirror

It’s a cross between the Foo Fighters, The Beatles and The Clash.

But that solo/interlude section reminds me of Van Halen and Kansas.

“The sun goes down, the moon appears on the horizon, the streets are bare, she walks alone”

The scene is set as the character in the song disappears from the limelight.

Alone.

Because all of those people around you when you’re famous, abandon you when they can’t make money from you.

Riot On Broadway

Similar to “Prisoner Of Society” merging their punk and rockabilly hooks and riffs.

Staring At The Light

One of my favorites.

It’s like a new wave rock track circa “The Police” merged with “The Clash” and made to sound like a modern rock song.

Carry Me Home

That Intro riff would melt the pavement on the Sunset Strip.

Listen to it.

And the NWOBHM influences makes this a metal cut.

And Cheney, is a guitar hero.

Don’t Shut The Gate

A heavy blues rock groove starts it all off before it moves into a Midnight Oil style of cut.

Dirty Man

The Intro lead lick reminds me of something else.

The interlude riff is like a Nu-Metal riff as it’s intertwined with a rockabilly riff.

“I was born on Saturday and I was buried on Sunday” is repeated throughout the song.

Blood On Your Hands

Is there a thing like funk/reggae/punk and jazz?

Well listen to this.

If anything The Police amalgamated these different styles and made it sound rock.

Revolution Regained

It’s a metal cut which has a galloping riff like “The Trooper”, some rockabilly sections and an excellent melodic guitar solo.

Silent Victory

It’s their AC/DC cut.

The Intro is “Dirty Deeds”.

The Chorus is melodic.

And how good is the interlude section between 2.10 and 2.30?

Read About It

Cheney is a master of incorporating so many different styles and techniques into a 4 bar riff.

This song has reggae, melodic rock, punk and metal in it, with a progressive mindset.

The Chorus riff is essential listening.

Killing The Right

Similar to “Read About It”.

Check out the guitar work from 2.30 to 2.50.

Astoria Paranoia

A fast drum riff like “Black Betty” starts the song.

Uncle Harry

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

2001 – Part 3.5: P.O.D – Satellite

A singer from a band I was in burnt me this CD when it came out and I was surprised to find out that “Satellite” is the fourth album by P.O.D, released on September 11, 2001.

P.O.D. (short for Payable On Death) are Sonny Sandoval on lead vocals, Marcos Curiel on guitars, Traa Daniels on bass and Wuv Bernardo on drums.

Howard Benson is producing and Benson was sort of the Werman/Olsen of the late 90’s and 2000’s to me. Chris Lord-Alge is mixing and Randy Staub is engineering. If you owned albums in the late 80’s you would have seen these names on production credits.

Set It Off

The tone of the guitar is massive. I wanted to mimic it back then, so I tried different pre-amps to boost my tone.

The intro riff and Chorus riff are great to jam to and suddenly Marcos Curiel was on my radar as a guitar hero.

Alive

In its essence, there is a Texan Hard Rock groove in the intro and verses.

The Chorus is massive, about feeling alive for the very first time. And people liked it. Its sitting at 87.7 million streams on Spotify.

Boom

Another great riff to start the song off.

It’s perfect for the live show, with the catchcry, “Here comes the Boom”. And it’s a popular song for em as well, with 114.93 million streams on Spotify.

It also reminds me of the movie of the same name with Kevin James, who is a high school teacher and becomes a MMA fighter to raise money for the school.

Youth Of The Nation

At 175.96 million streams on Spotify.

Check out the drum groove which appears in the Intro and Chorus. And the kids choir brings back memories of Pink Floyd and I suppose it always will.

Celestial (instrumental)

A short instrumental filler track.

Satellite

How good is the Intro riff?

It’s pure hard melodic rock.

The Chorus riff showcases Marcos Curiel. There’s power chords, artificial harmonics and single note lines, all made to sound massive and supplement the arena rock

Sitting at 16.9 million streams on Spotify. It’s not on as many playlists as “Youth Of The Nation” and “Boom” and “Alive” however it’s as good as those songs.

Ridiculous

If you like hip hop, this is a pure hip hop cut, but it’s not for me.

The Messenjah

Man, that Intro. The clean tone octaves over a droning pedal note and then the distortion comes crashing in.

Check out the Chorus as well.

Guitarras de Amor (instrumental)

A flamenco Texan Western inspired cut. More filler.

Anything Right

It features Christian Lindskog from Blindside. Almost ballad like and it reminds me of “In The End” from Linkin Park.

Check out the section which has the violins and the guitar playing a melodic lead.

Ghetto

A Rush like Intro that reminds me of “Test For Echo” starts the song off as it goes from a world believing in love to the world being a ghetto and transitioning to a Staind like song.

Masterpiece Conspiracy

There is a staccato like tremolo riff in the verses as the words are spat out and rapped.

The Chorus has a metal like riff as the words are screamed out.

Check out the interlude when the bass starts running on its own.

Without Jah, Nothin’

A skip track.

Thinking About Forever

It has an acoustic “What It’s Like” from Everlast track with a nice flamenco solo from Curiel.

Portrait

The closer.

The intro arpeggio riff reminds me of Judas Priest before it goes into a System Of A Down like riff and vocal craziness.

Check out the brief guitar solo in the song in the slower section of the song. It reminds me of those 70’s albums that always had a progressive like track as the closer.

And by the end of the album I became a fan of guitarist Marcos Curiel.

Then, in 2002, Curiel was fired from the band by their manager because he wanted to work on a few other projects while still being a member of P.O.D. The band continued with a new guitarist and Curiel went on with his other projects.

In 2004, Curiel went to court over unpaid royalties.

And P.O.D didn’t achieve the same commercial success without Curiel, as their “Payable On Death” album in 2003 went Gold and their “Testify” album in 2006, received no certification, leading to the band getting dropped by Atlantic Records in 2006 and Curiel’s replacement also leaving. On the other hand, Curiel also didn’t achieve the same commercial success without the guys in P.O.D, so in 2006 he re-joined the band.

In 2008, they released the excellent and underrated “When Angels And Serpents Dance” with Curiel.

But “Satellite” gets all the likes and views.

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