When he went to an audition with a band called “Legend”, he took his guitar.
But they said to him that they need a singer and wouldn’t let him play.
And then he gets the vocalist gig for Black Sabbath, who were going through an identity crisis between 1984 and 1987.
And as soon as he righted the Sabbath ship, he was out and Dio was back in for the “Dehumanizer” album.
And while that was happening on the Sabbath front, Tony Martin kept writing until he had enough material for a solo album.
“Back Where I Belong” was released in 1992 on Polydor.
“It Ain’t Worth Fighting For” is the opening track from the album.
The musicians are seasoned professionals.
Nigel Glockler from Saxon is on drums. Neil Murray from Whitesnake is on bass. Richard Cottle is a session pro, and he plays the keys and also performs the saxophone solo. Carlo Fragnito is on guitars.
A bit if trivia, Fragnito and his brother Anthony formed a band called Blacklace, with vocalist Maryann Scandiffio.
Hailing from Canada, their music is best described as NWOBHM. They released “Unlaced” in 1984 and “Get It While It’s Hot” in 1985. Like a lot of bands who didn’t see success right away, they struggled and eventually broke up.
Carlo then became a session pro.
As soon as you press play, the riff that smacks you in the face is reminiscent to “Headless Cross”.
But the track feels like a heavy blues rock track instead of a metal track.
If it ain’t worth fightin’ for It ain’t worth having And I just gotta have your love
The Chorus is Arena Rock. Make sure you pay attention to the melodic guitars underneath the vocal melody.
Bad Company comes to mind here and the feel from “Rock ‘N’ Roll Fantasy.”
Vocally, Martin comes across as a combination of Lou Gramm and Paul Rodgers.
And that Sax solo works perfectly. It outlines the Chorus vocal melody with some improv.
Disaster. That’s how the American magazines described this album.
Released in 1985, the album never stood a chance.
It was fighting for our attention along with a lot of other things.
Like.
The trilogy of Mutt Lange albums were outselling everything else AC/DC put out during this period.
The Sunset Strip gave the charts and MTV a major shake up and sales followed.
The British had invaded the U.S again with Judas Priest, Iron Maiden, a solo Ozzy Osbourne and Def Leppard cementing themselves as arena acts.
The Germans also invaded via a hurricane called The Scorpions.
And finally an underground Speed Metal scene in San Francisco was slowly taking over the U.S.
But in Australia we remained true. Never wavering. And we made it triple platinum.
But let’s go back in time.
The success of “Back In Black” in 1980 showed the labels that their was an appetite for hard rock music. And the labels wanted more of the same.
So it’s no surprise that by 1985, most of the label rosters had a lot of “hard rockers” on the books. But these rockers wore everything that wasn’t denim and their hair kept hair dressers employed for decades.
Even acts from the 70’s started to participate in this new look so they could remain relevant. But AC/DC didn’t change. They stuck true to their denims and Angus still wore the schoolboy outfit.
And the critics found them irrelevant while they still sold out arenas.
Fly On The Wall
The music is infectious and the vocals indecipherable.
Sign me up.
Shake Your Foundations
It was the only song that got a pass back in the day.
How good is that intro and the Chorus is iconic?
Plus it got decent radio play in Australia.
First Blood
Musically, it’s typical of AC/DC.
Lyrically, Brian Johnson is indecipherable and hard to understand.
Danger
“Come Together” comes to mind when I hear this.
“Here come old flat top” is what my ears are expecting when the song begins.
It’s no surprise that the Young brothers are referencing Chuck Berry here as his fingerprints are all over the riffs the Young’s write.
Sink The Pink
The music clip comes to mind here.
Seeing the band playing in a pub/bar again and that pesky fly from the cover getting a hard on (via its nose going from limp to hard) when a women dressed in pink enters the pub.
But it’s the music that seals the deal and Brian Johnson sounds better in the video than the recording.
I like the musical reference to “For Those About To Rock” and The Who’s “Won’t Get Fooled Again”. So I was hooked.
“Sink the pink, it’s all the fashion”
It has so meaning meanings.
The Urban Dictionary tells us, sink the pink means to “have sexual intercourse with a virgin, and to pop her cherry”.
But the Urban Dictionary didn’t exist in 1985 and my young impressionable brain saw it as a song about drugs.
And thanks to the Internet, I believe it is.
Welcanol was known during the eighties as the South African Heroin (Pink Heroin). It could be obtained via a Doctor prescription and it came as a pink tablet.
So before OxyContin there was Pink Heroin.
“Drink the drink it’s old fashioned”
I’ll take an old fashioned drink any day.
Playing With Girls
I love the music and the groove here.
But I hate the title and the fact that Johnson is mixed low and indecipherable.
Definitely a missed opportunity here.
Stand Up
I like this song. It’s defiant and it rocks.
If you just listen to the Chorus you would think it’s about standing up and facing the world, but when you read the lines in context with the verses, well, it has a different meaning.
Hell Or High Water
A 4/4 groove and we are off.
But it’s pointless as Johnson is buried in the mix and the song is ruined.
Back In Business
A deep cut. It reminds me of ZZ Top and I like it.
Send For The Man
Musically it rocks but the buried Johnson chainsaw like vocals ruin it.
It’s not a perfect album, then again most of the albums released in 1985 are far from perfect. In other words, the era of more filler than killer was well and truly in motion.
But I would say, it’s an underrated album from a band that enjoys doing their thing without over obsessing about it.
The U.S tour had controversy. It all took place underneath the censorship discussions concerning rock music. Religious groups tried to ban certain shows while city officials wanted to rate each show and give the shows a movie style rating, which would then exclude fans from going. Fire officials would also get in on the act and limit or stop any pyrotechnics.
But the band went on.
In the vinyl album sleeve of the “Fly On The Wall” re-release from 2020, Angus sums up the tour like this;
“This tour’s a little like a series of wrestling matches with the loonies. But what’s the fun of life without an occasional tussle”.
“Blue For You” is studio album number 9 for Status Quo released in March 1976. Coming into this album, they had built up a pretty solid fan base in the U.K, Australia, Netherlands, France, Spain and New Zealand.
And they never properly broke through into the U.S market on the backs of sales, but with the streaming numbers they are getting these days, you could say that the band has broken into U.S market.
How many bands get a chance to record 9 albums?
And guess what, their biggest songs, would come on subsequent albums?
Status Quo for this album is John Coghlan on drums, Alan Lancaster on bass/guitar and vocals, Rick Parfitt on guitar/keyboards and vocals and Francis Rossi on guitar and vocals.
Is There A Better Way
Is there a better song that merges pub rock, rock and roll and a bit of street attitude then this?
Press play and let Status Quo mesmerize you with this.
Mad About The Boy
A 12 bar blues boogie tune.
Ring Of A Change
Thousands of bands played like this in 1976. Some had success doing it and others didn’t. Status Quo had very good vocalists behind this with pop like sensibilities who also rocked hard.
Blue For You
The title track. It’s got that 60’s rhythm and blues feel.
Rain
I’m a fan of the more energetic songs like this one.
Written by guitarist Rick Parfitt, “Rain” also became the first single from the album, reaching No. 7 in the UK charts after its release in February 1976.
Its B-side was the non-album track “You Lost the Love”, written by Francis Rossi and Bob Young.
The riffs in this song can be heard in the NWOBHM which came after. When ELO decided they wanted to rock, they sounded like this. They would use this kind of riff to greater commercial success later on with “Whatever You Want”. AC/DC also made a name for themselves jamming on chord vamps like this.
Rolling Home
It has this “Radar Love” blues rock vamp happening. The only thing you could do is tap your foot and rock on.
That’s A Fact
I love the groove on this. It’s almost funky, but not. It also reminds me of “American Woman”.
Ease Your Mind
It’s a bit of Beatles, it’s a bit of rock and roll and a bit of soul. And a like it.
Mystery Song
It’s like a progressive rock song without the time changes as the song goes through moods between atmospheric dream like folk rock to a full blown pub rocker.
And the album ends here.
But in 2005, they re-issued the album with some bonus tracks.
You Lost The Love
Dreamy pop rock written by guitarist Francis Rossi and Bob Young.
Wild Side Of Life
It sounds like a Beatles cut. And I like it.
It’s a cover song made famous by country singer “Hank Thompson and His Brazos Valley Boys” (now that is a band name) and written by Arlie Carter and William Warren.
It was originally released in 1952, and while it wasn’t on the original album for Status Quo, they did release it as a single in December 1976.
A perfect Christmas gift for those hardcore Status Quo fans. Its B-side was a new composition called, “All Through the Night”. The single reached No. 9.
Remember when artists used to do this. Release albums and singles more frequently. This was the strategy up to about 1985.
The rise of MTV in the 80’s and the “Blockbuster Release” strategy of spending a lot of dollars to get an album that each song could be a potential single (think “Thriller”, “Born In The USA”, “Brothers In Arms”, “The Joshua Tree” just to name a few) changed this model, because everything was about maximising the promotion of each release so the act could get multi-platinum sales.
There were a few surprises like “Back In Black” from AC/DC, “Pyromania” and “Hysteria” from Def Leppard, and “Slippery When Wet” from Bon Jovi. They were just albums put together and they sold even higher than the “Blockbuster” albums.
And a bit of trivia, bassist Alan Lancaster had to come back home to Australia, so the bass duties on “Wild Side Of Life” are done by Roger Glover from Deep Purple.
All Through The Night
It’s got this heartland vibe written by guitarist Francis Rossi and bassist Alan Lancaster. I dig the major key riff which is played under the chorus hook.
If you are keen to check out some 70’s hard rock and blues with smooth vocals, press play on this.
P.S.
Status Quo are a British rock band formed in 1962 and originally called “The Scorpions”.
I am stretching the Australian link because founder and bassist Alan Lancaster, moved to Sydney after meeting his Australian wife.
After Status Quo, Lancaster played with leading Australian bands, The Bombers and The Party Boys.
Wings came into my life because of “Live And Let Die”.
I knew Paul and Linda McCartney were in the band but had no idea who else was.
A quick Wikipedia search showed that Denny Laine is on vocals, acoustic/electric/bass guitars, piano and harmonica, Jimmy McCulloch is also on vocals and acoustic/electric/bass guitars and Joe English is on vocals, drums and percussion.
Let Em In
A door bell like sound starts off the song before a simple drum groove with a locked in bass line rolls in with piano chords on each start of a new bar.
It’s soul noir in vibe.
The McCartney’s are welcoming you in to their house. Paul is on vocals here.
The Note You Never Wrote
Written by the McCartney’s with vocals from Denny Laine.
I like this.
It is typical of the era, with hints of blues, gospel and soul all wrapped up in a ballad like groove with various 70’s sound effects lightly playing in the background. Subtle and not overpowering.
She’s My Baby
It’s a skip for me. The feel good upbeat feel of the song and the title just don’t resonate.
Beware My Love
The acoustic riff in the intro. Press play to hear it.
And it goes through many musical movements. When you get the 2 minute mark it’s almost unrecognisable. But I like it. The 70’s acts all experimented with structures and different musical movements.
Both the McCartney’s share vocals here.
Wino Junko
Great title, it sounds like a Sammy Hagar owned pub.
Written and vocals by Jimmy McCulloch.
I like the acoustic guitar strummed riff. It rolls along nicely, giving space for the vocal melody to lead.
Silly Love Songs
It is one of the most listened songs from the album at 60.6 million streams. But its soul ballad rock just doesn’t connect.
Vocals are provided by the McCartney’s and Laine.
Cook Of The House
The sound of a frying pan starts it all off. Before a 12 bar blues riff kicks in and Linda McCartney starts singing.
Time To Hide
My second favourite just behind “Beware My Love”.
Written and sung by Laine.
The groove on this song connects immediately. Just listen to McCartney’s bass lines. It rules while the guitar just plays chords.
The lead break that kicks in after the harmonica solo is simple, more or less playing the chords with a single note on the higher strings. Yet it works so well. “Play for the song, not for the glory” comes to mind here.
Must Do Something About It
It’s a skip for me. Vocals are provided by drummer Joe English.
San Ferry Anne
It’s got this traditional sea pub groove happening with vocals from Paul.
But it’s a skip for me.
Warm And Beautiful
A piano riff starts it off, a mixture of “Hey Jude” and “Let It Be”. But it stays in that piano and vocal sound for the full 3 minutes and it does get a boring.
Vocals are provided by Paul.
I’ll finish this off with this Wikipedia entry from the Rolling Stone review which described it as a “Day with the McCartneys” concept album. The introduction, “Let ‘Em In” was perceived as an invitation to join the McCartneys on this fantasy day, with explanation of their philosophy (“Silly Love Songs”), a lunch break (“Cook of the House”), and a chance to get to know McCartney’s friends (Denny Laine in “The Note You Never Wrote”, Jimmy McCulloch in “Wino Junko”, etc.).
The debut album from Heart, released in September 1975 for all Canadian music lovers via Mushroom Records. It then got a U.S and international release in 1976.
The band for the album was made up of Ann Wilson on lead vocals, Nancy Wilson on electric and acoustic guitars, Roger Fisher on electric guitars, Howard Leese is on a lot of different instruments, Steve Fossen on bass and Mike Derosier on drums for two songs, with Dave Wilson, Duris Maxwell and Kat Hendriske providing drums on the other tracks.
Mike Flicker is producing. As Heart got bigger so did Flicker’s career.
But the Heart story doesn’t just start in 1975. It goes back almost a decade.
In 1967, bassist Steve Fossen formed the band as The Army, along with Roger Fisher on guitar, Don Wilhelm on guitar/keyboards and lead vocals, and Ray Schaefer on drums.
In 1969, the band went through some line-up changes and took on a new name, Hocus Pocus. Between this period they took on the name “White Heart”.
By 1973, the band was Ann Wilson on vocals, Steve Fossen on bass, Roger Fisher on guitars, Brian Johnstone on drums, and John Hannah on keyboards and they had taken the name Heart.
Ann’s sister Nancy joined circa 73/74 and the sisters quickly established themselves as the main songwriters.
Magic Man
A simple groove and Ann Wilson’s iconic voice. It’s almost psychedelic and progressive.
Dreamboat Annie (Fantasy Child)
It’s a dreamy acoustic arpeggio riff to begin with, before it morphs into some serious acoustic folk rock playing from Nancy Wilson.
Crazy On You
Press play to hear the riff and the infectious vocal melody. This is what Hook City sounds like.
Soul Of The Sea
Another dreamy washy acoustic guitar riff forms the centrepiece. Almost “Albatross” like. The structure of verse and chorus is not here. It feels like verses and various gateways to progressive like movements, more mood and atmospheric like than a million notes per minute.
Dreamboat Annie
Flamenco like acoustic arpeggios are its foundation.
White Lightning And Wine
Its greasy and sleazy blues.
Love Me Like Music (I’ll Be Your Song)
Country folk rock. Even in the title.
Sing Child
Press play to hear the intro riff.
How Deep It Goes
More dreamy/smoking weed acoustic folk rock.
Dreamboat Annie – Reprise
It continues with the dreamy acoustic guitars. Campfire folk rock.
In the end, the standout track here is “Crazy On You”. It’s melodic rock at its best. Then press play on “Magic Man” for its rock groove and vocal melody. If you are still interested, crank the blues rock of “White Lightning and Wine” and finish it off with the dreamy trilogy suite of “Dreamboat Annie” songs.
In Australia, the album went Gold. In Canada in went 2x Platinum and in the U.S it went Platinum.
The success of the album indirectly led to a break between the band and label.
The band tried to renegotiate their royalty rate to be more in keeping with what they thought a platinum band should be earning. Mushroom wasn’t interested so instead of paying the band more in royalties they used the money earned from the band to take out a full-page ad in Rolling Stone, to mock the band, with a special dig to Ann and Nancy Wilson.
Not long after the ad appeared, a radio promoter asked Ann about her lover; he was referring to Nancy, thus implying that the sisters were incestuous lesbian lovers. The encounter infuriated Ann who went back to her hotel and wrote the words to what became one of Heart’s signature songs, “Barracuda”.
The band then signed with Portrait Records.
But Mushroom wasn’t done yet. It’s a big no-no in label land to let an act leave and make money with another label. So Mushroom said that the band was still bound to the contract, which meant they had to deliver two more albums. The band refused and Mushroom released “Magazine” with incomplete tracks, studio outtakes and live material and a disclaimer on the cover in 1977.
The band got a federal injunction to stop distribution of the 1977 edition of “Magazine”. Most of the initial 50,000 pressings were recalled from stores. The court eventually decided that the band could sign with Portrait, however they did owe Mushroom a second album. The band returned to the studio to re-record, remix, edit, and re-sequence the recordings.
“Magazine” was re-released in 1978 and sold a million copies in less than a month.
P.S.
Mushroom Records went bankrupt by 1980 although an Australian arm of Mushroom did survive well into the 2000’s.
It’s the last studio album by James Gang, released in 1976. Joe Walsh was 5 years into his Eagles slot and the band had continued on with a variety of line-up changes.
Their first album in 1969 was recorded as a power trio consisting of Joe Walsh (guitars, lead vocals), Tom Kriss (bass), and Jim Fox (drums). One of my favourite guitarists Tommy Bolin recorded two albums with the Gang called “Bang!” (released in 1973) and “Miami” (released in 1974) before he accepted the Deep Purple offer.
Only drummer Jim Fox remains. This album is the only one recorded with lead guitarist Bob Webb and keyboardist Phil Giallombardo. Giallombardo was in the Gang’s first ever line up with Fox, however he had left prior to the recording of their first album.
The cover features an atmospheric painting of the folk hero riding off into the sunset, an image which fans had identified as evidence that the band had known this album to be its last.
The players on this album are Bob Webb on guitars and lead vocals on three tracks, Phil Giallombardo on keyboards and lead vocals on the other 6 tracks, Dale Peters on bass guitar and Jim Fox on drums.
I Need Love
Written by keyboardist and co-vocalist Phil Giallombardo.
A simple syncopated bass and kick drum groove starts off the song. It’s almost funky but I feel like its hard rock.
The vocal melodies are overused.
Some of the critics said that the playing is uninspired but these guys can play and groove as evidenced here.
Another Year
Written by guitarist and co-vocalist Bob Webb. It’s a typical 70’s cut, with a dreamy acoustic guitar shimmering with some emotive leads that remind me of “While My Guitar Gently Sleeps”.
Feelin’ Alright
Written by the band, it’s also the most streamed track at 196,915 streams on Spotify. Press play to hear the lead break.
Peasant Song
Written by Phil Giallombardo, it’s a piano ballad with strings and this song feels like a bad Hollywood movie soundtrack, and it doesn’t connect at all.
Hollywood Dream
Written by Bob Webb and I like the rhythm and groove of the blues. It’s almost metal and its forgotten at 46,590 streams on Spotify.
Love Hurts
Written by Andrew Gold who was an American multi-instrumentalist, singer, songwriter, and record producer. He played on a lot of albums from other artists and wrote songs for artists as well. He died in 2011 at age 59 from heart failure.
It’s is an overused title.
The piano is back again, so far removed from the funk and blues of what the band was known for.
It’s a skip for me.
Pick Up The Pizzas
An instrumental track written by Bob Webb. A terrible title for one of the best riffs on the album. Press play and enjoy another forgotten track.
Stealin’ The Show
When Bob Webb writes a track there is guitar on it. On this one the acoustic guitar is back and Bad Company comes to mind.
When I Was A Sailor
The closer, at 6 plus minutes long and written by keyboardist Phil Giallombardo. This song is more Styx than James Gang.
The album is forgotten, with most songs being streamed less than 50,000 times. Especially when you compare those numbers to the Joe Walsh penned tunes like “Funk #49” with 47.382 million streams on Spotify and “Walk Away” with 29.297 million streams.
In the end, this album is just a bunch of musicians who wanted a record deal. Unfortunately for them, it was under the name of James Gang, which would always be known as Joe Walsh’s band, even though he wasn’t a founder. But the label still saw value in the project, however they also pulled the plug on it after the album stiffed.
The Screaming Jets released the single “Better” and two months later, their debut album “All For One” came out. Their sound is made up of an amalgamation of Australian acts like AC/DC, The Angels, INXS, The Choirboys and Cold Chisel, with a little bit of blues, a little bit of Classic Rock and Punk Rock thrown in. And it connected with the people of Oz.
Dave Gleeson always like to push censorship issues, and I remember when he appeared in the MTV Studios in Sydney for an interview, wearing a Metallica T Shirt with the “Metal Up Your Ass” design on it. The MTV guys weren’t too impressed and when he sat for the interview he had to strategically cover the offending images with his hands.
The group then relocated to the United Kingdom for over two years. The wanted to break into a European market first, before attempting their assault on the massive North American market. Doc McGhee was very keen to be the one to break them in the U.S
In the meantime, their youthful energy was getting them into trouble with other artists. The Divinyls wanted them off the Australian tour they were doing together, because lead singer Dave Gleeson insulted Chrissy Amphlett on stage, when he said, “Are you here for a rock and roll show or just a tasteful flash of the vag?”
Warrant copped it as well, when they turned up at a Club that the Jets were playing in Kings Cross, Sydney.
However Skid Row and Motley Crue liked the Jets and the Jets like them back.
As a warm up for their sophomore release, the label decided to release an EP called “Living in England” in June 1992. It included cover versions of Johnny Cash’s “Folsom Prison Blues” and AC/DC’s “Ain’t No Fun (Waiting Round to Be a Millionaire)” along the three album tracks. And we loved it. It wetted our appetite for more.
In October 1992, “Tear of Thought” dropped.
The band was unchanged with Dave Gleeson on vocals, Richard Lara on guitar, Grant Walmsley on guitar, Paul Woseen on bass guitar and Brad Heaney on drums. Continuing on from the debut album, bassist Paul Woseen and guitarist Grant Walmsley carried the bulk of the song writing.
And for some stupid reason the European release had a different cover.
Dream On
No, it’s not an Aerosmith cover. Written by Paul Woseen, it’s got this U2 vibe to start off, with backward sounding guitar effects and delays while the drums and bass slowly build it up, until the whole band kicks in.
And suddenly it feels like a post pop punk cut with a nod to The Angels and a 12 bar blues solo that George Thorogood would be proud off.
Here I Go
The intro riff. Heavy fucking Metal.
Please play just to hear it.
The song is written by Paul Woseen and its one of my favorites.
Especially the last 80 seconds, when they go into the main intro riff, the ohhs and ahhs vocal chants begin, the tempo increases, a lead breaks out and the tempo keeps on increasing until chaos reigns and the song ends.
Meet Anybody
Written by guitarist Grant Walmsley.
It has a vibe from The Angels, but man, the verses sit in the LA Sunset Strip style of writing.
When the Chorus kicks in, it’s got that Albert Productions sound. Press play and enjoy.
Alright
Another Grant Walmsley cut which reminds me of Cold Chisel and The Angels, with a head banging rocking solo section.
Night Child
Written by Paul Woseen, the songs music is rooted in the sounds of ACCA DACCA, however if you play the main riff with the distortion set to max, it sounds like it came from the fingertips of the NWOBHM bands.
Helping Hand
Written by Paul Woseen, this song was the unexpected hit.
It’s got this Crime Noir feel in the verses almost jazz blues, but when the bluesy Chorus kicks in, its singalong and infectious, remaining with you long after its finished.
Everytime
Written by Grant Walmsley and I feel like he channels Ian Moss from Cold Chisel with the main riff.
Living in England
Also written by Grant Walmsley, its two minutes of relentless punk speed metal power. It’s heavy and it has a Lemmy/Motorhead vibe all over it. I guess that’s what “Living In England” meant to them. You just become influenced by Lemmy. And Brad Heaney on drums is a powerhouse here.
Think
Written by Paul Woseen it’s got an Alice Cooper “Only Women Bleed” feel with a lot of pub rock decadence. For a ballad, it’s not wimpy and it rocks hard.
Press play to hear what I mean, or you can watch the film clip on YouTube with all the surrealism images.
Best of You
Written by Paul Woseen, this song makes me think of other songs but I can’t remember what they are right now.
Rich Bitch
Written by Paul Woseen, its an attempt to do Fat Rich Cunt Part 2. George Thorogood would be proud.
Tunnel
Written by vocalist Dave Gleeson and guitarist Richard Lara.
The riff from Lara is excellent. The horns in the Pre-Chorus and Chorus enhance the song. Think “Tangled In The Web” from Lynch Mob.
Musically it’s a cross between The Angels, Bad Company and AC/DC.
Hard Drugs
Written by Grant Walmsley its channelling The Angels.
Sick and Tired
Written by Paul Woseen it’s got that jazzy rhythm and blues feel that you hear on “Helping Hand”.
Shivers
Rowland Howard wrote a post punk masterpiece in the form of a ballad. For those that don’t know, it’s a cover from the band he was in called Boys Next Door who had Nick Cave as the vocalist for them.
The opening lyrics “I’ve been contemplating suicide / but it really doesn’t suit my style” immediately grab you by the throat and make you pay attention.
Feeble
Written by Grant Walmsley, the album closer is a different cut, moving between a post punk mood at the start, to a ballad like mid-section, before picking up the fast post punk feel. .
In Australia, it received a Platinum certification and charted as high as 3 on the ARIA chart.
The group supported Ugly Kid Joe on their European tour in 1993, when Heaney was fired mid-tour as he thought that all the band members had turned gay and that the girlfriends they had were just decoys to trick him that they were not gay.
Heaney was temporarily replaced by ex-Judas Priest drummer Dave Holland until former BB Steal drummer Craig Rosevear became the permanent drummer in July 1993.
For those who don’t know, BB Steal were meant to be Australia’s Def Leppard. Singer Dave Gleeson wasn’t too impressed to hear that a hair band drummer was being considered, but after meeting and jamming with Rosevear, he changed his mind.
And that wouldn’t be the end of the changes. In January 1994, after a US tour backing Def Leppard ended, guitarist Richard Lara was replaced by Melbourne guitarist Jimi “The Human” Hocking (ex-Spectre 7).
1976 saw AC/DC’s first internationally-released album, “High Voltage”. The demand for Oz Rock was already on the up.
Enter Cold Chisel.
After years of hitting every place and pub in Australia and drinking those places dry with their road crew, or getting banned due to fighting, Cold Chisel finally got a record deal and released their first album on WEA/Elektra in 1978.
But.
If you ever caught the band live, the self-titled debut sounded nothing like the band did on stage.
They also had a producer that kept telling em that live is live and the studio is the studio. They cannot intersect. Well tell that to Bob Rock who made it his mission to capture how good a band sounded live, in the studio.
Before the album was even released “Khe San” was already a crowd favourite however it was a lot faster live than the studio version. But there is something special about the slowed down studio version as well.
Juliet
It’s a rocker, more STYX like with a little bit of “Evie” from Stevie Wright and “Mississippi Queen” from Mountain.
Khe Sanh
“Khe Sanh” was released as a 45 rpm single in May 1978. It captures, the despair and the anger of an Australian Vietnam war veteran. There were no parades for these guys. They came back home, hated. And the promises made by the Government to look after them never came to be.
It was banned from commercial radio as the lyrics had references of sex and drugs. Lines like these were scandalous. “And their legs were often open/But their minds were always closed”.
But a great song is never born from marketing. It’s from word of mouth.
And the Battle of Khe Sanh was fought mainly by US Marines but this didn’t matter.
The piano riff is rocking and the best part of the song is when Jimmy Barnes sings, “the last plane out of Sydney is almost gone”.
And maybe all of us were a bit damaged as well so the song resonated with a lot of people who had addictions and couldn’t make meaningful contact with woman, and the need for casual sex with East Asian women.
Home And Broken Hearted
The verse riff reminds me of AC/DC, who were influenced by Chuck Berry.
One Long Day
The bass rumbles while the piano plays a jazzy riff that reminds me of “Long Way To The Top”. And it takes a left turn when it changes to lounge rock.
Northbound
Blues rock at its best
Rosaline
It could be a STYX or Bee Gees cut. It’s almost progressive the way Don Walker plays the piano.
Daskarzine
Its fast and aggressive.
Almost Rose Tattoo like and when “they speak her name in cheap hotels/From Turkey to Marseille” we get an understanding as to who Daskarzine is.
Just How Many Times
Its lounge jazz blues rock, slow and relaxed. The lyrical message is more important than the rest. Barnesy is a crooner on this, an R&B style of crooner.
They never got the big break in North America that they wanted, but it’s pretty hard to sell your act when your lyrics paint a picture of Australia.
The debut Baby Animals album was everywhere in Australia. Before the album was released in September 1991, they had some serious momentum over 15 months coming in to the album. The Angels was one of the biggest bands in Australia during this time and the Baby Animals was the opening act between 1990/91.
The album debuted at number six on the ARIA Album Charts and spent six weeks at number one, eventually going eight times platinum and becoming the highest-selling debut Australian rock album of all time (until the release of Jet’s album, “Get Born” 12 years later).
I saw em live at the Revesby Workers Club on the tour. An up and coming band called Judge Mercy was opening for them. They were excellent, but they unfortunately disappeared when the labels started dropping metal and rock acts in a years’ time.
And the Baby Animals rocked. Drummer Frank Celenza was huge behind the kit, laying down the foundations along with bassist Eddie Parise. Dave Leslie on guitar is so underrated, playing a chicken picking style and Suze DeMarchi on guitar rocks hard. Everyone raves about Lzzy Halestorm, but I’m pretty sure she would have been influenced by DeMarchi. And on vocals, DeMarchi is bluesy and soulful.
The album was produced by task master Mike Chapman and engineered by Kevin Shirley. The personnel alone shows the albums intention.
And my favourite track is “Working For The Enemy”, that whole break down section, lead break and build up is excellent. My second favourite is the metal like “Waste Of Time” with its energetic double kick intro and heavy blues boogie rock riffs.
“One Too Many” is “Rock N Roll Noise Pollution” in spirit and influence, while “Aint Gonna Get” is AC/DC on steroids and highway speed tempos with a Chorus that reminds me of “I Love Rock And Roll”.
And I haven’t even gotten into the singles yet.
How good is the intro to “One Word”?
But DeMarchi didn’t like the song after it was finished and asked the label to keep it off the album. The song went through a transformation, from a country-ish rock feel in the demo (which can be heard on the 25th Anniversary Edition) to the melodic rock beast it became, as Chapman kept asking them to work on it.
Guitarist Dave Leslie paid his dues in a Cold Chisel covers band called Swingshift, playing Australian pub rock classics on a nightly basis and he knew what worked with audiences. His chicken finger picked intro to “One Word” is guitar hero worthy.
“Rush You” is the opener as the power chord crashes down and the cymbals ring before it goes into a double time beat and some series riffage and how cool is that “Back in Black” walking chromatic riff just before the verse.
“Early Warning” begins with the drums while a slide guitar plays a rock riff and the music then stops while DeMarchi sings, “Too Young To Know and Too Old To Listen”.
The band kicks in again. Then the verses come and it’s like a Jimi Hendrix song, before it moves into the power of the Chorus.
“Painless” has this funk blues boogie which I like. If you haven’t heard it, today is a great day for it.
They toured hard on this album, playing all the major cities and regional towns in Australia, and once Bryan Adams heard the album, he added them to his European leg.
The Black Crowes added them to their Australian and New Zealand tour, while Eddie Van Halen, asked for them to be the support act on the “For Unlawful Carnal Knowledge” tour after he heard the album via his wife Valerie Bertinelli.
By the time their touring commitments ended for the album in August 1992, they had played over 500 shows.
“Slowhand” is the fifth full-length studio album by Eric Clapton, released on 25 November 1977 by RSO Records.
Clapton is in the news these days for the wrong reasons. I was even called a racist at my place of work for listening to his music.
I suppose it’s the age old question.
Do you stop listening to an artists for things they’ve said or done that you don’t agree with?
I have three vaccines in me so I don’t really care if artists I enjoy listening to sprout anti vaccine bullshit. The racist rant he went on in a 1976 concert was bizarre to say the least, especially how he is influenced by black musicians. And I’m a foreigners son but I didn’t care much either way.
It gave rise a Rock Against Racism movement back then and then he dropped “Slowhand” which became a massive seller for him.
And coincidence or not his band is white.
Eric Clapton is on lead vocals and guitars. Dick Sims is on keyboards, George Terry on guitars, Carl Radle on bass, Jamie Oldaker on drums/percussion and Mel Collins is on saxophones. Yvonne Elliman does the excellent harmony and backing vocals. Marcy Levy is also on the harmony and backing vocals, and duets with Clapton on “The Core”.
Glyn Johns expertely captures the sounds as engineer and producer. Clapton really wanted to work with Johns, because of his work with The Rolling Stones and The Eagles, however while in the studio, Johns ran a disciplined ship which discouraged jamming. According to Johns, why take away precious time from recording to jam. Since Clapton and his band were drunk most of the time, Johns had no other choice but to run a tight recording schedule.
Cocaine
Written by J.J. Cale who it seems like was getting covered by everyone. The riff is straight from the songbook of “Sunshine Of Your Love”.
At 333.6 million streams on Spotify, it’s one of his most played. And I don’t care how Clapton spins it, the song is about taking the drug,
Lay Down Sally
Written by Eric Clapton, George Terry and Marcy Levy, I like the 12 bar bluegrass shuffle on this. It reminds me of Dire Straits even though this was written before.
Wonderful Tonight
On Spotify it has 309 million streams but press play for the lead breaks which make up for the lyrics which could be classed as silly.
A live song written by Eric Clapton for his then wife.
Next Time You See Her
Another track written by Eric Clapton which could pass for the embryo of the Hootie And The Blowfish sound.
There is anger here at losing his lover.
We’re All the Way
Written by country artist Don Williams. It’s a slower song with shimmering acoustic lines, a soft brush drum beat and baritone vocals.
And it is this style which dominates the album.
The Core
Written by Eric Clapton and Marcy Levy. At almost 9 minutes long, Clapton is trying to re-create “Crossroads” from Robert Johnson in certain sections however there are lot of riffs to unpack here and all of them are a fun to play.
May You Never
Written by John Martyn.
Clapton breaks out the acoustic guitar here, with a kind of Eagles-style tune that doesn’t disappoint and is one that I enjoyed quite a bit.
Mean Old Frisco
Written by Arthur Crudup
Clapton brings a gangster attitude to this as the song reminds me of something that The Black Crowes would do in the 90’s.
Peaches and Diesel
Written by Eric Clapton and Albhy Galuten.
It’s an instrumental with a guitar hero like solo. Musically it shares elements to “Wonderful Tonight”.
And the album did great business all around the world with various certifications from different regions.
The thing I like about Clapton is that he takes on covers and re-invent those songs for the modern market. In a way, making em his songs.
destroyerofharmony 