Tag Archives: blues rock

Derivative Works, Influenced, Music, My Stories

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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The Record Vault: Drivin N Cryin – Smoke

“Smoke” is album number 5 from Drivin N Cryin, released in February 1993 on Island Records.

I got it a few years after as I was trying to get my hard rock fix circa 95/96.

And it was a purchase based on the song titles. When Grunge hit, a lot of the song titles had just one word as the title.

As soon as I saw titles like “Back Against The Wall”, “Turn It Up Or Turn It Off” and “Whiskey Soul Woman”, I was curious. Then I saw that Geoff Workman (RIP) is the producer and engineer so I purchased.

For those that don’t know Workman has been involved in either producing and engineering some massive albums for The Cars, Queen, Journey, Foreigner, Toto, Mötley Crüe and Twisted Sister.

I knew nothing about them and for quite some time, I presumed this album was their first.

But the band was formed in 1985 and had a deal the following year.

Kevn Kinney on vocals/guitar, Tim Nielsen on bass and Paul Lenz on drums are the original members.

The band’s name, Drivin’ N Cryin’, was chosen because it reflected the two directions of the band’s music. Good for driving and good for crying.

In 1987, Lenz left and was replaced by Jeff Sullivan. And rock history would have it that Sullivan was the drummer for a certain band called Mr. Crowes Garden, which later would became known as The Black Crowes.

Afterwards Rhythm Guitarist Buren Fowler joined the trio and this is the band as I know it.

While they released albums in the 80’s, it was “Fly Me Courageous” released in 1990 and with Geoff Workman as Producer, which is seen as “the album” from the band. Certified gold, the album is hard rock the way it should be, without zero hairspray and make up and no label interference. However I didn’t know this at the time.

And three years later, “Smoke” follows in the same direction with Geoff Workman behind the boards again and the same sound.

Back Against The Wall

It feels like a derivative version of “Ace Of Spades” with a “Wipeout” drum groove in between certain sections. And I like it.

She Doesn’t Wanna Go

One of my favourites, especially that Chorus riff.

Smoke

This one has a Van Halen feel in the Intro riff, but as soon as the Verse kicks in, it’s like Thin Lizzy and in the Chorus its AC/DC.

What is there not to like.

When You Come Back

It sounds like a cut from the “Lies” EP by Gunners.

Patron Lady Beautiful

At 7 plus minutes, it’s a jam out 70’s style cut, slow blues rock with a lot of guitar solos. Another favourite.

1000 Swings

It’s a blues rock tune with a metal like Chorus riff.

1988

It feels like some of the early Sabbath recordings when they just jammed the blues.

Whiskey Soul Woman

The Cult comes to mind when I think of this song.

And it’s got the “Strutter” beat which I like. I call it the “Strutter” beat, because the Kiss song was the first song I heard with that snare/high-hat and bass drum all at same time.

What’s The Difference

It’s very Petty/Dylan and I like it.

It’s just a light dirty electric and a vocal melody.

Eastern European Carny Man

It’s like a Bad Company meets Boston track.

All Around The World

Its sleazy in the riff department, very 80’s Motorhead like.

Turn It Up Or Turn It Off

It feels like a merge between “Do Ya” and “Whole Lotta Rosie”. Vocally, the melodies feel very Tom Petty like.

Once this track finishes there is 30 seconds of silence and “Can’t Fall Off the Mountain,” a hidden track begins like an acoustic camp fire tune.

And I enjoyed this album.

But I lost sight of em as I started getting into bands like Collective Soul, Tonic, Matchbox 20, and some of my 80’s and early 90’s favourites started to release some great recordings circa 97 and onwards.

So if you like hard rock with bluesy overtones and some Petty/Dylan/Lemmy/Lynott influenced like singing, call up Drive N Crying.

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1976 – Part 3.5: Doobie Brothers – Takin It To The Streets

It’s a great album title but people hated the cover, thinking it was lazy.

“Takin’ It to the Streets” came out in 1976 and it’s the first to feature Michael McDonald on lead vocals. If you own the “1984” album by Van Halen, you will see Michael McDonald listed as a co-writer to “I’ll Wait”.

Tom Johnston was the leader and main songwriter in The Doobie Brothers. But in 1974 while touring, he fell ill and he had to reduce his involvement with the band. This got the label nervous as they didn’t want the band to continue without Johnston and the other members considered calling it quits.

But newbie guitarist Jeff Baxter suggested calling up a friend and fellow Steely Dan graduate Michael McDonald to finish the tour. McDonald thought that once the tour was over, he would be on his way, but was then asked to come into the studio to work on their next album.

Producer Ted Templeman (another familiar name for Van Halen fans) started going over the songs the band had available, but he knew they needed more and McDonald was asked to contribute his own songs. Which were very different sounding to what the Doobies played and if the band recorded em, would take the band in a different direction.

And that is what happened. So let’s see how the bridge between the Johnston and McDonald era sounded.

The musicians for the album are Tom Johnston who was still around to contribute and he played electric guitar, lead and backing vocals on the track “Turn It Loose” and vocals on “Wheels of Fortune”.

Patrick Simmons played electric guitars and lead vocals on a few songs,

Jeff “Skunk” Baxter is on electric guitars.

Michael McDonald played all the piano and synths as well as lead and backing vocals.

Tiran Porter on bass, backing vocals and lead vocal on “For Someone Special”. Drums were provided by John Hartman and Keith Knudsen.

The album had a The Memphis Horns section and various other musicians playing congas and violas and what not. Even Templeman chimed in with some percussion.

Speaking of the Production team Donn Landee (another familiar name for Van Halen fans) was there as Engineer.

Wheels of Fortune

The clean tone riff to start the song rocks and grooves. Almost funk rock like. Dare I say it, Steely Dan like.

Written by Patrick Simmons, Jeff Baxter and John Hartman, it’s still the old Doobies sound.

Vocals are provided by Tom Johnston.

Changin’ wheels of fortune
Drivin’ us on and on
Winnin’, sometimes losin’
As soon as it’s here it’s gone

Living from payday to payday is the only way for a lot of people.

Takin’ It to the Streets

The Michael McDonald era begins. The title tracks is solely written by McDonald. Its piano driven, and it funks and sort of rocks.

I also like the bass playing from Tiran Porter. Check it out.

And the solo is driven by The Memphis Horn Section. Yep horns and not guitar.

I ain’t blind and I don’t like what I think I see
Takin’ it to the streets

People have taken to the streets to protest a lot these last 15 years, but it’s still the same rubbish.

8th Avenue Shuffle

Guitarist Patrick Simmons wrote this one. It’s a blues soul funk tune, with some wonderful bass playing. Hell, it could appear on an Eagles album and not be out of place.

Losin’ End

Another track written by McDonald. It does nothing for me.

Next.

Rio

A track written by guitarists Simmons and Baxter, with vocals provided by Simmons and McDonald.

A Charlie Watts style drum beat starts the song, and when the Latin percussion comes in, I felt like I was listening to an Al Di Meola cut.

This track is the definition of “Yacht Rock”.

For Someone Special

Written by bass player Tiran Porter and the vocals are delivered by Porter himself.

The 70’s acts all had capable musicians who could play and sing.

The bass plays the main riff here, while the guitars and keys decorate. It’s trippy and I feel like he’s venting his feelings about Tom Johnston.

To reach down inside
And push that nightmare away
Now I’m glad that it’s over, it’s over
Now I can play

It’s always difficult for a band when a person who is like a band leader steps away. And the label does it’s best to make the other members feel worthless.

It Keeps You Runnin’

Another cut written by McDonald by himself, the lone wolf.

Not a favourite.

Turn It Loose

Johnston definitely gave the band a rocking edge. So even though he was done with the band, he did deliver this excellent cut.

People all around me
Everywhere I go
I thought I had a grip on things
Now I just don’t know

I’m not a big enough fan to know everything about The Doobie Brothers, but Johnston was seen as the driving force of the band and one of the main writers by the press and the label.

So when he disappeared, no one knew what was going to happen.

Carry Me Away

Written by Simmons, Baxter and McDonald. It’s just too much like a 70’s TV intro theme song.

In the end the album has more of a jazz, urban, soulful, funk than rock tunes and a new era started.

Michael McDonald and The Doobies.

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1976 – Part 3.4: Led Zeppelin – Presence

I was never a Led Zeppelin fan growing up. I didn’t even know that “Get In On” referenced “Kashmir” until I purchased the “Remasters” album in the early 90s.

And after that purchase I also heard many other songs from 80’s bands in Zeppelin’s music.

And what a weird cover for a rock band, with a family staring at an unfamiliar object around the dinner table.

So if i based my purchases on how the cover looked, this album wouldn’t even make the list.

Achilles Last Stand

One of my favourite cuts.

It’s long and repetitive, but there’s something about the bass groove, Page’s inventive playing to tweak the riffs each time and Bonham’s thundering drum sound that doesn’t make it boring.

Led Zeppelin hated being associated as one of the forefathers of Heavy Metal, but this cut begs to differ. Hell, I would even associate it with Progressive Metal. And at 10 plus minutes it definitely qualifies.

For Your Life

The Blues Funk grooves are back. It’s not a celebrated cut, but goddamn press play to hear the syncopated grooves of the bass, guitar and drums.

There is this middle blues fusion section which feels like a “roll the tape” moment.

The solo is Page abandonment, he’s phrasing is off, his atonal in some sections, exotic in others and aggressive and somehow it all works.

At 6 plus minutes it could have gone through the John Kalodner editing filter, but no one was going to tell Led Zeppelin how to do anything. They told you instead.

Royal Orleans

It’s like a jazz blues fusion cut. It doesn’t really go anywhere, and serves more as a short filler.

Nobody’s Fault But Mine

One of my favourite cuts and I had no idea that it was a cover song from Blind Willie Johnson who released it in 1927.

Because the song credits in the album are shown as Page and Plant.

The Bluesy Intro is that good that Jimmy Page sped it up and used it for “Shake My Tree” with David Coverdale.

And my ears tell me that the Bluesy Intro came from a John Renbourn acoustic cover of the song in the mid 60s.

So it’s a cover of a cover.

The vocal melody is from the original and the musical interpretation borrows heavily from the John Renbourn adaption.

But I still like it and Zeppelin brought the song to the masses.

Candy Store Rock

It’s a blues shuffle which doesn’t really go anywhere and the “oh baby” and “yeahs” are just too much.

Hots On For Nowhere

It reminds me of Van Halen during the Roth era and I believe David Lee Roth would model his vocal style.

Listen to the verses if you don’t believe me.

Tea For One

As soon as I saw the title I made up my mind that I hated the song, because I’m a sucker for a good title. And this ain’t a good title.

But man.

What a riff to start it off.

It then goes into a slow blues solo, like “Since I’ve Been Lovin You” and then Plant chimes in.

And the album wasn’t well received and it’s still the lowest selling Led Zep album but I think that more had to do more with the previous albums still selling like crazy.

They also didn’t tour on this album due to Robert Plant recuperating from serious injuries he had sustained earlier that year in a car accident.

While the second half is weak, there is a lot of good material here to dismiss the album.

Crank it.

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Australian Method Series: Jimmy Barnes – My Criminal Record

“My Criminal Record” is studio album number 18 for a Jimmy Barnes. When you add his output with Cold Chisel, his career is massive.

Released on 31 May 2019.

With this album, he became the artist with the most chart-topping albums in Australia with 12 number 1 albums, overtaking U2 and Madonna.

The band for the album is his live band, made up of Jimmy Barnes on vocals, Daniel Wayne Spencer and Davey Lane on guitars, son in law Ben Rodgers on bass, Clayton Doley on keyboards, and son Jackie Barnes with Warren Trout on drums and percussion.

Lending a hand in the song writing department is his Cold Chisel bandmate Don Walker, who co-wrote six of the songs, country artist Troy Cassar-Daley chimes in with two songs, Chis Cheney from “The Living End” contributes a song, Mark Lizotte (otherwise known as Diesel) contributes a song, as well as others, plus there is a John Lennon and Bruce Springsteen cover.

Writing for the album began in 2015, but once his books came out, “Working Class Boy” and “Working Class Man”, well his career took a different turn and suddenly he was a bestselling author, doing speaking tours with music in between and creating documentaries based on the books.

My Criminal Record

Written by Jimmy Barnes and Don Walker.

It’s a slower bluesy tune with the piano setting the mood.

Well I came from a broken home

Writing his books has given Jimmy a different opportunity to write differently and approach different subject matters. If you’ve read “Working Class Boy” you’ll know how broken that home was.

The fact that he made it to 12 number one albums in Australia is amazing.

I keep it locked away somewhere, I know
In a cellar that I call my youth
It’s my criminal record
It’s the truth

It was a burden he carried for a long time. The ghosts of his youth growing up in Elizabeth.

Shutting Down Our Town

Written by Troy Cassar-Daley, this is a great country rock song. It could appear on a Springsteen or Petty album and not sound out of place.

This used to be a place where a man could find some work / Put together Holdens or a foundry job at worst

The car making facilities in Australia are all gone, transported overseas because it’s cheaper. And a lot of towns have suffered this kind of fate around the world in the corporations quest for profits and progress.

Its also autobiographical as all the men who worked at the factory went missing from their homes on payday.

I’m In A Bad Mood

Written by Barnes and Walker it’s got another blues noir soul like groove.

I got me a car but I lost my keys
Got me a girl that I can’t please

Sometimes things don’t roll as they should.

Stolen Car (The Road’s on Fire, Pt. 1)

Written by Barnes and Walker, it’s a smoldering blues cut in the verses before it rocks out with a lot of soul in the Pre Chorus and Chorus.

My life is like a stolen car, out of control
I’ve got no destination, I lost my soul

Great metaphor to sum up his life.

My Demon (God Help Me)

Written by Barnes, Cassar-Daley and bassist Ben Rodgers.

A Blues stomp groove crashes in after the steel guitar Intro which reminds me of “Copperhead Road” by Steve Earle but different.

And my demon he was patient
He just waits till I had nowhere else to turn
And he knew my situation
He was laughing as I burned

Great lyrics.

It showcases that our predicaments in life are down to our own choices. For Barnesy, his Demon didn’t have to do anything, as Barnesy was pretty good at doing shit to himself.

Working Class Hero

Written by John Lennon.

Keep you doped with religion, sex, and T.V.
And you think you’re so clever and classless and free
But you’re still fucking peasants as far as I see

The song is political, a criticism on the difference between social classes and how the working class individuals are being processed into the middle classes, into the “machine”.

Belvedere and Cigarettes

Written by Harley Webster, Jade MacRae and Rodgers.

Belvedere and cigarettes, I’m bleeding myself dry

Sometimes that glass of alcohol is always a friend when your down and out.

I Won’t Let You Down

Written by Chris Cheney from “The Living End”.

It’s a great ballad in which the verses deal with alcoholism/partying and the Chorus deals with making a promise to a special someone that they will change and not let them down.

Stargazer

Written by Barnes and Walker.

She’s a stargazer
Always looking at the sky
And she don’t even look up to me
When she’s on her back at night

A simple laid back tune in which the woman in his life is not paying attention to him or their relationship (hence the staring at the stars).

Money and Class

Written by Barnes, Walker and Rodgers.

I could fight, I could drink, I could shout, I could sing
I could light up a party but I didn’t fit in
Every door that was closed was a door that I had to kick in

Drink, bash and smash your way to the top in this country blues rock tune.

Stolen Car (The Road’s on Fire, Pt. 2)

Written by Barnes and Walker.

It’s a faster take but the same attitude and spirit is still there.

If Time Is on My Side

Written by Mark Lizotte, otherwise known as Diesel or Johnny Diesel, this song wouldn’t be out of place on a Springsteen or Petty album.

The Chorus is loud and you singalong to it. It also reminds me of “Ride The Night Away”.

People come and go
Just like dust in wind they’re blown
As long as I am standing here
I’ll never let you go

That’s life in a nutshell, people would come and go but in the end, it’s just you and your partner.

Tougher Than the Rest

A Bruce Springsteen cut and a fitting song to sum up Barnes and his resilience to life and love.

And that’s Jimmy Barnes in 2019, a Blues Rocker with a little bit of Soul and a little bit of Country.

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Australian Method Series and 1986 – Part 3.5: AC/DC – Who Made Who

“Who Made Who” is like a Greatest Hits album released as a soundtrack album in 1986, for the Stephen King film “Maximum Overdrive”. A forgettable movie.

The funny thing is that the next Greatest Hits slab would come out with another movie, this one a lot better and having a larger social and cultural impact.

Yep, the multi- billion franchise known as “Iron Man” sent AC/DC into the stratosphere. Not that they needed it.

Both album packages are excellent entry points for people who didn’t own or know about AC/DC.

If this was your first exposure, there would be a high chance that you would go out and buy/access some of the back catalogue.

And the song “Who Made Who” introduced Angus Young the shredder. His guitar work here is at a Shrapnel level.

Who Made Who

Drums and bass from Simon Phillips and Cliff Williams in a stock 4/4 time. I’m already invested.

Malcolm kicks in with some power chords outlining a blues chord progression as Brian Johnson fires in with his throaty vocal melody.

Angus then fired in with some fast palm muted licks which sounds like open string licks, something he’ll use to even greater success with “Thunderstruck”. But it’s all picked.

Check out the lead break. Angus breaks out some EVH like tapping.

Lyrically, it’s based around the themes from the “Maximum Overdrive” movie, where the machines come alive and begin killing people.

Like the “Terminator” movie, the tools that humans create, rise up to obliterate the humans.

You Shook Me All Night Long

From “Back In Black”.

It was re-released as a single after the massive success of “Who Made Who” which gave this song a second coming, not that it needed one.

D.T

It’s an instrumental jam which became soundtrack music.

It moves between distortion and clean tone so it could be used in multiple scenes.

Sink The Pink

From the “Fly On The Wall” album.

This song doesn’t get the love it should but goddamn it’s a great song.

The Intro reminds me of “Rock N Roll Ain’t Noise Pollution” and it has a Chorus chord progression which could be interchanged with almost every AC/DC chorus, and I like it.

At 2.50, the Intro kicks back in, with drums and bass before Angus kicks in with his bluesy lead.

Ride On

From the “Dirty Deeds Done Dirt Cheap” album and Bon Scott gets a spot with this slow blues dirge.

Hells Bells

From the “Back In Black” album.

As soon as the bells chime and the dirty arpeggio riff in Am kicks in, everything starts tingling. It doesn’t matter that I’ve heard it a lot of times. It still gets me.

Shake Your Foundations

Also from “Fly On The Wall”.

Another underrated song from an album that is seen as a disappointment.

You can’t tell me that the Intro/Verse riff isn’t classic AC/DC and a Chorus that almost mimics “You Shook Me All Night Long”.

Chase the Ace

Another instrumental jam session but a bit more aggressive than “D.T”.

Check out the drum groove in the Intro. Something that Lars Ulrich would use to great effect in “Enter Sandman”, which is also based on the “Dirty Deeds” Intro/Verse drum pattern.

For Those About to Rock (We Salute You)

From the album with the same title which came after the “Back In Black” monster.

I was hooked from the opening riff and the way Malcolm and Phil Rudd build it.

Once the slow groove kicks in, it feels that heavy that it’ll destroy everything in its path. And it did.

In Australia and the U.S, it’s 5× Platinum.

And it kept AC/DC relevant in a friendly MTV world which was starting to promote artists who looked great over the music they created.

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The Record Vault: Al Di Meola – Electric Rendezvous

In 1980, Di Meola released the double album “Spendido Hotel”. Keeping with the Miami Vice covers theme.

And then the subsequent tour was captured live and released at the start of 1982 as “Tour De Force – Live”.

Towards the end of 1982, “Electric Rendezvous” was released.

The band for the album is Al Di Meola on electric and acoustic guitars, Anthony Jackson on bass guitar, Jan Hammer on keyboards, Steve Gadd on drums and Mingo Lewis on percussion.

God Bird Change

Percussionist god Mingo Lewis is still writing a track per album. This is his contribution.

The bass and drum groove throughout the song is a favorite as there is so much energy.

And of course there is a percussion interlude.

Electric Rendezvous

The title track at almost 8 minutes long.

The Intro is essential listening, with a clean tone guitar playing fast arpeggios while a nice relaxing guitar melody plays over it.

From 1.12 it changes. More Jazz fusion and alot of chromatics over time signatures changes.

From 2.11, a bass riff begins which the distorted guitars then copy. This creates a foundation for Di Meola to solo over, but it’s brief as they groove on the riff.

At the 4 minute mark, a metal sounding riff is played which allows Di Meola and Hammer to solo one after each other.

Passion, Grace & Fire

Paco de Lucia appears and the title of this song would be used to promote the run of acoustic shows that Di Meola, de Lucia and John MacLaughlin would do.

So there’s a lot of acoustic playing, fast fingers and lush arpeggios.

Cruisin’

Written by Jan Hammer it’s got a keyboard hook that is addictive and catchy.

It rocks and perfect for doing exactly what the title says.

Black Cat Shuffle

Written by Philippe Saisse, who also plays keyboards on this, it’s a blues groove with Di Meola’s Lydian and Mixolydian soloing.

The last 60 seconds has some great hard rock soloing from Di Meola.

Ritmo de la Noche

Lounge Waltz music with a Flamenco flavor.

Then some fast shred and make to the Waltz music.

Somalia

A short 90 second instrumental. Arpeggios and an exotic guitar melody as it’s centerpiece.

Jewel Inside a Dream

A riff that reminds me of ELP and their song “From The Beginning” dominates the song.

And you have Hammer and Di Meola trading licks on the keyboard and guitar.

I’m the end it’s a different album from its predecessors but still worthy.

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Australian Method Series and 1996 Part 3.7: John Farnham – Romeos Heart

“Romeo’s Heart” was released in Australia on 3 June 1996 by John Farnham.

His comeback to mainstream success started with “Whispering Jack” released in 1986. It is certified 24x Platinum in Australia, Platinum in Sweden and Gold in Canada and Germany.

“Age Of Reason” came in 1988 and it is certified 11x Platinum in Australia.

“Chain Reaction” in 1990 is 7x Platinum in Australia.

“Then Again…” in 1993 is 4x Platinum in Australia.

This album is also 4x Platinum in Australia.

The band is top notch as well with Brett Garsed from Nelson fame on guitars along with Stuart Fraser from Noiseworks.

Joe Creighton from The Black Sorrows is on Bass and Angus Burchall also from The Black Sorrows is on drums with Steve Williams on harmonica.

Vocals are provided by John Farnham with Lindsay Field and Lisa Edwards providing excellent backing vocals.

And from when Farnham made his comeback in the mid 80s as a solo artist, the songs he performed on his albums were written by other artists/songwriters.

This album is no different, with every song on it coming from outside writers.

Have a Little Faith (In Us)

Written by Russ DeSalvo (who at the time was writing and working with Celine Dion) and Arnie Roman (who also was working with Celine Dion).

Great song title and a major key chord progression to give its uplifting vibe.

But press play for the gospel like backing vocals in the outro which

Little Piece of My Heart

Written by C. Celli, A. Levin and Jack Ponti.

The same Jack Ponti who co-write “Shot Through The Heart” with Jon Bon Jovi and a heap of songs for Baton Rouge, Alice Cooper and Babylon A.D.

I’m not sure on why they would use this song title for a totally different song. It’s like reusing “Smoke On The Water” for a totally different song and not for a cover.

But in the end a simple funky rock groove is heard throughout the song and it’s cool to jam to.

A Simple Life

Written by Jon Lind and Richard Page. The same Richard Page from Mr Mister and Jon Lind had written or co-written songs like “Crazy For You” for Madonna and songs for Earth, Wind And Fire.

This one is a soft rock song.

Check out the vocal melody for the Chorus.

All Kinds Of People

Written by Eric Pressley, Sheryl Crow and Kevin Gilbert.

Yep the same Sheryl Crow and her songwriting partner Kevin Gilbert from her debut album were in demand and writing songs for other artists as well.

It’s in that soul contemporary pop rock vibe which was prominent in the 90s.

Romeo’s Heart

Written by Jennifer Kimball and Randy VanWarmer it appeared on Randy’s solo album “The Third Child” released in 1994.

And here it is a few years later as the title track. It has a soft rock Springsteen vibe.


Don’t Let It End

Written by Aaron Hendra an Australian-born songwriter, singer and guitarist who lives in the U.S.

It reminds of “Time Of My Life” from the “Dirty Dancing” movie.

Hearts On Fire

Written by Tom Kimmel and S. Lynch. I was wondering which S Lynch is a co-writer.

Could it be the Steve Lynch from Autograph?

Nope it’s Stan Lynch, the ex drummer from Tom Petty And The Heartbreakers who became a successful producer and songwriter.

On a side note, “That’s Freedom” was also written by Kimmel which Farnham recorded and it became a Top 10 hit for him in late 1990. So it’s no surprise that Farnham used him again.

The “Rocky IV” track comes to mind but it’s not it. The song is more blues soul rock.

Hard Promises To Keep

Written by Kimmie Rhodes ‎and the song appeared on her “West Texas Heaven” album released in 1994 and it’s in the vein of country ballads musically, but the vocal melodies are more in line with pop melodies.

Over My Head

Written by Ricard Pleasance and A. Tanner.

Richard Pleasance is an Australian rock musician and producer. He was a founding member of Australian band “Boom Crash Opera”.

It’s a ballad and it’s chord progressions is more like country rock ballads, reminding me of current songs like “Home” from Daughtry.

May You Never

Written by John Martyn it’s an up beat acoustic track that is played in the way Nuno Bettencourt plays on “More Than Words”.

John Martyn, is a British singer-songwriter and guitarist who released 23 studio albums over a 40-year career. He’s been described as blurring the boundaries between folk, jazz, rock and blues”.

Second Skin

Written by John Farnham, producer Ross Fraser and Chong Lim.

Finally Farnham gets a co-write in a track that is a cross between “Superstition” and “Play That Funky Music”.

If you want to hear John Farnham in a rock way, then “Whispering Jack” and “Age Of Reason” would suffice. If you want to hear Farnham in a soul and country rock way, then this album would donyje

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

Australian Method Series: AC/DC – Ballbreaker

I caught em live on the “Ballbreaker” tour and little did I know that would be the last time I would watch em live.

“Ballbreaker” is a favourite, the same way “Flick Of The Switch” is a favourite. It feels rawer and bluesier. Both albums came after massive periods of success in “Highway To Hell/Back In Black/For Those About To Rock” and “The Razors Edge”.

“The Razors Edge” was that popular that it gave the band a 16 year victory lap. In other words it was still selling when this album and others came out, along with the monster known as “Back In Black”.

Released in 1995, it’s album number thirteen based on the Australian releases. Otherwise its number 12 based on the international releases.

The only change to the band line up was the return of Phil Rudd on drums, replacing Chris Slade.

But the producer this time is Rick Rubin although most of the work is credited to Mike Fraser as Co-Producer, engineer and mixer. And many years later, Malcolm Young said it was a mistake to work with Rubin who was absent for a lot of the sessions.

Hard As A Rock

It’s a favourite. I like the clean tone, droning open string riff to start the song and then it explodes into distortion with the Young brothers jamming on a B5 chord.

Cover You In Oil

The walking guitar riff reminds me of “Ice Cream Man” from Van Halen. And while Brian Johnson was hard as a rock in the first song, now he’s asking if he’s allowed to cover someone in oil.

The Furor

I like the single note riff that Malcom plays in the Verse while Angus strums away in the higher register.

And when the Chorus kicks in, I like what Angus plays on the higher register. And the lyrics are simple, “I’m your furor baby”.

Boogie Man

The riff is derivative and the title is derivative of “Night Stalker”. But hey, AC/DC built a career on being derivative.

The Honey Roll

The riffs in this song are virtually unknown but they are as good as anything that came from the “Back In Black” album.

Burnin’ Alive

A simple riff on a lightly distorted electric kicks off the song. And I like how Rudd builds the intro.

Check out the groove on the verse riff.

Hail Caeser

How good does this start off?

It reminds me of all the things I like about AC/DC like “Dirty Deeds”, “Whole Lotta Rosie” and “TNT”.

I said “Hail”.

Love Bomb

I don’t know what kind of a bomb a love bomb is, but its Wikipedia definition has love bombing as an attempt to influence a person by demonstrations of attention and affection.

The Chorus is catchy, but the lead break is my favourite.

Caught With Your Pants Down

I like the Intro. Sleazy.

In the verses, “Whole Lotta Rosie” went around in the 90’s.

And how good are the chromatics in the Chorus.

Whiskey On The Rocks

This song subliminally makes me drinks whiskey.

Ballbreaker

The riff is excellent, iconic, but when the bass of Williams and Rudd kick in, that’s when you know it’s gonna be a great AC/DC song. A perfect song.

In the end, there are no bad songs here or a skippable track. And seeing em play most of this album on the tour, it’s definitely a favorite.

In Australia it went straight to number 1 (as most albums of AC/DC do here), along with Sweden and Finland.

It was a Top 10 album in Austria, Belgium, Canada, Germany, Norway, New Zealand, Switzerland, UK and US.

Certified 3x Platinum in Australia. 2x Platinum in the U.S. Platinum in France and New Zealand. Gold in Austria, Finland, Germany, Switzerland and the U.K.

In other words, the return of AC/DC was cemented.

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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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