They are one of the rare bands from the 80’s who keep writing and recording new albums. Although the time spans between albums has become bigger over the last 15 years, it’s not because they are lazy, they are just on the road or in the air, touring and doing what they do.
And a pandemic put a halt to their touring plans in 2020. So when artists have time, they normally write and here we are in 2021, with new music.
They have been teasing this new music for about a fortnight, and a lot of internet sleuths started piecing together all the clues about “Belshazzar’s Feast” from a T-shirt that Bruce Dickinson was wearing in an interview he did on Sky News.
And like all things Maiden, I am sure we will get to know more about Belshazzar’s Feast, because that’s what Maiden does, they get people like me into researching and learning.
It’s written by Adrian Smith and Bruce Dickinson, with production by Kevin Shirley.
The country blues rock in the intro has me interested. It’s a new style into the Iron Maiden family.
The verse riff reminds me of “Stormbringer” from Deep Purple played with a bluesy swagger. Vocally Dickinson is still a powerhouse.
How good are those guitar harmonies after the first chorus?
The lead that comes at the 4.27 mark, I am pretty sure it’s Adrian Smith as it sounds like his style, is excellent.
I keep re-listening to this song just to keep hearing the lead break.
Without even realizing, it’s a special U.K edition.
Bush – Razorblade Suitcase
I got this album a few years after it came out on cassette tape, via a 3 for $10 bin, so it was a no brainer.
Gavin Rossdale got a lot of crap from journalists and critics.
Like he was too handsome to be considered grunge but then he’s labelled a Nirvana clone. And when the debut album sold in the multi-millions, the band was labelled as slick rock.
He got worse treatment in his homeland. As the U.K ignored them initially, Bush landed a U.S deal and became successful in the North American market first before their album was released in their home country.
He mentioned that Pixies are an influence, and the press called him a Kurt Cobain poseur as Cobain also said that the Pixies are a massive influence. So he said “fuck it”.
“Swallowed” is the lead single. My favorite on the album.
“Greedy Fly” is basically an artist writing a song, without a thought of it being a hit. And somehow it gets released as a single and it’s seen as a hit.
“Cold Contagious” has a cool drum groove, with the guitars decorating the song in a nice way, as Rossdale is singing, “you will get yours” with the volume and intensity increasing. And at six minutes long, it’s the anti-single, but it still got released as a single.
And the band toured for 14 months to promote the album. In the process they moved 6 million copies of the album in the U.S alone.
But with every peak, there is a valley waiting below.
A fight with the label delayed “The Science Of Things” and when the album came out, their sound was suddenly seen as “old” by the press, in the same way that hard rock became old circa 1991/92.
Deep Purple – Purpendicular
It’s not on Spotify but YouTube has it. It’s ridiculous why some albums are missing from digital services.
“Purpendicular” is the fifteenth studio album. It is their first album with guitarist Steve Morse. His injection was seen a breath of fresh air.
“Vavoom: Ted the Mechanic”
The blues boogie is excellent and the Mixolydian lead break from Steve Morse is guitar hero worthy.
What a way to introduce yourself to the Purple fans.
“Loosen My Strings”
Arpeggios kick off the song, but its Roger Glover’s bass line that takes this song to a new level and then Morse starts to play a distorted chord riff which complements the bass riff.
The riff before the lead break is excellent, but make sure you check out the lead break and the outro lead break, which sounds like a Boston outro, ala “Don’t Look Back”.
It’s a strange song, with a riff that sounds a little bit exotic and a bizarre staccato like vocal melody on top of it. The organ work on this track is stunning and you are reminded why Jon Lord is regarded as one of the greatest players of all time.
“Sometimes I Feel Like Screaming”
The intro guitar from Morse is haunting and sad. He then plays this melodic lead in between the verses which is memorable.
The guitar solo is amazing.
It’s one of their best and should be known with their classic songs.
Did I mention that the guitar solo is amazing?
Do yourself a favour, check it out and start playing air guitar to it.
And did I mention there is an outro guitar solo as well?
There is. So check that one out as well. In other words, Steve Morse rules on this track.
“Cascades: I’m Not Your Lover”
The churchy organs of Jon Lord kick it off, while Steve Morse plays a bendy melodic lead, before it takes a left turn and a U-turn and becomes a hard rock song with a “Highway Star” like vibe.
The guitar/organ harmony solo from 2.15 to 3.15 is one of the great moments on this album as Lord/Morse go to town playing arpeggios, in a similar way that Lord and Blackmore did for “Burn”, just a lot faster.
Morse brings out the country and folk influences to create a major key “good vibes” medieval arrangement. Make sure you check out “Highland Wedding” from Steve Morse’s “High Tension Wires” from 1989 as Morse has been dabbling with these kind of melodies previously.
“A Castle Full of Rascals”
The beginning sounds like a cross between ELP and Led Zeppelin in the blues rock vein.
And the song changes at 1.58 mark with a bass groove, lush keys and a progressive like vocal melody. Morse at first is playing single note lines before crashing in with power chords and distorted single notes, paving the way for Jon Lord and his Hammond Organ solo.
“A Touch Away”
It’s got that feel good 70’s progressive vibe.
It sounds like “Hit The Road Jack” on steroids. Hell, it could have come from a Van Halen album. Make sure you stick around for the guitar and organ harmonies from about 4.08 and then Morse breaks loose with his fast alternate picked Mixolydian lines.
“Somebody Stole My Guitar”
What a riff to introduce the song. It grooves, its heavy and bluesy. I haven’t mentioned the swing and soul feel of Ian Paice yet, but man, this dude can play.
At the 2 minute mark, Morse starts this palm muted arpeggio riff, while Lord plays these Organ chords before Morse launches into the solo, while Lord plays the palm muted arpeggio riff on the Organ.
“The Purpendicular Waltz”
It’s a blues shuffle built around a cool groove and a great closer to the album.
For all the debate about Blackmore and Morse, forget it.
Listen without prejudice.
Bruce Dickinson – Skunkworks
I didn’t like this album when I first heard it. And it stayed on the shelf for a long time before I pulled it out and re-listened. I still didn’t like it and back on the shelf it went. But over the last 8 years, the album has taken a life on its own.
I didn’t get it back then, but goddamn this album sounds progressive. The cover design from Storm Thorgerson (RIP) should have been an indication of its progressive intentions, but it escaped me.
It was meant to be a band album but the label wouldn’t release it under anything except Bruce Dickinson. Jack Endino a Seattle producer who worked on Nirvana’s “Bleach” is producing. The sound is like an amalgamation of 80’s Rush with alternative rock and metal.
And I’ve never heard of Alex Dickson again after this album but he does a stellar job on the guitar and as a co-writer on all the songs. But as Rod Smallwood said, “Bruce Dickinson is a heavy metal singer and that will never change”. His attempt to shake off the image of his Maiden past was futile.
“Back From The Edge” has double time drumming over a jangly chord progression, but it’s the bridge and solo section which gets me interested.
“Inertia” could have come from any Maiden album, past or future.
How good is the riff to kick off “Faith”?
At times I feel like I am listening to a Dream Theater cut from the “Falling Into Infinity” album with this song.
Make sure you check out the solo section.
“Dreamstate” in the verses sounds like a Nirvana cut. Yes, that’s right folks, Bruce is channeling Cobain.
How good is “I Will Not Accept The Truth”. Listen to the repeating arpeggios in the verses. Sinister and melodic in the same breadth.
The whole mood and groove in the interlude/solo section of “Strange Death In Paradise” while Dickinson sings the title is a must listen for any Dickinson fan.
In the end, unless you were interested in what Dickinson was up to, there was nothing really here to get you to commit. Then again, the 90’s was an interesting time for 80’s artists and the fans of those artists.
It’s June 1993 and I am flicking through the new issue of Hot Metal Magazine, which at the time was Australia’s premier metal and rock magazine. For $3.50 it was an excellent alternative to the overpriced American and British magazines.
On the cover there was the John Bush fronted Anthrax. Three members are wearing white t-shirts with blue Jeans, and two members are wearing black t-shirts with blue jeans. It was a sign of the changing times as publicists and record labels pushed their artists to have a more grungy look.
“The Sound Of White Noise” got 5 skulls in the magazine review, which equates to ‘KILLER’. A few months after it’s release the album was certified GOLD. This is probably the album that Scott Ian was referring too when he made his comments that in the past they would sell a shitload of albums.
It was a hungry album. John Bush’s transition from a struggling band to a major label act was the catalyst. It was an album chock full of metal “hits”. “Only” comes to mind straight away. Even James Hetfield called it the perfect song. “Black Lodge” didn’t sit out-of-place with the current crop of chart toppers in Soundgarden and Alice In Chains. Credit producer Dave Jerden who produced both “Dirt” from Alice In Chains and “The Sound Of White Noise”. It was the last good Anthrax album and it is not even up on Spotify. Actually none of the John Bush-era of Anthrax is on Spotify which is a shame.
And the critics that said “Worship Music” is a great album cannot understand why it didn’t resonate with the audience. Look at the top ten songs on Spotify for Anthrax. Not one song from “Worhsip Music” is on the list. Same goes for YouTube.
Then you have the bloodbath from the Eighties scene.
Jani Lane (RIP) and Warrant had split and both acts had their contracts reduced to demo deals. So even though you had three albums that had moved 500,000 plus units each, they still ended up on the scrap-heap. Kik Tracee also split with vocalist Stephen Shareaux (bet he wished he tried harder for that Motley Crue vocalist spot) and both of them had been reduced to a demo deal. Looks like all the promo to sell the act just didn’t connect with the audience because in the end the songs where rubbish.
Meanwhile Rowan Robertson from “The Lock Up The Wolves” Dio era inked a deal with Atlantic Records for his new band that had Oni Logan from Lynch Mob on vocals. We all know that this didn’t end up going anywhere.
While, Roberston’s former employer, Dio (RIP) was working with WWIII guitarist Tracy G after his “Dehumanizer” venture with Black Sabbath went sour. These sessions would go on to create the “Strange Highways” album while Jake E.Lee was working with WWIII singer (and i use that term loosely) Mandy Lion.
Reports coming through at that time spoke about the new Bruce Dickinson solo album being an “updated, toughened up Santana vibe with a heavy leaning towards Peter Gabriel type atmospherics and experimentation.” That album would become “Balls To Picasso” and apart from the song “Tears Of The Dragon” which sounds like an Iron Maiden song the rest of the album was a listen best avoided.
On the drug front we had David Lee Roth getting busted in New York after purchasing a $10 bag of weed. Seriously, for someone like his stature surely he could have done it more discreetly or gotten that $10 bag delivered to the studio. However, Roth is Roth and he decided that he should go out into the town and look for a dealer. On the other drug front, there was news that started coming out about Tim Kelly (RIP) from Slaughter who was alleged to have been involved in a major drug smuggling ring that was busted after a five-year investigation by the F.B.I.
Then we had the Motley Crue vs Vince Neil shenanigans.
The Vince Neil “Exposed” album got a good review in the magazine. I suppose it was inevitable that the solo album from Vince Neil would sound a lot like Motley Crue, even though NIkki Sixx insisted that Vince Neil had nothing to do with the creation of the songs in Motley Crue or the Motley sound. I think Nikki Sixx missed the memo that the actual voice plays a big part in the sound. Credit music business vet Phil Soussan for delivering a stellar performance in the songwriting department that helped kick-start Vince’s solo career.
Then on the other side you had “The Scream” with new singer Billy Scott battling to get their album done in time so that they can tour with Motley Crue as part of the singer transfer deal. For the uninitiated John Corabi from “The Scream” replaced Vince Neil in Motley Crue. However, the Crue’s album was REJECTED by Elektra Records. It wouldn’t be until the following year that the self-titled Motley Crue album saw the light of day. And within 6 months it disappeared from the public conversation and the tour got reduced from arena’s to theaters to getting cancelled.
Finally Pride and Glory was still on hold while Zakk Wylde worked with Ozzy Osbourne on the follow-up to “No More Tears”. Producers John Purdell and Duane Baron took over from Michael Wagener (who produced the first few songs and was then retained to mix the album until Micheal Beinhorn got involved). James Lomenzo was being used as a bass replacement for the recording sessions. The album that would become Ozzmosis would take another two more years before it saw the light of day and the style of the songs would be re-imagined into the modern sound of the day.
In the end the majority of artists mentioned above are still part of the music business in some way. And for the ones that aren’t, only death could separate them from the music world.
There is an article doing the rounds at the Hollywood Reporter about how “The Walking Dead” is TV’s number 1 show and that the stars of the show are still largely unknown.
So it got me thinking. I was very interested to check out the show based on my love of the Horror genre. Once I checked it out, I was hooked. I didn’t start watching the show because they had certain actors in it. The only actor I was aware of was Daryl’s brother and that was from the movie Cliffhanger with Stallone and that was after watching a few episodes. So I got into the show because i was a fan of the horror genre.
However I got into “Sons Of Anarchy” because hard-core friends eventually got me to invest some time in it.
The point I am trying to make is that we get into certain TV shows, movies or artists based on a thousand different reasons. One thing is clear; we don’t get into these cultural icons because of the people in them.
For example, when Metallica started on the scene, no one was walking around saying that they got into Metallica because James Hetfield was such a cool cat or Lars Ulrich was the man. We got into Metallica for multiple reasons. For example, we were fans of the metal genre, the songs connected with us; we wanted to be part of the conversation and so on. From the outset, we become fans because of the music we hear.
That is what culture is all about. Sharing stories about the things we love.
Of course some outliers do exist and some artists have a cultural influence that transcends their music. They become institutions themselves. For example, Slash is now a cultural institution. Ozzy Osbourne is a cultural institution albeit with a lot of help from his “friends”. Nikki Sixx is a cultural institution. Robb Flynn is a cultural institution. Dee Snider is a cultural icon. These artists can all survive on their own. They are brand names themselves.
It’s taken Slash almost 14 years from when he left Gunners to re-establish and re-brand himself as a force to be reckoned with. That happened in 2010 with the release of his solo album and with a little help from his friends.
Randy Rhoads and Bob Daisley helped Ozzy Osbourne break the shackles of Black Sabbath. Jake E. Lee and Phil Soussan enhanced what Randy Rhoads and Bod Daisley created. Zakk Wylde turned it all into a blockbuster with “No More Tears” being the pinnacle.
Nikki Sixx re-invented himself and Motley Crue by first gaining control of Motley Crue’s back catalogue from Elektra Records. A task that no other artist had accomplished before. Then he pushed for the writing of “The Dirt”. Since then, he has become a solo artist with Sixx AM, a song writer for other artists, a social media junkie, a photographer, a literary writer and a radio personality.
Robb Flynn showed the world that he can survive. He really went out of his comfort zone recently and performed acoustically. He survived the “Through The Ashes of Empires” era and lived to tell the tale. Talk about Grit and Roll. It was music all the way, with no safety net. No plan B. His Journals are pure gold. Even if you don’t like Machine Head’s music, you can still appreciate the Journal Ramblings. For any artist starting off, there is information in there that is real. There is information there that is not sugar-coated by a mainstream writer.
Dee Snider, what else can be said. Read his bio.
These artists have all connected with us on different levels. They have become so large in people’s lives that they have become cultural institutions themselves. We then stick with these institutions through the good times and the bad times.
So what about all the other artists. Well for the remainder of the artists it is still about the music. They need to have the music pumping out and they need to make connections.
Dee Snider once said that there are no more rock stars in this day and age. I took that to mean, that in the internet age, there are no real recognizable faces to put to certain bands. While I agree with that comment in parts, I also disagree with it.
For example, Coheed and Cambria has Claudio Sanchez. Watch them live and you get to see the hair. Instantly recognizable.
Five Finger Death Punch has Zoltan Bathory with the dreadlocks and the UFC/mixed martial arts look. They have Ivan Moody and the Mohawk.
Shinedown has Brent Smith, who performs like an adrenaline injected Steve Tyler.
Black Veil Brides have, well they have the whole band.
Avenged Sevenfold have Eighties rock star stage names with instantly recognisable faces.
However if any of the band members in the above mentioned bands, decide to go on their own, it will be a tough slog for them as the bands they are in have all become cultural institutions. Then you have a band like Protest The Hero who look like normal guys going to University.
So going back to “The Walking Dead”. The show is the rock star. That is the cultural institution.
So for any wannabe rock stars, think about all of the above for a second. No one is going to wake up tomorrow morning and think to themselves, “damn, I want to hear some music from Zoltan Bathory, or “Insert New Artist name here””.
We wake up in the morning and think to ourselves, “damn, we want to hear some Five Finger Death Punch. We wake up and go “damn its “The Walking Dead” tonight.”
That is what a lot of misguided artists fail to grasp when they leave a certain cultural institution citing musical differences. They (meaning the person) were never the stars. The band name is the star and it always will be.
That is why Guns N Roses is still rolling along, playing to large audiences.
That is why Tommy Lee returned to Motley Crue.
That is why James Hetfield returned to Metallica after rehab. That is why Lars Ulrich never contemplated anything else except Metallica during this period.
That is why Dave Mustaine resurrected Megadeth after he disbanded the band.
That is why Dimebag didn’t want Pantera to end. He knew that Pantera was the star.
That is why David Lee Roth worked with Van Halen again. That is why Sammy Hagar wants to work with Van Halen again.
That is why Alex Skolnick returned to Testament.
That is why there is a fight over who owns the right to the Queensryche name.
That is why Benjamin Burnley went all legal for the right to use the Breaking Benjamin name.
That is why Bruce Dickinson and Adrian Smith returned to Iron Maiden.
That is why Rob Halford returned to Judas Priest.
That is why Black Sabbath reformed with three of the original members and released ’13’.
That is why bands like Ratt, Quiet Riot, Dokken, Poison and Skid Row are still continuing.
That is why Joey Belladonna returned to Anthrax and why Scott Ian is still continuing the band.
That is why Slayer is continuing without Jeff Hanneman.
To finish off with the immortal words of Ronnie James Dio “And on and on and on and on it goes….”
What can I say, it had to be a Randy Rhoads song. Diary shows the monster that Randy was becoming. Despite being seen as Ozzy’s band, the star of the band is Randy Rhoads.
Diary Of A Madman is the perfect fusion of progressive metal, technical rock and sinister classical all rolled into one potent song. As much as Sharon Osbourne tries to re-write Ozzy’s history, she can never re-write the music that was created. The music comes from the guitar, bass and the keys, all instruments her beloved Ozzy doesn’t play.
Australian Bob Daisley as the lyricist and bassist is the unsung hero in Ozzy’s second coming. He doesn’t even get credited as playing on the album, thanks to a spiteful Sharon Osbourne. He was recruited from the Dio fronted Ritchie Blackmore’s Rainbow. How ironic, that Dio would leave Rainbow to sing for Black Sabbath, and Daisley would leave Rainbow to join the singer that Black Sabbath fired.
Hallowed Be Thy Name (1982)
Mark my words believe my soul lives on
Don’t worry now that I have gone
I’ve gone beyond to seek the truth
When you know that your time is close at hand
Maybe then you’ll begin to understand
Life down there is just a strange illusion
It’s a Steve Harris composition, however the voice of Bruce Dickinson is the savior. It gave Iron Maiden the fire to break away from the New Wave of British Metal image and forge a new direction. It made them relevant.
Iron Maiden became a household name on the back of The Number of The Beast along with it’s anthem Run To The Hills.
However the real star on this album is the closer, Hallowed Be Thy Name. The definitive version is the live version featured on Live After Death (1985). The tempo is increased slightly and Nicko McBrain (who replaced Clive Burr) on the drums, gives the song the fury it needs. The song is about the last moments of a prisoner before the execution.
Who We Are (2011)
We are the young
And young at heart
The strong and the brave that are destined to start
We are the change
The world needs to see
Look in our eyes and see our belief
This is who we are
This is what I am
We have nowhere else to go
Divided we will stand
The mighty Machine Fucken Head. It’s a Robb Flynn composition. He should have changed the Divided We Will Stand to UNITED WE WILL STAND. It would have fit the lyrical message of the song to a tee. The only time we metal heads stand united as a metal show. Apart from that, we are in a elite class of the genres we like. I like Black Veil Brides. Try telling that to my elite Slipknot and Mudvayne friends. Do you get what I mean.
Black sheep of the family, nothing like the rest
Separate from the others, failing all their tests
Can’t they see you’re different, so hungry and so lean
You’re a walking wonder, you’re a metal machine
Look and you’ll see you’re a lot like me
You’re an S.M.F.
Any closing song that abbreviates the term Sick Mutha Fucker has my attention. Twisted Sister was one band, that knew how to write songs for the live show. Put that down to their 9 years of playing the club scenes before they even got a shitty independent deal. Dee Snider was a master.
Of course the Stay Hungry album was known for the smash hits, We’re Not Gonna Take It and I Wanna Rock. However the real star of the album is the ode to all of those Twisted SMF’s who supported the band.
The lyrical theme follows the same theme as We’re Not Gonna Take It and I Wanna Rock. It’s about metal fans versus the system and the family dynamic. This time the band is telling me, it’s okay to be different, it’s okay that I don’t fit a mold made for me. There are others out there, that are experiencing the same and let our love of music, find us a home.
Time has come to face all evil
It’s an epic. The musicianship is excellent. Trivium to me are part of the current Big 5 of metal bands, along with Machine Head (actually Machine Head to me are part of the Nineties Big 4 as well as the 2000’s Big 5), Killswitch Engage, Lamb of God and Five Finger Death Punch.
That time to face all evil came to me in 2010, however I should have faced it in 2008. Avoiding it, only made it worse.
If you succeed in this battle
You still will lose so much more
Ain’t that the truth. Winning a battle (albeit a court case, a street fight or a real battle) is one thing, dealing with the aftermath is another thing.
Life is a waterfall
we’re one in the river
and one again after the fall…
life is a waterfall
we drink from the river
then we turn around and put up our walls
System Of A Down nailed it on Aerials. They really captured their European Armenian minor key arrangements and fused it with modern metal. The music is written by guitarist and backing vocalist, Daron Malakian and the lyrics are shared between Serj Tankian and Malakian. I got into SOAD because of the unique vocal style of Serj. In bands, it doesn’t matter how great the music is, if the singer cannot connect with the listeners and deliver, then it’s time to find someone who can.
How true is the statement? We flow into each day, into each routine without any effor and we could flow like that for days. Then one day, it all changes and we are going down the waterfall. It’s quick, it’s crazy and when we come out of it, we will flow again like we did, but we will be different.
The Count Of Tuscany (2009)
Could this be the end?
Is this the way I die?
Sitting here alone
No one by my side
I don’t understand
I don’t feel that I deserve this
What did I do wrong?
I just don’t understand
Dream Theater deserves a mention for this beauty. The lyrics by Petrucci could have been better, however the last section makes up for it. Furthermore, there is no denying the impact of the music. I also have my own edited version, where I cut out that atmospheric 4 minute keyboard and guitar interlude.
The stars of the band have always been the guitarist and the keyboardist for me. John Petrucci and Kevin Moore was Mark 1. John Petrucci and Jordan Rudess is Mark 3.
The great fear in humans. Death. There isn’t a subject on it. Hell, there even isn’t a subject about getting old. I know that the lyric lines quoted above are about how John Petrucci as a child, got lost on a family holiday in Italy and he was fearing for his life, in an Italian cellar with a strange-looking Christopher Lee. The beauty of lyrics done right, means that they can also be taken in a different way.