Tag Archives: Classic Rock

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

How Has It Aged: Iron Maiden – The Book Of Souls

Iron Maiden, is one of the greatest heavy metal bands of all time.

In September 2015, they released, “The Book of Souls”. The press release had something like this, “the album features eleven epic tracks, including the 18-minute-long “Empire of the Clouds.”

“The Book of Souls” takes its inspiration from several sources, including the Mayan civilization and the ancient Aztec mythology. Talking about the inspiration behind the album, Iron Maiden’s bassist, Steve Harris, said, “We all love exploring the myths and legends of different cultures around the world, and I think fans will really enjoy seeing how we’ve taken these ideas and turned them into something new and exciting.”

The album is also known for its successful chart performance, reaching number one in several countries worldwide.

The album’s tracks are not typical radio-friendly tracks; instead, they are epic journeys that take the listeners on a ride.

If Eternity Should Fail

Written by Bruce Dickinson. The song is played in drop D tuning and it originally had been written for one of Dickinson’s solo albums.

As Dickinson explains in a Kerrang interview;

The demo was done and the band just copied what Roy [Z, along time Bruce collaborator] and I did in his bedroom. In fact, the little keyboard bit in the beginning is me in Roy’s bedroom.

In a Rolling Stone interview, Dickinson described the song being about a machine designed by the evil Dr. Necropolis that steals the souls of men.

After the effects laden Intro, it really kicks into gear at the 1.32 mark.

Dickinson is at his best here, with each word and syllable clearly pronounced.

What the hell does “reefing a sail” mean?

I had to look it up.

Waiting in line at the ending of time if eternity should fail

It is open to interpretation.

The idea of a final judgment or reckoning, where all souls must wait in line to be judged, even if eternity itself were to come to an end.

Or it could be the idea of waiting for something that may never come, even in the face of eternal time. This interpretation could speak to the human experience of waiting for something unattainable or out of reach, despite the seemingly infinite amount of time available.

At the 5 minute mark it kicks into overdrive, classic Maiden. At 5.45 we get the harmonies.

I could have done without the demonic voice at the end.

Speed Of Light

Written by Adrian Smith and Bruce Dickinson.

Nothing super original about this musically as it is a track with alot of Deep Purple swagger mashed up with “From Here To Eternity” from the “Fear Of The Dark” album.

Shadows in the stars, we will not return, humanity won’t save us, at the speed of light.

It’s not just words to fit the music. There is a lot to unpack here.

“Shadows in the stars” could be interpreted as a metaphor for the human condition of feeling small and insignificant in the face of the vastness of the cosmos.

“We will not return” suggests a finality, perhaps implying that humanity is on a one-way journey towards some unknown destiny or fate.

“Humanity won’t save us” suggests a lack of hope or faith in the ability of human society to solve the problems facing us. This could be interpreted as a commentary on the current state of the world, where many pressing issues such as climate change, political instability, and inequality remain unresolved.

And the phrase “at the speed of light” suggests a sense of urgency and the idea that time is running out. This could be interpreted as a warning that we need to act quickly and decisively if we want to avoid a catastrophic future.

It conveys a sense of resignation and a lack of hope for the future. It suggests that we may be on a collision course with some form of disaster, and that there may be little we can do to avoid it.

The Great Unknown

Written by Adrian Smith and Steve Harris.

The Intro.

It reminds me of “Aerials” from System Of A Down. And I like it.

But it doesn’t lift off after the Intro and Dickinson is hard to decipher vocally.

But make sure you stick around for the harmony solo which kicks in at 4.11, before the main solo.

Overall if the great John Kalodner was sequencing the album, this song would be left off or it would be heavily edited to a 4 minute song.

The Red And The Black

Written by Steve Harris.

This song confuses me. It’s sort of a classic but it’s not. But depending on mood it is. Hear me out.

After the bass doodling, the whole Intro is classic Maiden.

We hear the vocal melody played on the guitar before the first verse kicks in. And it’s excellent. But the singing that comes next is way too busy and indecipherable. Even Harris has said in various interviews that Dickinson freaked out at singing this because there are so many words.

Lyrically it’s based on a 1830 French book called “Le Rouge et le Noir”.

The story is about a man trying to rise up the social ladder via working hard and then abandoning his ambitions as he spirals down with mental illness.

See myself in the hall of mirrors
A different shape every step I take
A different mind every step of the line
But in the end they are all mine

The idea of self-reflection and the complexity of one’s identity.

The “hall of mirrors” is a metaphor for the mind or the self, as we look inward and see different versions of ourselves reflected back.

Our perception of ourselves is constantly changing.

At 2.26, they start the woh-oh part.

At 2.58, the song moves into another section. The lead guitar plays the vocal melody and it works this time around.

And they move back to the woh-oh part.

Chance your luck a four leafed one

Success is uncertain and one must take a chance or a risk in order to achieve it. The “four-leafed one” emphasizes the idea that success or good luck is rare, like finding a four-leaf clover in a field of three-leaf clovers.

When the chorus kicks in it’s in major key territory.

At 6.34, a harmony section kicks in and then an excellent lead. I think it’s from Janick Gers. And there still another 6 minutes to go.

Another excellent lead kicks in at 8.38.

And the piece d resistance is the lead break that starts at 9.40. You need to stick around for that. It continues to the 11.53 mark.

It’s only fitting that it ends with the woh-oh part.

When The River Runs Deep

Written by Adrian Smith and Steve Harris.

How good is the riff that kicks in at the 35 second mark?

But the vocal melodies don’t do it justice.

The Book Of Souls

Written by Janick Gers and Steve Harris.

A baroque like intro from Janick Gers gets things started.

At the 58 second mark it goes into an Arabic feel, more “Powerslave” Ancient Egypt like than Aztec/Inca.

Prophecy of sky gods

The foretelling made by deities associated with the sky. In many cultures, the sky is seen as a domain of the gods, and so predictions made by them would be considered especially significant.

The sun and moon
Passing of old ways will come true soon

A prophecy of change and transformation. The sun and moon are often seen as powerful symbols of change and cycles of renewal.

But the song could have done with some editing.

Death Or Glory

Written by Adrian Smith and Bruce Dickinson who bring pack the power of the first three Maiden albums.

Lyrically it continues Dickinson’s love affair with aerial combat, which he covered in “Aces High” and “Tailgunner”.

Musically, the whole solo section is definitely worth pressing play for.

Shadows Of The Valley

Written by Janick Gers and Steve Harris.

An intro reminiscent of “Wasted Years” and “Paschendale”. And I’m hooked.

And musically the song is great. Melodically it is great. Lyrically it’s not so great.

Tears Of A Clown

I love the groove on this, written by Adrian Smith and Steve Harris, the song is praised by Dickinson as his favourite track and it is based on comedian Robin Williams’ depression and suicide in 2014.

Tomorrow comes, tomorrow goes
But the cloud remains the same
Wonder why he’s feeling down
Tears of a clown

A façade of happiness, even though the person is struggling with inner turmoil or sadness. Hiding their true emotions, just as a clown hides their true face behind a mask or makeup.

The Man Of Sorrows

Written by Dave Murray and Steve Harris. An arpeggiated Intro with a lead. Perfect.

Then the vocal melodies come in and Dickinson is crystal clear.

And when the Chorus kicks in, it brings back memories of “Wasting Love” from the “Fear Of The Dark” album.

Looking through a mist of truth
That we believe an elusive cloud

We perceive reality as hazy or unclear, and we struggle to discern what is true and what is not. Truth may be difficult to perceive clearly, perhaps because of personal biases or limited information. We see truth as something that is difficult to grasp or pin down.

The things we find are hard to say now
That we live through day to day

Do you struggle to articulate your thoughts and experiences. You may feel overwhelmed by the complexity of the world around you, or you may be grappling with difficult emotions or circumstances.

Find it hard to force the reasons
Why we find it hard to die

A feeling of hopelessness, reflecting on the mystery of human mortality and the meaning of life.

As we look to see the man of sorrows
Passing knowledge to those who don’t know

Is the “man of sorrows” a reference to Jesus Christ, who is often depicted as a figure of suffering and compassion in Christian theology?

The line suggests that this figure is offering guidance or insight to those who are open to receiving it.

As we watch all our friends passing over
As they pass through the edges of time

The passage of time and the inevitability of death.

Steve Harris had to deal with a loss of a family member and a close friend during the writing and recording of this album.

The passing of friends and loved ones, has led Harris to contemplate the meaning of life and mortality.

From the Thin Lizzy like harmonies to the lead breaks the whole solo section is excellent.

Empire Of The Clouds

It’s long. 18 minutes in length but this song will be seen as a masterpiece if it isn’t seen that way already.

Written by Bruce Dickinson.

The track tells the story of the “British R101” airship, which crashed in northern France on 5 October 1930 during its maiden voyage.

Over the course of various interviews during the album’s release, we found out that the song was written entirely by Bruce Dickinson, who initially intended it to be about “World War I fighter aeroplanes.”

Dickinson abandoned the idea after using the same theme for the song “Death or Glory,” also from The Book of Souls.

At the time of recording, Dickinson was reading “a big, sort of encyclopedic crash report” of the R101, entitled “To Ride the Storm”.

It took Dickinson about a month to compose the song during the recording sessions.

The track features Dickinson’s debut on piano and the rest of the band had to play along to this piano track while following instructions from Dickinson and producer Kevin Shirley.

And how good is that piano riff and melody. It sounds like it’s out of sync with the metronome but that’s what makes it sound even better.

And when Dickinson starts singing with the catch cry “to ride the storm”, you stop and pay attention.

To ride the storm, to an empire of the clouds
To ride the storm, they climbed aboard their silver ghost
To ride the storm, to a kingdom that will come
To ride the storm, and damn the rest, oblivion

At 6.35, the guitars play the Intro piano melody and at 7.00 the song changes tact. The Instrumental section starts with all playing SOS Morse Code.

Then the best part of the song. A melodic lead in a Major Key kicks in at about 7.10 and I’m stopped in my tracks.

These harmonies continue to 10.04, when the first of the individual leads kicks in.

At 10.35, the song changes feel and tempo. And the riff.

Wow. It gets the foot tapping and the head banging.

At 11.00 it goes back to one of those harmony riffs.

And like Chekov’s Gun, they bring back that riff from 10.35 with a vocal melody at 12.31.

Anton Chekhov is a Russian playwright and he famously said that “if a gun is introduced in the first act of a play, it should be fired by the third.”

This riff is like the gun.

And at 13.00 it changes tact again, more operatic and cinematic. And progressive.

But at 13.40, that riff is fired again.

The empire of the clouds, just ashes in our past

On 11 March 2016, the band announced that the song would be released as a 12″ picture disc single for Record Store Day limited to 5,500 copies, using the front cover of the Daily Mirror from 6 October 1930 as the cover artwork. The single’s B-side features an interview with Dickinson and McBrain, entitled “Maiden Voyage”, in which they recount the song’s creation.

In conclusion, “The Book of Souls” is an album that showcases Iron Maiden’s musical brilliance, passion, and maturity.

The songs are not to formula as they don’t have the weight of MTV or label pressures to do that. What you get is an album that allows the musicians to follow their creative muses.

I wouldn’t walk out of a concert if any of these songs came up in the setlist and for that, this album has aged well.

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Metallica – 72 Seasons

It bored me on the first couple of listens.

Then my vinyl came in and I listened to it the old way, cranking the stereo with the lyric sheet in front of me.

And I kept thinking.

Stryper would like to have their yellow and black colors back. The colors of caution. If you grew up in the 80’s you would know that Stryper had the “Yellow And Black”. And as much as those colors are associated with Stryper, as part of the Stryper reunion in the early 2000’s, one of the stipulations from Michael Sweet was that he wouldn’t wear the Yellow and Black anymore.

So Metallica took it 20 years later.

In the “So What” interviews conducted by Stefan Chirazi and available on the Metallica website, Chirazi asked James Hetfield what the colour yellow means. James, responded with the following;

“Yellow, for me, is light. It’s a source of goodness. So against the black, it really pops.

My vision was I wanted this album [to be] called “Lux Aeterna” because that summed up all the songs for me, kind of an eternal light that was always inside of us that maybe is just now coming out.

And I was out-voted, which is great. “72 Seasons” is definitely more chewable. But that colour came out of “Lux Aeterna.”

“72 Seasons” is released on their own “Blackened Records”.

They are free to do what they want, and it all happened because they control their masters and the highly lucrative back catalogue. Not another label or some investment fund. It is them.

They print so much vinyl they purchased their own vinyl press. Because they can.

As part of the press releases, Hetfield stated “the first 18 years of our lives, that form our true or false selves. Much of our adult experience is re-enactment or reaction to those childhood experiences”.

So here we go.

72 Seasons

As told to Stefan Chirazi, in the “So What” interview, this is what James had to say about it; “It was the “72 seasons of sorrow,” and I dropped the “sorrow” part because the first 18 years of life aren’t all sorrow”.

One thing about the songwriting team of Hetfield and Ulrich is that they sure know how to start off a song.

When that fast riff comes in at 50 seconds it’s mosh pit time. And at 65 seconds it’s the same riff but played with a hard rock feel.

“Shot down, traumatic, time haunted by the past”

What an opening line.

It’s easy to read the situation as someone who has experienced significant emotional trauma, and this trauma continues to affect them in the present.

The opening phrase “shot down” is interesting to me. It generally implies a sudden, unexpected loss or defeat. This could be a reference to a specific event that caused the trauma, such as the loss of a loved one or a significant failure.

And with the phrase “time haunted by the past”, it suggests that it is difficult to focus on the present, as the events of the past are a constant reminder.

Shadows Follow

I gotta say, I like the way this song starts. Actually all of the riffs in this song are headbanging.

I also like the whole “Seething, breathing, nightmares grow”. It’s a different vocal style for Hetfield. It’s simple and very melodic.

“Facing my demons, now I run, still my shadows follow”

It’s menacing and it goes to show the mind state of Hetfield as he tries to confront his inner demons or personal issues, but despite his efforts to escape or avoid them, the problems continue to affect him.

And then there is the word “shadows”.

It could be interpreted as a metaphor for the negative aspects of Hetfield’s personality or past experiences that continue to linger and affect him.

Screaming Suicide

This track is classic Metallica.

Rob Trujilo thinks this song would be a killer in the live arena because there is a groove element to it.

Via the “So What” interviews, Trujilo has stated that; “the verse in that song is different from anything Metallica’s ever done, and it’s surrounded by this groove that is just so infectious, it captures you, kicks you in the ass, and, well, you’ve got to move.”

Lyrically it’s dark.

In the first verse, Hetfield is telling us about a voice inside and how it is questioning if he’s good enough and how he should just give up.

In the second verse, the lyrics state;

“Then a voice appears, whisper in your ears, “you are good enough”, throwing down a rope, a lifeline of hope, never give you up”.

Does it suggests a moment of encouragement and support as the rope is pulling Hetfield out of the dark hole or is the rope a noose.

The phrase “you are good enough” could be a powerful statement of validation and acceptance.

How can it be that the Metal God known as Hetfield is struggling with feelings of inadequacy or self-doubt?

But is the voice offering a message of self-worth and confidence as a way to trick the person into listening to it.

How good is the section from 3.50?

Sleepwalk My Life Away

The Intro.

It builds perfectly. The bass is dominant while the guitars decorate like “Enter Sandman”.

And the bluesy riffing is back.

Maybe it’s back too much but i don’t care.

“Stagger on through the fog in the midnight sun”.

Its metaphorical.

It could represent a challenging and confusing situation that the person is facing, where they must navigate through unclear circumstances (the fog) while enduring a continuous period of brightness and clarity (the midnight sun).

Additionally, the word “stagger”, a lack of balance, due to alcohol or some other addiction, shows that the person is unable to maintain their composure in the face of difficulty.

You Must Burn

Hearing this, I can hear those groove metal tracks like “Harvester Of Sorrow” and “Sad But True”. And I like it.

Via “So What”, this is what Trujilo had to say about the twisting middle section;

With this particular middle section that came to be, that was really centered around a jam and was very moody, and there’s a danger to it; I like how the bass is walking. It’s got a feel to it where it’s “walking through a forest,” like a scene from a Tim Burton movie or something. That’s the feel I get. And James and I just started kind of grooving on it. It was just the two of us.”

How good is the riff at 4.26?

“Smile as it burns to the ground, the perfect don’t want you around, question yourself you may learn who’s the next witch you must burn”

Smile people as you watch that something you disliked or have been rejected from burn to the ground.

The latter part of the line, “question yourself you may learn who’s the next witch you must burn,” is more metaphorical. Its asking is to reflect on our own actions and judgments, perhaps in relation to the exclusion we also might have experienced.

Overall, this line seems to be expressing a somewhat dark and cynical perspective on social dynamics and human behavior otherwise known as social media.

Lux Aeterna

I had to look up what “Lux Aeterna” meant. I knew that “Lux” meant “Light” but wanted to know more. Well “Eternal Light” is the answer.

While acts like Judas Priest, Iron Maiden and Def Leppard became commcercially successful, the biggest Metal band in the world right now, wouldn’t exist if it wasn’t for Diamond Head.

A tribute to “Diamond Head”, their “Kill Em All” album and their fans.

“Amplification, lighting the nation” Hetfield sings.

Crank it.

Crown Of Barbed Wire

“So tight this crown of barbed wire”

The Metaphorical Crown of Thorns.

The “crown of thorns” is often used to refer to the painful burden that someone is forced to bear.

The “crown of barbed wire” suggests the heavy burden Hetfield is carrying, that is causing him pain and distress.

Barbed wire is also used to create boundaries or to keep people in or out of certain areas. The “crown” of barbed wire could represent the sense of being hemmed in or limited in some way.

I like the “Harvester Of Sorrow“ feel in the Interlude and Solo Section.

Chasing Light

“Harvester Of Sorrow” is back again. I love the groove from the original song and I like it here.

Then it morphs into a speed Metal track.

How good is that Chorus?

I’m screaming at the top of my lungs, “chase the light, lean on me”.

If Darkness Had A Son

The military style drumming hooks me in. And the way Hetfield builds the guitars reminds me of “Now That We’re Dead” which is my favorite song from the “Hardwired” album.

Let’s go back to 2019.

I remember it well. Metallica were about to arrive in Australia to play a lot of sold out shows, but the tour was cancelled a week before the shows as Hetfield entered rehab again.

Are we surprised when Hetfield chants “temptation”?

“If darkness had a son, here I am”

What an iconic and powerful line.

It suggests a willingness to confront the darkness and embrace one’s own inner struggles, but it also carries a sense of danger and potential for evil.

Too Far Gone

It’s classic Metallica.

And I’m a big fan of the fast punk vibe in the Chorus.

Finally Kirk Hammett breaks out some decent licks. Especially the fast picking bit between the Chorus and Verse. Very “Master Of Puppets” like.

And that “all away” section is perfect.

The song ends with “make it through the day, just for today”.

Room Of Mirrors

It’s a punk song.

“In a mirrored room, all alone I stand, strip away the phantom fame”.

It shows a desire for self-reflection, authenticity, and honesty. Hetfield wants to show us who he truly is, without the illusions of fame and celebrity getting in the way.

And I like that Thin Lizzy like harmony after the solo, which they use a few more times throughout the song.

Inamorata

I had to look up what it meant.

“Inamorata” means “the woman that a man loves”.

The woman here is called Misery and when Hetfield sings “She’s not why I’m living” and “She’s not what I’m living for”, you feel every word.

Via “So What”, this is how Hetfield sums it up; “Misery as my mistress, and I’m trying to hide her. I enjoy her at certain times, but I don’t want the world to know about her.

I don’t want to introduce her to the world because it’s not okay. So misery as a mistress, it does serve a purpose in my life, but I don’t want it to be my life, and I’m tired of it running my life.”

Via the “So What” interviews, Trujilo stated they “hit a grand slam with “Inamorata”. It’s a cross between a beautiful old film with a really cool painting or something… it resonates “California.”

5.11.

It’s the breakdown. The hi-hat shimmering in the background. The bass playing a groove. Swing like. The guitars decorate.

It’s got a Bill Ward Sabbath groove and swing.

And Hetfield, The anguish.

Then the harmonies begin, like “My Friend Of Misery” and a section from “Orion”.

Its why I press play.

Press play and band that head. \::/

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1976 – Part 5.9 and Australian Method Series: Status Quo – Blue For You

“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.

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How Has It Aged: Evergrey – Glorious Collision

A long time ago, I read a review on an old Yahoo run site, that classed Evergrey as “Doom metal” and “Dark Metal”. There is no doubt that Evergrey has built a career on writing songs that deal with sorrow, depression and a whole range of dark emotions. I have read reviews that state the band should lighten the fuck up.

But hey, no one said that life is pretty.

Evergrey’s 2011 album “Glorious Collision” is their 8th album. Like the albums before it, and like the albums that came after, it is a powerful and emotional journey through the human experience.

The press release had something like, the album’s sound is characterized by heavy guitars, soaring vocals, and intricate melodies that create a wall of sound that’s both intense and immersive.

But the reviews weren’t that kind. The usual websites who give every artist glowing reviews kept the reviews glowing, but when you get down to the more elitist blog sites, the reviews weren’t that kind.

The power metallers didn’t like, as they saw the band selling out and moving more into a commercial classic rock setting. The progressive websites kept saying they are not progressive anymore, just bland modern metal.

But, music is a connection between the artist and the fan. And Evergrey, courtesy of founder/vocalist/guitarist Tom Englund have fostered that connection with each album.

Production duties for “Glorious Collision” are also handled by Tom Englund.

But. Remember. Life isn’t pretty.

In May, 2010, before the album recording/writing even started, drummer Jonas Ekdahl, guitarist Henrik Danhage and bassist Jari Kainulainen left Evergrey. The press release said it was by mutual decision due to problems with the band members interacting with each other. The best outcome was to call it quits as to not ruin the friendship they all have with each other. Ekdahl and Danhage also went on to play with DeathDestruction, a Metal Hardcore band formed by Ekdahl and vocalist Jimmie Strimell from Dead By April.

For this album, founder Tom Englund is on vocals and guitar and Rikard Zander is on keyboards. Joining them is Marcus Jidell on guitar, Johan Niemann on bass and Hannes Van Dahl on drums. Female vocals are provided by Carina Englund (Tom’s wife at the time) and their daughter Salina Englund does guest vocals on “I’m Drowning Alone”.

Leave It Behind Us

In the twilight of the line-up changes and the turmoil of what was left of the band, Englund and Zander didn’t even know if they were going to continue. From 5 members only two remained. Then they wrote “Leave It Behind Us”.

All things that were known now are changing

It sums up what Englund felt back then and it also represents the melancholy of the album. The music is written by Tom Englund and Rickard Zander with Englund writing the lyrics as well.

You

The music is written by Englund and Marcus Jidell with lyrics written by Englund. It’s a classic rock track with a modern metal sound. And I like it.

And if weakness is a virtue
And an act of strength a pride
Then I am king and misery’s my empire

It’s a song about being let down, because the “you” in the song, is the one who said they will be there. But their nowhere to be seen.

Wrong

It’s another Englund and Zander composition.

The album’s standout track which features a powerful vocal performance from Englund and an uplifting chorus that resonates. The song encourages you to stay true to yourself in the face of adversity.

It’s also the first single and it was certified gold in the band’s home country for sales in excess of 10,000 copies. I know it’s not a lot when you live in the North American market, but for a small market like Sweden, it’s plenty. This is also the band’s first certification in Sweden as well the first certification for their label at the time, Steamhammer/SPV in Sweden.

I always thought that I would know
That when things were broken it would show
Somehow I thought I always knew
The difference between the lie and truth

Blindsided by change. It’s never easy to deal with, especially when you are the one being blindsided.

It’s obvious Englund is writing about a relationship. And the way the lyrics are written, most people might think it’s about a romantic relationship, but in the end it could be about any kind of relationship, romantic, parental or friendship.

Frozen

Like the opening track, this hard hitter has music written by Zander and Englund with Englund writing the lyrics.

Everything is built from change
All the things we recreate
Fallen – lost – forsaken faith
The unspoken made us frozen

It’s a powerful opening verse.

It’s bleak, and it shows how not talking about matters when you need to, leads you to being frozen many years later, when a separation happens.

Restoring the Loss

Written solely by Englund. Despite the heavy subject matter, there’s also a sense of hope and resilience that runs through. The song explores the power of forgiveness and redemption.

Don’t ask me to stretch any longer
These arms are strained beyond what they can take
Don’t ask me for strength cause it’s gone
And I’ve reached my end restoring the loss to faith

We’ve all been there. As a species we don’t know how to say NO to people. So we end up worn out, used and unable to meet any commitments.

To Fit the Mold

This song connected straight away.

Lyrics are written by Englund with the music coming from Englund and Jidell. The song lyrically explores themes of conformity, loss, pain, and isolation.

We’re scared we’ll end up to nothing
And we change to fit the mold
We are…
We’re accidents forced to happen

It’s a brilliant chorus. You really don’t know how strong family and social ties are in your life, until you get older. The conformity that these two institutions want to happen, is at another level.

I know from my point of view, I had to set some boundaries when it came to dealing with family, because it didn’t matter what I did, people were never satisfied.

Out of Reach

Lyrics are written by Englund with the music coming from Zander and Englund.

So what now my friend
Where do you go from here
When will the dark days end
And all the clouds clear

Falling out of reach
You can’t prevent it
You can’t cause
All wounds won’t heal

One thing I know in life, is that change is constant. The biggest argument I have ever had is with people close to me, like family or friends. It’s always the case. They felt that my actions disappointed them, and I felt the same way towards them. When partners get involved, it makes it even more complicated.

When I think of the word “wounds” in the song title, I think of the hurt that is felt after words have been said. Because the mind, remembers everything.

The Phantom Letters

We get a trilogy of cuts written solely by Englund, with “The Phantom Letters”, “The Disease…” and “It Comes From Within”.

I like the melancholy and moody atmosphere this song creates.

All the words that I leave offer reasons
Holds the keys to the doors that I’ve locked
And I knew they would never be opened
Cause the ashes fall from heaven

If you are into self-development books, this is the chapter that says to keep a journal and to write down each day, what you are grateful for, what you have accomplished and what you could do better. It’s also there to write down your fears, concerns and words you want to say to others but due to how you are brought up, you are unable to.

The Disease…

It’s a journey through the ups and downs of life, exploring themes of loss, pain, and isolation.

Been loyal to the blind
Had friends that were not mine
I failed to see the disease before it created distance

Englund is not finished about the departure of the previous members. The album highlights his emotions at this point in time.

It Comes from Within

And I’m lying here
So tired so torn
Threat comes from within

It’s taking me over
It’s making me weak
Brought my doubts to the surface
It’s leaving me helpless with no air to breathe

We are our own worst enemies. Our minds can trick us into doing everything or nothing.

Free

Lyrics are written by Englund with the music coming from Zander and Englund.

It’s a very depressing song but there is a little bit of hope in the Chorus. Here are the lyrics, you decide.

I’ve read your words
I understand it’s said it’s done
I walk away in fear of what you said that I’ve become
Can’t change your words now they are stains made to stay

Free are those who walk away from setting suns
And free are those who laughed at chains that held them bound
Free are those who conquers in vain but won’t stop to run
Battered and down they pick up their pieces to rise as one

Free are souls who wander alone in the shade of sun
And free are those who’s forgotten by all but still warm inside
Free are they with no intention to fold never bend for the cold
Just to find someone too

I’ve read your words I understand it’s said it’s done
I walk away in fear of what you said that we’ve become
Can’t change our words now
Can’t make them undone
I’ll walk away
I’ll walk away
Just walk away

I’m Drowning Alone

Lyrics are written by Englund with the music coming from Zander and Englund. The child choir is haunting here as they are singing the “release me from darkness” part.

Release me from darkness
Release me from all that chains me here
I’m drowning in silence
And I’m drowning alone

I hate to ask but I wouldn’t if I didn’t need it
Not stronger on my own
I’m weaker just so much weaker
And I know I never asked
But I need you to help me

It’s okay to ask for help. So don’t be afraid and do ask for help.

…And the Distance

Lyrics are written by Englund with the music coming from Zander and Englund.

I always presumed that since “The Disease” had three full stops at the end of it, and “The Distance” had three full stops at the start of it, that these two songs originally made ONE song called, “The Disease And The Distance”.

You’re keeping your distance, you’re pushing me away
You’ve never let me say the words I want to say
Our time here has withered
Our circumstances changed

The themes of keeping silent to keep the peace run throughout the album. And the last song demonstrates that keeping the peace doesn’t lead to a happy future. It just delays the inevitable war that is about to come in a few years, maybe even a decade.

In its first week or release the album sold 900 copies in the United States. Hardly ground-breaking, but Everygrey always had a cult-like following. I actually purchased my version from the U.S Amazon Store. So I am not sure if my purchase counts as a U.S sale or an Australian sale.

The album was a new dawn, a new era. But that new dawn didn’t last.

The break with drummer Jonas Ekdahl and guitarist Henrik Danhage was civil enough to begin with, so when things started to break down with guitarist Marcus Jidell and drummer Hannes Van Dahl, the former members were soon back in the fold. I also think the commercial failure of their side project DeathDestruction also helped speed this reunion up.

But their side project was also halted when vocalist Jimmie Strimell left to focus on Dead By April, as they appeared on the Swedish Eurovision Song Contest and got a second breakthrough in Sweden.

In relation to the Evergrey change, it happened when writing for the follow-up album started. Via Facebook posts, the band first confirmed that drummer Hannes Van Dahl would be leaving the band to join Sabaton as a full-time, and then due to “problems working together” guitarist Marcus Jidell would also be leaving. Van Dahl, is still with Sabaton, appearing on their last four albums. Marcus Jidell has been busy. He has Avatarium, who are actively releasing new product, plus The Doomsday Kingdom, and between 2015 and 2018, he played guitars in Soen.

As a fan, there is not a weak track on the album.

Overall, “Glorious Collision” is a triumph for Evergrey but more so a triumph for Tom Englund, who kept the identity and brand of Evergrey running, when he felt like he had nothing left to offer. His ability to combine heavy, atmospheric music with deep, introspective lyrics is truly impressive, and this album is a testament to his talent and dedication. If you’re a fan of heavy metal and rock or just appreciate well-crafted music with emotional depth, this album is definitely worth a listen.

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The Record Vault: Dream Theater – Live At Budokan

This is one of my favourite live releases from the 2000 era. Dream Theater is touring on the back of their most metal album ever in “Train Of Thought”.

“Live at Budokan” was recorded at the Nippon Budokan Hall on April 26, 2004 in Tokyo, Japan and released on October 2004. It’s the same venue as “At Budokan” from Cheap Trick, however the audio for the Cheap Trick album was from the Osaka show, as the audio from the Budokan show was unusable.

Due to time constraints for the set, the songs “The Great Debate”, “Under a Glass Moon” and “Caught in a Web”, which included an extended drum solo, were removed from the set list at the last minute.

As I Am

It makes sense to kick off the show with the opening track “As I Am” from the “Train Of Thought” album with its ominous Black Sabbath like intro making way for a Metallica like riff. Of course, any influence from the past is done in the Dream Theater way with some fills and different endings on the 4th bar.

This Dying Soul

It also makes sense to feedback into the thrash metal like “This Dying Soul”.

The song actually moves through quite a few musical and vocal styles. It reminds me of “Beyond This Life” which also comes next. While James LaBrie cops a lot of flak, he is a very diverse and unique singer who can cover a lot of different vocal styles.

Scene Four: Beyond This Life

They take a long song and extend it to 20 minutes in length. For a band that is very technical and very precise, they really like to be loose and just jam. Sometimes I wish they didn’t, but hey, if I wanted to hear the songs as per the album, then I would just press play on the album. This is another song that moves through a lot of styles musically and vocally.

Hollow Years

This is why the live album is a favourite.

The song is extended. But, it’s not just extended for the sake of it.

The intro has John Petrucci on acoustic guitar doing some flamenco/classical like leads over the verse chords that Jordan Rudess plays on the keys. The actual song (like the studio cut) version starts at 1.20.

At 5.30, there is an approx. 2 minute guitar solo which John Petrucci shreds on. And you know how in concerts the guitar solo spotlight is just that, the guitarist and no one else. Well, here Petrucci uses the songs solo chordal structure and the whole band for his spotlight.

It’s basically them extending the songs solo section. Something like how The Black Crowes do. And it is excellent.

If you are a guitar player you need to hear this. If you are not a guitar player you still need to hear this. This is why I go to the live show. To hear artists communicating musically on stage. Even James LaBrie thinks this is a highlight, as he screams in the microphone at 6.21, Mr John Petrucci and the crowd roars their approval. At 6.40 it’s over and they are back into the song’s pre-chorus.

War Inside My Head / The Test That Stumped Them All

These two songs are back to back in the “Six Degrees Of Inner Turbulence” song and they always should be played back to back. They are thrash groove Metal done in Dream Theaters way.

Endless Sacrifice

I get the same goose bumps when I hear the live version as I do for the studio version.

Instrumedley

It wouldn’t be a Dream Theater show if it didn’t have an instrumental song created purely for the live show.

In this case and on this tour, they take sections from their instrumentals and the instrumental sections from lyrical songs and create some new jams with it and they must have had a proviso that said it had to be at least 12 minutes long.

It’s broken down like this.

I. The Dance of Eternity
II. Metropolis—Part I: ‘The Miracle and the Sleeper’
III. I. Erotomania
IV. The Dance of Eternity
V. Metropolis—Part I: ‘The Miracle and the Sleeper’
VI. The Darkest of Winters
VII. When the Water Breaks (Liquid Tension Experiment Cover)
VIII. The Darkest of Winters
IX. Ytse Jam
X. The Dance of Eternity
XI. Paradigm Shift (Liquid Tension Experiment Cover)
XII. Universal Mind (Liquid Tension Experiment Cover)
XIII. The Dance of Eternity
XIV. Hell’s Kitchen

As a fan of those musical sections, it didn’t feel long nor boring. Plus you get some “Liquid Tension Experiment” sections, which I am also a fan of.

And they finish it off with my favourite section from “Hell’s Kitchen”.

Trial Of Tears

The keyboard ringing out segues into “Trial of Tears”. Another massive cut at almost 14 minutes long.

But it never gets boring, bringing back memories of 70’s progressive rock with a hook that reminds me of “While My Guitar Gently Weeps” (the “it’s raining” part).

New Millennium

This song rocks.

I can get over how hard rock sounding the song really is. Its technical but still rooted in hard rock. Maybe because the keyboard parts are written by Derek Sherinian originally.

The style of Allan Holdsworth and what EVH was trying to do with “Van Halen III” comes to mind here musically.

Keyboard Solo

It’s a skip for me. Not all live shows are killer.

Only A Matter Of Time

A track from the long forgotten debut album. This track had embryonic elements of songs like “Learning To Live”, “A Change Of Seasons” and “Metropolis” that would come after.

Goodnight Kiss

It’s almost like a lullaby. Very Pink Floyd like with the shimmering clean tone guitar and samples of children voices playing. It’s another song within the massive “Six Degrees Of Inner Turbulence” song. Petrucci’s lead break is full of hope and wonder.

Solitary Shell

They continue with the major key vibes and go into “Solitary Shell” from the “Six Degrees Of Inner Turbulence” album. This one is very Peter Gabriel like.

Stream Of Consciousness

Another instrumental from their recent album. LaBrie gets a chance to rest while the remainder of the band jam for another 12 minutes. And the song goes through so many different movements, you cannot get bored listening to it.

Disappear

Press play to hear the section between 4 and 5 minutes. James LaBrie. What a vocal performance. Brilliant.

Pull Me Under

When I saw this album title for the first time ever, I just presumed it was a song about getting jerked off. Man, was I wrong. Never judge a song by its title.

As soon as the acoustic guitar lines start, the crowd is at its loudest and it’s all systems go.

In The Name Of God

Press play to hear the bone crunching riffs and the jazz fusion like lead section which has Petrucci wailing away at supersonic speeds.

And it’s not an easy song vocally with a lot of highs, but LaBrie does it well.

I have the DVD and the CD of this release. The DVD was also certified Platinum in January, 2005.

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Getting Older on YouTube

I was watching some Iron Maiden on YouTube. 

“Rock In Rio” on the back of the “Brave New World” vs “Rock In Rio” on the back of the “Senjutsu” album.

I wonder how many of the old Maiden fans went back and played “Senjutsu” over and over again.

Most of the songs on the new album I don’t really know how they go by looking at the title. It didn’t happen before. As soon as a person mentioned a Maiden song from their 80’s output, I knew the riff and the vocal melody.

Is it because of time?

I saw some research recently over at The Conversation website, which talks about how we stop exploring new music as we get older. While i don’t jump right in for new artists, I do know still like to see what my favorite artists are up to.

Did I have more time to listen to music before than now? 

Bruce will always be a legend and Iron Maiden music is a massive part of my youth soundtrack growing up.

Getting old affects everybody, and Bruce is also struggling. It seems he doesn’t have the throat muscle to pronounce the words properly. Playing the songs a little bit faster in a live setting doesn’t help either. Plus the dude battled throat cancer and won.

Then I caught some Bon Jovi footage after I heard an NSTS Podcast from Brent Jensen, which spoke about JBJ’s voice on the recent 2021 and 2022 tour. Fans on Facebook commented after viewing a video somebody shared, that they want their money back from the show, and they weren’t even there.

The songs are down tuned, which is normal as a band ages. The backing vocals are triggered and pre-recorded, so it looks like they are singing, which they are, however when they sing, the louder pre-recorded vocals are heard more. This is also normal in this day, especially when rock acts age.

But the down tuning of these songs, takes the life away from them. Instead of that big key change to a Gm in “Livin’ On A Prayer” and getting those ball crunching woooh, we’re halfway there, who-oh livin’ on a prayer” you get a very low baritone like vocal (if there is one at all) as Jovi is a master at getting the crowd to fill the gaps.

Like Bruce, JBJ will always be a legend and Bon Jovi music formed a soundtrack of my youth, between 1984 and 1994. I’m not a huge fan of “These Days” but got back on board with “Crush” and left forever after “What About Now”.

I also wanted to see and hear how Motley Crue looked and sounded with John 5 live. It’s like he’s been part of the band forever. He just fits the picture and I mean no disrespect to Mick Mars, who will always be a legend as well, for the music that Motley Crue did in the 80’s also formed a massive part of my youth soundtrack. But I still think their best album is the Motley Corabi album. Which they ignore because Vince didn’t sing on it.

Then again, you don’t go to a Crue show to hear Vince sing. It’s an experience.

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1976 – Part 5.8: Camel – Moonmadness

John Field designed the cover after the label sent out a job order to different artists. They only had the title of the album to work with.

This is the thing.

Bands in the 70’s experimented. They experimented with song structures and most importantly with sounds. As the technology got better and the studio techniques got better, the sounds just happened to get better.

And sometimes artists would get it right and at other times they would get it wrong.

I had a quest in the 90’s.

To listen to as many progressive bands and artists from the 70’s I could find. In my favour was the price crash of vinyl. For those who don’t know, most people were selling or giving away their vinyl collections as they made the transition to CD’s. Suddenly the second hand record shop had more people visiting it than the actual “record store” which sold overpriced CD’s.

Then in the late 90’s, peer to peer sharing would become a thing which would lead to even more discoveries.

So Camel.

I would see the band name in lists of progressive artists to check out from the 70’s in various magazines I was purchasing.

“Moonmadness” is studio album number 4 released in March 1976 on Decca and Gama Records and is their last album recorded by the group’s original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward.

The band broke through with the previous all instrumental album called “The Snow Goose” and for “Moonmadness” they decided to incorporate vocals.

Aristillus

A 2 minute instrumental that does nothing.

Song Within A Song

I heard Kansas first and this song feels like a Kansas song in the intro, before it goes into a Pink Floyd “Us And Them” kind of feel.

At 3.15, it goes into a musical interlude. It’s slow, it’s got time changes and yet it is hummable. Who said that to be progressive you need to be technically excellent and be able to play time changes at break neck speeds?

And you don’t get a Camel record to listen to memorable vocal melodies. Its music first and vocals are a distant last.

Chord Change

It sounds like a TV intro theme.

Spirit Of The Water

The intro has this “Moonlight Sonata” feel and I like it.

The song just percolates and it feels haunted especially the piano melody.

Keyboardist Peter Bardens who also wrote this, shines. Press play to hear it.

Another Night

King Crimson comes to mind. A repeating guitar line, is echoed before the excellent main riff comes in.

And that main riff is excellent.

Press play to hear this song.

Air Born

Skip

Lunar Sea

Skip

On Spotify, the release is an expanded edition which has the single edit for “Another Night”, which is all about the riff and it is an excellent edit. There is also the piano demo for “Spirit Of The Water” which is even more haunted and impressive.

In other words, press play to hear these two tracks,

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1976 – Part 5.7: Santana – Amigos

If you got into Santana on the back of “Smooth”, then this album wouldn’t please you a great deal. While “Smooth” contains flamenco style guitar leads and it has that feel, it is basically a pop song written by Rob Thomas from Matchbox Twenty.

Going back a few decades, Santana was a different beast. “Amigos” is the seventh studio album released in 1976.

New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown. Rounding out the band with Carlos Santana is also Leon Chancler on drums, Tom Coster on all things keys related and Armando Peraza on congos and bongos.

The brilliant female backing vocals are done by Ivory Stone , Julia Tillman Waters and Maxine Willard Waters.

Dance Sister Dance (Baila Mi Hermana)

Written by pianist Tom Coster along with Leon Chancler and David Rubinson. This song is a vehicle for Santana to solo over while the samba like rhythms play, as the vocals move between English and Spanish.

But the last three minutes from about the 5 minute mark is where it’s at. The change in style reminds me of the second phase of “Layla”.

Take Me with You

It’s an instrumental that borders on jazz samba blues fusion. The song is written by Leon Chancler and Tom Coster, and it provides another vehicle for Santana to solo over.

But it’s a skip for me.

Let Me

A song written by Carlos Santana and Tom Coster. This is what I like when I listen to a Santana album, the fusion of so many different styles. Jazz, rhythm and blues, fast reggae, the samba/latin feel and a whole lotta soul.

However in this case, the vocals don’t help the song at all.

Gitano

Written by Armando Peraza who plays the congas and bongos in the band, who also takes the lead vocal.

I’m always a sucker for an acoustic guitar and that whole flamenco/classical feel. Then at the minute mark it moves away from that and into a song. You know those massive pop hits from Jennifer Lopez and Ricky Martin, well they would have borrowed from this song.

And at 6 minutes long it gets a bit repetitive.

Tell Me Are You Tired

Written by Leon Chancler and Tom Coster.

Yacht music. A total skip for me.

Europa (Earth’s Cry Heaven’s Smile)

An instrumental written by Tom Coster and Carlos Santana.

A massive hit in Europe and the monster track on the album at 60 million Spotify streams. In comparison the other tracks are between 200,000 and 700,000.

Even the U.S hit, “Let It Shine” obviously wasn’t really loved as it is sitting at 296,756 streams on Spotify.

Gary Moore was definitely a fan of this because you can hear “Parisienne Walkways” and eventually his multi-platinum “Still Got The Blues”. You could say they are the same songs.

Let It Shine

Written by bassist David Brown and Ray Gardner.

It’s got this funky bass riff, with a wah like strummed pattern that reminds me of the stuff that Joe Walsh did with The Eagles and in “Life In The Fast Lane”.

The album did go good business in a lot of markets. Then again, certifications in most parts of the world back then happened based on shipment figures and not sales.

If you haven’t heard this album, just press play on “Europa” and then move on.

And that is how it would be for the band. Then from 1992, there was studio silence after the “Milargo” album,.

The best thing Carlos Santana did or what his label and management got him to do, was to work with different vocalists instead of trying to hold down a band. At 30 million plus albums sold worldwide, “Supernatural” from 1999 stands as his testament. And since then, he has tried to replicate the formula.

“Shaman” came in 2002, following the same formula but it didn’t capture the zeitgeist like “Supernatural” only moving 5 million units worldwide. “All That I Am” in 2005 did even less and a sign of the times, with peer to peer downloading and the iTunes store allowing people to cherry pick the songs they want.

But then came a totally unexpected album, and one of Santana’s best. But its forgotten. Called “Guitar heaven: The Greatest Guitar Classics Of All Time”, you will hear Carlos and his friends take on songs like “Photograph” from Def Leppard with Chris Daughtry singing, a hip hop version of “Back In Black” with Nas singing, “Whole Lotta Love” with Chris Cornell singing and other singers like Gavin Rossdale doing “Get it On” from T-Rex, Scott Weiland doing “Can’t You Hear Me Knocking” from The Rolling Stones, Scott Stapp doing “Fortunate Son” from Creedence Clearwater Revival, Jacoby Shaddix doing “Smoke On The Water”, Jonny Lang on “I Ain’t Superstitious” and Chester Bennington on “Riders On The Storm” from The Doors.

But the song to hear on this is “Little Wing” with Joe Cocker on vocals. It’s brilliant and perfect for Santana to express himself.

And in 2012, “Shape Shifter” came out with no guest singers and no sales. In 2014, “Corazon” had the guest singers back for a Latin/Reggae like album and the sales were back.

In 2016, another magical album was released in “Santana IV” which reunited most of the surviving members from the early 1970s line-up of the band (including Carlos Santana, Gregg Rolie, Neal Schon, Mike Carabello and Michael Shrieve) and was the first time that the quintet had recorded together since 1971’s Santana III.

“Africa Speaks” (produced by Rick Rubin) brought about a fusion of rock, Latin and jazz in 2019, and in 2021 the guest musicians and singers were back for “Blessings And Miracles”. Check out “Joy” with Chris Stapleton on vocals, “America For Sale” with Kirk Hammet and Death Angel vocalist Mark Osegueda) and Rob Tomas tried to re-create “Smooth” with “Move”.

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How Has It Aged: Van Halen – Balance

28 years ago. January 24, 1995.

The Seventh Seal

The sound of the monks immediately gets my attention.

When the whole band kicks in, the running bass line from Michael Anthony stands out, while EVH is playing power chords with the high E and B strings ringing out, Anthony is changing the root note.

Then the palm muted riff for the verse begins. It’s perfect.

How good is the section with the lyrics “under darkest skies”?

In relation to album openers, it’s one of their best since “Running With The Devil”.

Can’t Stop Loving You

It’s the Sammy Hagar vocal that rocks here over a chord progression influences by the 60’s and songs like “Stand By Me”.

EVH is also playing a-lot for the song, His free spirited approach is still there but focused.

Don’t Tell Me

When I purchased my 5150 Peavey Combo Amp, this was the first riff I played on it.

A simple riff, with some palm muting, the melodies from Hagar are perfect.

I like how EVH tweaks the chord progression for the second verse, bringing in some arpeggios.

The solo break is perfect. Just the three of em, jamming and no rhythm track. Plus we get an outro solo.

And underpinning it all is the Bonham like drumming from AVH.

Amsterdam

That section from the 3 minute mark. Wow. And I wanted that outro solo to continue until the band stopped but they faded it out.

Big Fat Money

A Bluesy tune but from the fingertips of EVH it’s like progressive blues. The energy is “Hot For Teacher” like level.

Hagar’s breathless delivery in the verses are a highlight. And AVH and Michael Anthony are solid in the rhythm foundations.

Strung Out

Yeah this track was a waste back then and still is. EVH is hitting the strings on the piano I think.

Not Enough

This one is a sleeper hit. Their take on songs like “Hey Jude”. B

Check out the solo here from EVH. His phrasing and his Bluesy bends are the highlight.

Aftershock

My favorite track here. Its shredding. I felt that they tried to rewrite it with “Humans Being”.

Regardless, press play and let your ears enjoy the Van Hagar version at their Metal best.

Especially that section from 2.48.

Then again the solo from EVH is a masterclass in different techniques.

Doin Time

Yeah, I would have left this off.

Baluchiterium

And this as well.

Take Me Back

EVH channels his love of Jimmy Page.

Feelin

An awesome deep cut. Eddie goes to town in the solo.

“Balance” is so underrated in the world of VH. It is heavy, yet it has a bit of everything.

The drama that came after the “Ambulance Tour” between Hagar, manager Ray Daniels and the Van Halen brothers shrouds the greatness of the album.

And before I forget, the production from Bruce Fairbairn is stellar.

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1976 – Part 5.6: Wings – Wings At The Speed Of Sound

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.).

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