Disaster. That’s how the American magazines described this album.
Released in 1985, the album never stood a chance.
It was fighting for our attention along with a lot of other things.
Like.
The trilogy of Mutt Lange albums were outselling everything else AC/DC put out during this period.
The Sunset Strip gave the charts and MTV a major shake up and sales followed.
The British had invaded the U.S again with Judas Priest, Iron Maiden, a solo Ozzy Osbourne and Def Leppard cementing themselves as arena acts.
The Germans also invaded via a hurricane called The Scorpions.
And finally an underground Speed Metal scene in San Francisco was slowly taking over the U.S.
But in Australia we remained true. Never wavering. And we made it triple platinum.
But let’s go back in time.
The success of “Back In Black” in 1980 showed the labels that their was an appetite for hard rock music. And the labels wanted more of the same.
So it’s no surprise that by 1985, most of the label rosters had a lot of “hard rockers” on the books. But these rockers wore everything that wasn’t denim and their hair kept hair dressers employed for decades.
Even acts from the 70’s started to participate in this new look so they could remain relevant. But AC/DC didn’t change. They stuck true to their denims and Angus still wore the schoolboy outfit.
And the critics found them irrelevant while they still sold out arenas.
Fly On The Wall
The music is infectious and the vocals indecipherable.
Sign me up.
Shake Your Foundations
It was the only song that got a pass back in the day.
How good is that intro and the Chorus is iconic?
Plus it got decent radio play in Australia.
First Blood
Musically, it’s typical of AC/DC.
Lyrically, Brian Johnson is indecipherable and hard to understand.
Danger
“Come Together” comes to mind when I hear this.
“Here come old flat top” is what my ears are expecting when the song begins.
It’s no surprise that the Young brothers are referencing Chuck Berry here as his fingerprints are all over the riffs the Young’s write.
Sink The Pink
The music clip comes to mind here.
Seeing the band playing in a pub/bar again and that pesky fly from the cover getting a hard on (via its nose going from limp to hard) when a women dressed in pink enters the pub.
But it’s the music that seals the deal and Brian Johnson sounds better in the video than the recording.
I like the musical reference to “For Those About To Rock” and The Who’s “Won’t Get Fooled Again”. So I was hooked.
“Sink the pink, it’s all the fashion”
It has so meaning meanings.
The Urban Dictionary tells us, sink the pink means to “have sexual intercourse with a virgin, and to pop her cherry”.
But the Urban Dictionary didn’t exist in 1985 and my young impressionable brain saw it as a song about drugs.
And thanks to the Internet, I believe it is.
Welcanol was known during the eighties as the South African Heroin (Pink Heroin). It could be obtained via a Doctor prescription and it came as a pink tablet.
So before OxyContin there was Pink Heroin.
“Drink the drink it’s old fashioned”
I’ll take an old fashioned drink any day.
Playing With Girls
I love the music and the groove here.
But I hate the title and the fact that Johnson is mixed low and indecipherable.
Definitely a missed opportunity here.
Stand Up
I like this song. It’s defiant and it rocks.
If you just listen to the Chorus you would think it’s about standing up and facing the world, but when you read the lines in context with the verses, well, it has a different meaning.
Hell Or High Water
A 4/4 groove and we are off.
But it’s pointless as Johnson is buried in the mix and the song is ruined.
Back In Business
A deep cut. It reminds me of ZZ Top and I like it.
Send For The Man
Musically it rocks but the buried Johnson chainsaw like vocals ruin it.
It’s not a perfect album, then again most of the albums released in 1985 are far from perfect. In other words, the era of more filler than killer was well and truly in motion.
But I would say, it’s an underrated album from a band that enjoys doing their thing without over obsessing about it.
The U.S tour had controversy. It all took place underneath the censorship discussions concerning rock music. Religious groups tried to ban certain shows while city officials wanted to rate each show and give the shows a movie style rating, which would then exclude fans from going. Fire officials would also get in on the act and limit or stop any pyrotechnics.
But the band went on.
In the vinyl album sleeve of the “Fly On The Wall” re-release from 2020, Angus sums up the tour like this;
“This tour’s a little like a series of wrestling matches with the loonies. But what’s the fun of life without an occasional tussle”.
All at once in 2004, Dream Theater dropped three bootlegs under the sub headings of DEMO, COVER and LIVE.
The DEMO release was reviewed here, and it covered the “When Dream And Day Unite” period between 1987 and 1989.
The COVER release is their play through from start to finish of the “Master Of Puppets” album and will be reviewed next.
This review is on the LIVE release and as I’m writing this review it has not been re-released as part of the Inside Out re-releases/new releases.
So all we have at the moment is the Ytse Jam Records release.
The full 2 hours and 20 minutes, recorded live on the run of shows used to promote the “A Change Of Seasons” EP.
This is from October 28th, 1995 at NHL Hall, Tokyo, Japan.
The band is John Petrucci on guitars, Mike Portnoy on drums, John Myung on bass, James LaBrie on vocals and Derek Sherinian on keys.
Intro
There is a tape intro that goes for about 1 minute. It’s got a clock ticking and the sad piano lines from “Space Dye Vest” are played.
Then there is a voice over, some backwards sound effects and the octave notes from “Under A Glass Moon” kick in.
Under A Glass Moon
I like the surrealist title.
The verse riff on this song with the keys playing Chords over it. Perfection.
Stick around for the solo as it’s one of Petrucci’s best.
The Mirror
It’s a heavy song with Petrucci deploying the 7-string. Its intricate arrangements and dynamic shifts are interesting.
Lie
It goes together with “The Mirror” as some musical sections appear in both songs. This was a single from the “Awake” album, however it didn’t have the same success as “Pull Me Under” from the album previously.
The mix of heavy riffs and melodic moments, highlights their versatility.
Petrucci as usual delivers a few killer solo sections.
Lifting Shadows Off A Dream
It starts off like a slow jazz blues fusion jam before it goes into the well recognized bass intro.
It feels like a cross between U2, ballad like Marillion and 80s synth Rush.
Instrumental Medley
You get to hear “The Rover” from Led Zeppelin, “Killers” from Iron Maiden, “Damage Inc.” from Metallica, “In The Flesh” from Pink Floyd and “Heart Of The Sunrise” from Yes.
Press play to hear the way they fuse all these different songs into one cohesive track.
Innocence Faded
It’s in a major key. While it rocks it does have pop sensibilities.
But it’s the outro that you should listen to.
Because if you worship at the altar of guitar gods then the outro is for you. Even James LaBrie screams “John Petrucci” when it starts.
If you can’t find this track, then any other official live version or even the studio cut will suffice.
A Change Of Seasons
You get the full 23 minutes.
The way this piece is written is that each part can be played separately in the set list amongst other songs or it can be played as one song, like it is here.
And like all multi-part epics, it serves as the grand centerpiece of the show, displaying their songwriting prowess and technical skills in a live setting.
Lost Without You
“Lost Without You” was officially released in 2005 on John Petrucci’s solo album “Suspended Animation”.
But here it is, live in 1995.
Its an intimate and introspective moment within the setlist, very blues/jazz fusion like and I’m all in.
Petrucci nails it and the emotion drips from the strings.
Surrounded
The “Images And Words” album is all killer.
And this song is largely out of the conversation, however the band does a stellar job playing tracks from the back catalogue in the live setting.
After the piano intro and verses, the song picks up. Listen to how Petrucci decorates.
Derek Sherinian Keyboard Solo
I’m not a huge fan of solos in concert like this, but this one actually rocked and kept me interested.
It was a mixture of ragtime, blues, classical and cinematic/video game like music.
Erotomania
Mike Portnoy takes over the middle of the song with a drum solo.
But at least they go back into the song and to one of my favorite instrumental sections.
Voices
This is another song that seems like it’s out of the conversation when it comes to Dream Theater songs.
But it’s a classic
The Chorus is arena rock.
And that solo is what guitar heroes are made of.
The Silent Man
It’s a great acoustic song.
And they bring the 70s Classic Rock vibes (which is known as Country Rock these days) to it live.
Pull Me Under
Closing the main set with their most recognizable hit, leaves the audience energized.
The 1st Encore begins with a cover.
Perfect Strangers (Deep Purple cover):
The Deep Purple cover sounds like it came from the minds of Dream Theater.
You can hear the fun in the music and they definitely jam it out.
The 2nd Encore begins with the last two tracks of the “Images And Words” album. And for a 1995 set list it’s perfect.
Wait For Sleep (Acoustic version)
An acoustic version of “Wait For Sleep” is excellent.
Learning To Live
The grand finale. The whole song is a masterpiece.
And then that outro section. Wow.
In summary, its raw as a bootleg should be.
The setlist is diverse and it showcases their instrumental virtuosity and ability to navigate complex musical compositions.
There are mistakes and pitch issues but hey, if I wanted the studio recordings I would play them.
The inclusion of covers and acoustic moments also adds depth to the overall concert experience.
They got some traction with the single “Don’t Tell Me You Love Me” from the “Dawn Patrol” album in 1982. The future looked bright.
Then their record label “Boardwalk” went under.
But they had a believer in former Boardwalk vice-president Bruce Bird, who organised a deal with Irving Azoff to sign the group to MCA. Night Ranger would be the first signing to Bird’s new imprint under MCA, Camel Records Inc.
“Midnight Madness” came out in 1983. Check out the ages of the guys in the band.
Jack Blades is 29, Brad Gillis is 26, Jeff Watson is 27, Kelly Keagy is 31 and Alan Fitzgerald is 34. These are seasoned pros, who have paid their dues in other bands since the start of the Seventies.
And in 1983, fame came to them in the form of music television.
MTV would turn regional club acts into arena acts instantly on the back of a song, and “Sister Christian” along with “(You Can Still) Rock In America” became the songs that launched Night Ranger across North America.
While the album has alot of good songs my favorite is the first song on Side 2.
“Touch of Madness” is written by Jack Blades.
The eerie music box gets your attention immediately.
Then a heavily palm muted arpeggio single note riff kicks in before, all hell breaks loose with the blues slide rock riff from the 19 second mark.
The playing is excellent.
At the 42 second mark, the verse groove comes in. It’s groove Rock and Kelly Keagy thunders on the kit.
Blades delivers a stellar vocal,
The lyrics suggest a feeling of being drawn to someone who has a captivating and mysterious quality.
She say “I get high when I want to Don’t ya think you need it too” I need a touch, I need a touch of madness
All of the religious leaders in the 80’s got it right, that the youth of the world had been seduced by the devil’s music. We liked to get high when we wanted to and Mister Juana was a favourite.
The “touch of madness” is the irresistible allure of someone’s unpredictable and exciting nature.
I need a touch, a touch of madness
The lead break is Randy Rhoads-esque. Building on a simple motif and embellishing it with fast scalar runs.
I like how you get another verse, pre and chorus after the solo section. It’s the reason why it clocks in at 5 plus minutes.
All the music here has been released before circa 2003 when the band remastered their albums on their own Motley Records label.
But let me highlight how many issues of the album they have done recently.
In 2022, they released a Limited Edition, Reissue, Black/Clear Split Vinyl edition.The music on this edition was just the normal album.
In 2018, they released a Limited Edition, Reissue, Remastered, Clear With Red Swirl Vinyl Edition. The music on this edition was just the normal album.
In 2016, they released a Limited Edition, Reissue, Remastered, Red With Black Swirl, 180g Vinyl edition. The music on this edition was just the normal album.
In 2011, they released a Limited Edition, Reissue, Remastered, Mini Vinyl Replica edition. The music on this edition was just the normal album.
Again in 2011, they also released a Reissue, 180g, Gatefold edition. And again, the music on this edition was just the normal album.
Between 2003 and 2023, they also released various CD versions of the album with wording like, HDCD, Club Edition, Limited Edition, Enhanced, Reissue, Remastered and SHM-CD (for Japanese Releases). Apart from the 2003 edition, it’s been the same album re-released.
But, it’s selling for $370AUD. It looks like a nice collectors piece and if you don’t have this album, you’ll be thinking “why not”, but at that price I would have expected something to be included that hasn’t been released as yet.
Take a cue from Mr Coverdale, who puts the effort in with his evolution compositions, different jams/rehearsals of the songs and live recordings.
STEVE JOBS
At 12 years old Jobs called Bill Hewlett (the co-founder of Hewlett-Packard) to ask for spare computer parts.
Jobs got the parts and a summer job working the assembly line at Hewlett-Packard.
Steve Jobs, believes asking is the single thing that “separates the people that do things from the people that just dream about them.”
METALLICA
Brian Slagel is putting together the Metal Massacre compilation album.
Slagel met Lars Ulrich a year ago at a Michael Schenker concert. Lars calls him up and asks him, “if he puts together a band can he be on the record?”
BON JOVI
It’s 1982 and Jon Bon Jovi has just finished writing and recording “Runaway”.
He shopped it around and couldn’t get a record deal. He couldn’t get a band together to play live because original bands didn’t make enough money.
Luck would have it that a brand-new radio station would open in New York. It was so new it didn’t have a receptionist so nobody was there to stop Jon from walking straight to the DJ and asking him to play “Runaway”.
The song quickly gained traction and Hobart entered Bon Jovi into a contest the radio station was running for the best unsigned band.
Jon won, he got his Mercury deal and by the summer of 1983, the song had become a huge hit.
It’s amazing what could happen from asking.
SONG ON REPEAT
“Crime Of The Century” by Revolution Saints.
That Chorus hook is undeniable. It’s from the new album “Eagle Flight” which has Joel Hoekstra and Jeff Pilson joining Deen Castronovo.
Check it out.
BONUS SONG I’M LISTENING TO
“Burn For Me” by The Night Flight Orchestra. It’s the Bowie “Modern Love” feel which hooks me in and then that feel gets put in the TNFO blender and what comes out is an infectious AOR Rock song.
I remember the kids asking me around 2019, if The Night Flight Orchestra (TNFO) would ever tour Australia as they are massive fans but they couldn’t come as it was an over 18s gig.
I said to them that Bjorn Strid as part of Soilwork tours here, so it’s a possibility but it all depends on a promoter who wants to bring them out and it also depends on fans. Streams and sales are key here.
Fast forward 4 years later, TNFO arrived on our shores. Hardline Media was the promoter who got em out here. I’ve purchased stuff from the site before and Doug does a great job/deed for Metal and Rock music in Australia.
Their first gig was at Brisbane, on Thursday 3rd August at a venue called “The Zoo”.
And on Friday, 4th August, they had their show in Sydney at a venue called “Crowbar”.
Their final show was on Saturday, 5th August in Melbourne at a venue called “Max Watts”.
It’s like waking into a time warp and coming out 40 years ago when you enter “The Crowbar”. The pub was formerly known as “The Bald Face Stag” (it was a venue I played with one of my former bands) and in 2018, it relaunched as “The Crowbar”. The furnishings are still very 80s retro, it’s painted black and I like it. Plus their is a decent selection of boutique beers on tap and in cans. Their is also a decent sized live room inside the pub, which they utilize for live music.
I purchased two VIP Meet and Greet packages.
This included:
early access to the show and merch stand,
a photo on my phone/device with the band
an Australian tour poster to get signed by the band
exclusive VIP lanyard/laminate
plus I was able to bring along 3 personal items to get signed.
And the prices at $160 each were reasonable.
I was thinking of what merch to take for signing. And I settled on the vinyl album, “Sometimes The World Ain’t Enough”. It’s a gatefold album, with a massive picture of the band on the inside, so it would be cool to get them to sign it. Plus I had two copies of the albums as I forgot I purchased it and then purchased it again.
The meet and greet was very relaxed. They signed our items including the tour poster and then we got the photo.
The band is Sharlee D’Angelo on bass, Sebastian Forslund on guitar, percussion and congas, Anna Brygard on backup vocals, John Lonnmyr on the keys, Bjorn Strid on vocals, Asa Lundman on backup vocals, Jonas Kallsback on drums and Rasmus Ehrnborn on guitar. In the middle, ruining the photo is yours truly.
Midnight Flyer
It was the first song recorded for the “Amber Galactic” album and the first single released to promote the album.
It’s a great opener.
Then again so is “Siberian Queen”, “Sail On”, “This Time” (which sounds like the twin of “Midnight Flyer”), “Servants Of The Air” and “Violent Indigo”.
I remember reading an early interview from the band that Deep Purple’s “Made In Japan” and “Made In Europe” are favourites.
And I can hear it in “Midnight Flyer”, how it builds from the keyboard intro, similar to how “You Fool No One” builds on the “Europe” live album or “Speed King” on the “Japan” live album.
I’m not leaving I’m just going somewhere else Far from the sighs and whispers And the weakness of myself Now is not the time To think of all I’ve lost There are skylines left to conquer There are oceans left to cross
The work ethic of the TNFO members is high. Multiple bands means more touring, more time in recording studios, more time song writing and lots of champagne. Meanwhile they are all trying to keep relationships going.
I’m a midnight flyer rushing through the storm I got lost without your loving and I can’t find my way home
Such a great lyric for the Chorus hook.
They went straight into “Sometimes The World Ain’t Enough” and we were moving and singing.
That keyboard Intro is from what David Coverdale calls “Hook City”, a mythical place of arena-like choruses and riffs.
And I love the drum beat which I call the “Deuce” beat. I know other 70s acts did this kind of beat, but I’m a Kiss fan so I’ll associate it with Kiss.
Every song TNFO played got us moving. My order of the songs is wrong compared to the live show, but here they are.
“Divinyls” rocked. It grabs your attention as soon as the guitar intro starts and it builds nicely with the drums. Rasmus Ehrnborn filled in for TNFO when Dave Andersson couldn’t tour. Now he is the guitarist in the band.
“Gemini”, “Paralyzed”, “White Jeans”, “Burn For Me”, “The Sensation”, “If Tonight Is Our Only Chance” and “Satellite” all followed with lots of grooving, people dancing and some head banging.
“Something Mysterious” (which reminds me of “Burning Heart” from Survivor) was dedicated to guitarist Dave Andersson, who passed away in 2022. For those who are not aware, Andersson was a co-founding member of TNFO along with vocalist Bjorn Strid. A lot of the TNFO songs have his riffs and lyrics. He also wrote this.
They closed the set with the 9 minute long “The Last Of The Independent Romantics”. As Bjorn said in the Intro, let’s go on a journey. And we did.
The band went off stage and we went into a football chant.
It was encore time.
“Josephine”, “Stiletto” and “West Ruth Avenue” closed the night.
“West Ruth Avenue” deserves special mention as Bjorn got a decent Conga Train happening which resembled a circle pit. Instead of people running, people were dancing.
It was also this song from the debut album which made me a fan. And the tempo was slightly increased. Which I like.
I am biased but this gig is a 10. They never let up on the energy and the setlist was perfect.
Moving forward, current single “The Sensation” is doing the rounds. A new album is expected in April/May 2024 and I’m looking forward to adding it to the collection.
Hopefully another Australian tour as well. They put down some roots here so let’s see what grows.
The actors have joined the writers in taking industrial action, because they want streaming giants to agree to a fairer split of profits and better working conditions.
And a recent Black Mirror episode has made em all worried about digital replicas, so they want further protection in this area.
Mark Ruffalo went on to say that while actors and screenwriters have “made great content”, the business brains behind them had “created an empire of billionaires”, who are “laughing like fat cats” and “believe we are no longer of value”.
You see, actors are paid residuals. Residuals are a form of royalty paid to actors when movies and TV shows air on television after their initial run.
Residuals came into practice in the 60s and were updated to include Cable TV. But it doesn’t work for streaming because streaming shows aren’t scheduled.
Hwang Dong-hyuk, the creator of “Squid Game,” forfeited all residuals when he cut a deal with Netflix.
It earned Netflix nearly US$1 billion, but Hwang got none of that bounty.
You see, Hwang would get a large upfront fee to create “Squid Game”. It would be large enough to tempt him to forfeit all residuals. Netflix and Hwang both gambled and Netflix won.
And while some actors are paid well because they had the “old gatekeeper power” to get residuals higher, the rest struggle, while the streaming services and studios along with their CEO’s earn billions and multi-millions.
WHAT MAKES IT
Because no one knows what will make it big. Here is a snippet from a newsletter that Billy Oppenheimer writes;
Zemeckis replied with “It’s a minefield, Tom. You never know what’s good…It’s a minefield! It’s a goddam minefield! We may be sowing the seeds of our own destruction.”
There is no safety net or guarantee that things will become popular.
After Bon Jovi finished recording “Slippery When Wet”, producer Bruce Fairbairn was hoping it would get a Gold Certification, which is 500,000 sales in the U.S. Currently the album is at 13,364,000 units sold.
David Coverdale just recovered from surgery after a bad sinus infection. He had fired everyone. He was over $3 million in debt to Geffen. The music to the songs which would make up the 1987 album were recorded. All he had to do was sing.
And he hoped there was a place for Whitesnake in the market dominated by Bon Jovi, Motley Crue, Scorpions and Europe. It’s at 8 million and counting in U.S sales.
“Welcome to the Jungle” from Guns N’ Roses performed poorly in both the United States and the United Kingdom when first released in September 1987.
As the band’s popularity grew steadily in 1988, on the back of “Sweet Child O Mine” and their ferocious live performances, it became a sleeper hit in the US and reached the top 10 of the Billboard charts. It was then re-released in the UK, charting within the top 40 there.
In June 2005, it was certified Gold in the U.S.
By 2017, it surpassed 3 million in sales however it’s never been re-certified.
Nirvana’s second album “Nevermind” was released in September 1991 with low expectations, hoping to sell 500,000 copies.
The album entered the Billboard 200 at number 144.
It entered the top 40 in November.
When December rolled around, the album was selling 300,000 copies a week.
By January 1992, it replaced Michael Jackson’s “Dangerous” at number 1 on the Billboard charts.
The album has gone on to sell over 30 million copies worldwide.
When Def Leppard released “Hysteria” in 1987, they were expecting the same sales as “Pyromania”. In addition, due to the lengthy recording process, in order to break even they had to sell a minimum of 5 million albums.
After 8 months, the album had sold 3 million in the U.S and the band was preparing to wrap up their tour, take a short break and go back into the studio.
Then “Pour Some Sugar On Me” and “Love Bites” hit the airwaves. The popularity of the singles led to renewed interest in the album and the band was back on the road.
The “Hysteria” tour ended on 27th October 1988. By then the album had moved 7 million units in the U.S. It was basically moving a million units a month in the U.S from June.
By May 1990, the album was at 10 million units in the U.S. and it’s still selling today.
DO THE WORK YOU LOVE
It’s a strong mindset to work on a project and knowing that no one will possibly care about it once it’s released.
But the ones that do it, do it because it’s a need to create and they live to create. If it’s successful, the money and fame is a byproduct of their need to create.
THE JOURNEY
When Bruce Springsteen dropped “Born to Run” in 1975 he was 11 years into his journey. During those years he was in and out of numerous bands and his first two albums as a solo artist bombed.
When “Appetite For Destruction” came out in 1987, Guns N Roses were an 7 year over night success. And the album was a slow burner. It took over a year to get traction and once it did, it was outselling everyone.
During these periods, “talented” and “schooled” musicians were in their thousands. But the biggest artists didn’t come from Julliard or Berklee.
If your are not committed to the journey talent doesn’t matter.
Will people talk about Michael Schenker in 20 years time?
We all knew who Michael Schenker was from his time in UFO and Scorpions, but none of us could name his MSG tunes correctly.
He wasn’t on MTV and back in the 80s, there was no Spotify, no YouTube, no BitTorrent and no internet where we could go and look up his MSG output.
Radio in Australia never played MSG.
Basically if you didn’t own his albums or know someone who did, it’s like he didn’t exist.
But he was all over the guitar magazines. It’s how I came across him.
The first MSG album came out in 1980 and it stiffs in the major U.S market. Japan however loved Schenker where his popularity remained high on the back of his Scorpions and UFO contributions.
The second MSG album came out in 1981 and it did nothing as well. Something had to change. Original singer Gary Barden was fired in 1982 and Graham Bonnet fresh from his stint in Rainbow was hired. Album number 3 came out the same year (along with the “Live at The Budokan” album) and again, it did nothing. Bonnet was fired and Barden was back in for the tour.
And here we are at album number 4 released in 1983.
Commercially, it stiffed again in the major North American market. It’s forgotten from the conversation.
But it’s a favorite.
I could have picked alot of different songs from “Built To Destroy” as it’s that good. But this time around I wanted to write about “The Dogs Of War”.
It’s written by Gary Barden and Michael Schenker.
Drums and bass start it all off. A simple groove yet so catchy with Schenker decorating the Intro with feedback, chords and leads.
It builds until the verses kick in.
Nothing worth taking, all was forsaken
A sense of loss as there was nothing of value left to hold onto or protect.
Hit on the blind side, caught in the spotlights
Exposed and vulnerable, as if suddenly thrust into the spotlight without any preparation, leaving you exposed and defenseless.
Warning came late, no chance of alluding
It conveys a sense of helplessness and a lack of options.
Shadows were long as they forged through the night
I like the way this is delivered vocally. It’s almost classical and yet it feels new wave.
The line tells me it’s about perseverance and determination amidst challenging circumstances.
Looking for signs of the day, Deep in their minds as they walked out of sight
A sense of introspection and anticipation as we search for signs of hope or a brighter future. A mindset of seeking out positive change or opportunities in the midst of uncertainty or darkness.
The line “deep in their minds as they walked out of sight” suggests that despite being physically present, our minds are occupied with thoughts, hopes, and aspirations.
Mission completed all were defeated Branded with fire, now filled with desire
“Mission completed all were defeated” suggests that a goal or objective was successfully achieved, but it came at a cost. The mention of being “branded with fire” tells me that the experience was intense and left a lasting mark. However, instead of being discouraged or weakened, there is a newfound sense of determination and passion, as they are now “filled with desire” for more.
Message came through on the wings of a prayer Feelings were high for a time
The line “Message came through on the wings of a prayer” suggests that guidance or inspiration arrived unexpectedly, perhaps in a moment of spiritual connection or hope.
“Feelings were high for a time” indicates a period of excitement and enthusiasm following the completion of the mission. Emotions are intense and elevated during this phase, reflecting the sense of accomplishment and fulfillment.
Slap on the backs for the ones who had dared To run with the wolves of our time
These lines honor those who have dared to defy conventional norms and expectations, applauding their willingness to take risks and venture into uncharted territories.
They embody the spirit of running alongside the metaphorical “wolves” of their time, showcasing their courage and tenacity in the face of adversity.
Michael Schenker embodies this spirit. At 15 he left Germany to join UFO in the U.K. Imagine that, in 2023.
The dogs of war, will bite the hand for a price, and then hear them roar
The destructive nature of conflict and the willingness of certain individuals or entities to engage in acts of aggression or violence for personal gain. The phrase “dogs of war” symbolizes those who are eager to participate in warfare or engage in hostile actions. They are portrayed as fierce and relentless, driven by their own motives and desires.
The line “will bite the hand for a price” suggests that these individuals are willing to turn against their own benefactors or allies if offered a sufficient incentive.
It implies that loyalty can be easily swayed by material or monetary rewards, and they will not hesitate to betray those who once supported them.
Their mission completed, the innocents bleeding
Overall, this phrase captures the bittersweet nature of achieving a goal or objective while acknowledging the devastating impact on the innocent individuals caught in the crossfire.
To buy someone’s freedom’ who pays?
The question challenges the notion of freedom as something that can be easily obtained through financial means. It prompts us to consider whether true freedom can be bought and whether the act of purchasing it merely shifts the power dynamics or perpetuates a system of inequality.
A lot of the lyrics in the 80s got blasted and they still get blasted by music writers as being immature.
That is the case for some songs and some acts still make a living on writing simple immature lyrics with simple rhymes, laced with sexual innuendos.
Then you get other lyricists who write with some depth and double meanings. Gary Barden is one such lyricist. He’s also pushed out the “tease/please/knees” kind of lyrics as it was a symptom of the era he was in but overall his output is a lot more mature.
And Michael Schenker. He’s a lifer and what a rollercoaster lifestyle he’s had. He didn’t top the charts as a solo artist but his impact is as large as his UFO and Scorpions career.
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.
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”.
“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.
destroyerofharmony 