Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

2021 – The 50/50 List I’m Still Investing Time In

Sometimes albums don’t capture me in their entirety but there is something there that keeps me going back.

Tremonti – Marching In Time

The debut album, “All I Was” from 2012 caught me by surprise because of its slant towards Classic Heavy Metal and Speed Metal.

“Dust” and “Cauterize” from 2016 and 2015 are my favorite albums, especially the song “Dust”, it’s a masterpiece.

“A Dying Machine” from 2019 brought a concept story to the mix and now we have “Marching In Time”. In between Mark Tremonti also did Alter Bridge, so no one can question his work ethic.

I listened to this a lot the week it came out and while each song has a section or a riff which floors me, I only press “like” on four songs, “A World Away”, “Now And Forever”, “Under The Sun” and “Marching In Time”.

It doesn’t mean the other songs are crap.

Far from it. I just need to find the connection.

KK’s Priest – Sermons Of The Sinner

I heard it once and I was impressed.

KK Downing is still a beast on the guitar and we all know that Tim Ripper Owens has an awesome set of pipes on him and is technically better than a lot of the vocalists doing the rounds including his idols.

Before all the JP fans tear me apart, this isn’t meant to be a slight on Halford at all, it’s just progression that people surpass their idols in technicality. Halford is still the “Metal God”.

I remember a Bruce Dickinson interview in which he said, he was floored when he heard Ian Gillian signing “Child In Time” and he started practicing like crazy in his bedroom to mimic what Gillian did on the recording, without knowing that Gillian’s vocals were dubbed in and recut a lot of times and heavily delayed. But Bruce was doing it all naturally. Progression.

For a bit of backstory, K. K. Downing got the idea of forming KK’s Priest after doing a one-off show billed as MegaPriest in 2019 with David Ellefson (my, my, how far has he fallen since his sex scandal) on Bass. As a band, KK’s Priest is somewhere between a solo project of Downing and a reunion with his former Judas Priest bandmates Tim “Ripper” Owens and Les Binks. However, Binks left the band just before the making of “Sermons of the Sinner” because of health issues.

So joining K.K Downing and Tim “Ripper” Owens is A.J. Mills on Guitars, Tony Newton on Bass and Sean Elg on Drums.

And I was a fan without even hearing a track.

My favourite track from JP is “The Sentinel” and when I saw that the last track is called “Return Of The Sentinel” I was sold. Even though the songs sound nothing alike, the nod to a classic sealed the deal.

Blacktop Mojo – Blacktop Mojo

They won a competition to open up for Bon Jovi who at the time were picking local acts from each city to open for them. Thats how they came to my attention.

And they do a mean cover of “Dream On” from Aerosmith and a drunken YouTube cover of “In The Air Tonight” from Phil Collins.

From Texas, so they have this blues southern rock vibe happening but there’s also a Soundgarden and Alice In Chains vibe as well.

Actually Black Stone Cherry comes to mind here as well.

This is album number 4 and it’s slowly growing on me.

Check it out.

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Top 10 – 2021: Part 3

Times Of Grace – Songs Of Loss and Separation

10 years is a long time between albums.

The debut album “The Hymn Of A Broken Man” came out in 2011.

Have I mentioned that Adam Dutkiewicz is a great riff meister?

All different musical roads lead to here. A combination of country, blues, metal and rock.

For those looking about positive messages, this isn’t the album for you. It’s melancholy lyrics and metal like riffage is music to make you crash your car. You can feel the sadness, a pain at the world, society and the various demons within the mind.

It’s gloom and doom, but inspirational as well.

The album title is indicative of the theme. And having gone through loss recently this album is becoming my companion, riding shotgun with me.

So I press repeat.

Free Spirits Rising

An Australian artist who releases a song every 6 weeks or something like that and plays all the instruments.

Its raw sounding hard rock but the music is melodic and catchy even though the vocals can be hit and miss.

Check out songs like “Outside The Lines”, “It’s OK”, “My Destiny” and “It Starts With Me”.

Soen – Imperial

It’s the kind of metal I like.

Soen is a Swedish progressive metal supergroup consisting of various extreme metal musicians. Their debut album “Cognitive” came out in 2012.

It was like hearing Tool and I was all in.

“Tellurian” came out in 2014 but their rise really started with “Lykaia” in 2017 and “Lotus” in 2019. And in 2021, we have “Imperial”.

And this one is more metal and hard rock with some progressive grooves and textures.

Lumerian

How good is the Intro riff?

And the Chorus, so melodic and haunting.

In the middle, the band introduces its main dynamic, which is heard throughout the album, in which they quieten down the song and rebuild it.

Deceiver

It’s almost Disturbed like from the “Believe” album in the Intro.

Monarch

That Intro riff. So heavy and intricate.

The only thing left to do is to listen to it again.

Durbin – The Beast Awakens

James Durbin’s covers of Judas Priest on American Idol got me interested. The YouTube videos got some traction here in Australia.

His debut album released in 2011, “Memories Of A Beautiful Disaster” rocked hard and I was a fan. “Celebrate” in 2014, lost me as it went way to poppy.

Then he hooked up (surprisingly) with Quiet Riot and he made me a fan again with the very underrated and forgotten “Road Rage” album released in 2018. “Space Cowboys” came out a year later but shit was going down in the Quiet Riot camp, as Durbin left the band before the album was released and drummer Frankie Banali was fighting for his life but we didn’t know it at that point in time.

And here we are with Durbin.

Durbin possesses a great vocal range and his prowess on the guitar is evident on this album. As a songwriter, all songs are written by Durbin.

If this is his first entry into the realms of Metal, then I will eagerly await his next.

Check it out.

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The Week In Destroyer Of Harmony History – December 12 to December 18

4 Years Ago (2017)

I was busy writing my EOY lists during this week.

8 Years Ago (2013)

CITY LIMITS

From “I Am Giant”, released in 2010.

It has this bass intro that reminds me of the song “Comedown” from Bush and the drum beat makes me think of “When The Levee Breaks” from Led Zeppelin. If you want an introduction into the band, then this is the song to start with.

“Are we living?
Or merely killing time?

BOOM.

Then the distorted guitars crash, mimicking the bass riff.

Check it out

BON JOVI – LIVE IN AUSTRALIA

The Buick stage design was a great concept.

It was fitting that they opened up with “That’s What the Water Made Me”, the best song from the “What About Now” album.

And they then went back to 1986 with two classics “You Give Love a Bad Name” and “Raise Your Hands” from the “Slippery When Wet” album.

And the 50,000 plus crowd enjoyed every note as the band went through their catalogue of songs.

JOVI’S GREATEST HITS PACKAGE

The story of the Bon Jovi “Greatest Hits” album goes back to 2007. At that time, Jon was very interested in developing the country rock sound that he experimented with on the unexpected hit single, “Who Says You Can’t Go Home,” which was featured on the 2005 album, “Have A Nice Day”.

The label, Universal Music wasn’t interested in allowing Jon to follow his muse, and instead wanted a “Greatest Hits” package from the band.

In the end, Universal couldn’t stop Jon from going ahead with the album; however the label believed that they would lose a lot of money on it.

So the label made Jon promise that once the country rock album bombs, Jon will deliver a “Greatest Hits” album.

But the“Lost Highway” album and world tour was successful.

After the “Lost Highway” tour, Jon and Richie got together and started writing five songs for the promised “Greatest Hits” package that was to come next.

Then the global financial crisis happened, and according to Richie Sambora, he and Jon just continued writing more than the required amount of songs needed for the “Greatest Hits” package.

Another argument was put forward to the label to release a new album, which in turn would postpone the “Greatest Hits” release again.

From the songs written, most of them would end up on “The Circle” album, with five songs left over for the “Greatest Hits” package.

The “Greatest Hits” was finally released in October 2010, while the band was still touring on “The Circle” album and it gave the band further momentum to hit the road again in 2011.

And I wrote 7000 plus words about the “Greatest Hits” package and the story behind it.

BLOWSIGHT

If you want to read about a Swedish band called Blowsight, then read on.

STILL OF THE NIGHT

It is a well-known fact that Led Zeppelin has borrowed (or stolen depending on how people view this) bits and pieces from other artists however Zeppelin’s influence and reach is vast and if there was no Led Zeppelin, a lot of bands that we love and like today would have not have existed in the form that we know them.

One such band is Whitesnake.

For a lot of people, their first hearing of Whitesnake was in 1987 and a song called “Still of the Night”.

The song is written by lead singer David Coverdale and guitarist John Sykes.

The Led Zeppelin influence is unmistakable.
The vocal delivery over the F#5 power chord in the intro reminds me of Robert Plant from “Black Dog” and “Jailhouse Rock” from Elvis Presley.

When the riff kicks in straight after, the ears are treated to a combination riff based on “Black Dog” and “Immigrant Song”.

Even though it is derivative, it is hard to burn out on the song because it doesn’t sound like anything else.

AVATAR

It’s hard to believe that “Black Waltz” was Avatar’s fourth release. Another band from Sweden and the famous Gothenburg melodic death metal scene.

I was interested to check this band out after the guys from Five Finger Death Punch mentioned in an interview that Avatar’s new album is doing the rounds while they are on tour and that it is influencing them in the riff department.

Avatar has just so many elements in their music.

Industrial rhythms (like Rammstein) – check
Old Time Rock N Roll boogie – check
Swedish melodic death metal scene (like In Flames) – check
Hyperactive metal (like System of A Down) – check
Modern Metal elements (like Disturbed) – check
Technical Metal elements (like Meshuggah, Sikth) – check
Melodic, arena sized choruses – check
And that is what I got from listening to Black Waltz. A bizarre, melodic, psychotic freakshow.

Check em out.

And that’s another wrap for another week.

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Australian Method Series: Jet – Shine On

My first post on Jet was “Shaka Rock”, their third album. Then it was the debut “Get Born”.

And I wrap up their output with their much anticipated second album, “Shine On” released on 30 September 2006, in Australia and on 2–3 October 2006, internationally.

When you Google the album name and review, the Pitchfork review is the first one that Google brings back.

Pitchfork gave the album an 0.0 review and the page had an embedded YouTube video of a monkey peeing in its own mouth. I’m presuming to state it’s a “piss poor” album.

But Aussie’s don’t care about expectations and artists development. We care about fun and Jet just made another fun album rooted in good old fashioned Blues Rock.

Holiday

There’s no way that people can’t like this song.

It has all the trademarks of what Jet is. A hooky riff, dumb lyrics and a fun attitude. There is this small riff between the main riff that reminds me of QOTSA.

Makes no difference what they say
We’re goin’ on holiday

It sounds too good to be true these days. Going on a holiday.

Put Your Money Where Your Mouth Is

If there’s one thing us Aussies like, is a good punt. We’ll bet on anything. But this song isn’t about betting.

It continues the catchy riffs and themes from “Are You Gonna Be My Girl”.

She goes down
Like a setting sun

It leaves little to the imagination.

You can be the sinner and I’ll be the sin

Best lyric in the song.

Bring It On Back

The Beatles (as a byproduct Oasis as well) and Bad Company come to mind here.

For all that you said
Would you take it all back?

Even if it’s taken back, it’s been said and words sting deeper than actions.

That’s All Lies

It’s more Punk Rolling Stones like, in a 12 bar blues sense.

Kings Horses

It’s a country folk rock cut.

In the morning i swear i will tell you the truth
How you receive it, well, that’s up to you

Everyone has their own version of the truth.

Shine On

A tribute to the Cesters’ father, who passed away from cancer while they toured on the “Get Born” album.

Oasis and “Stop Crying Your Heart Out” comes to mind here.

Everything will be okay
We will meet again one day

It’s impossible but people believe it’s possible.

Come On, Come On

It’s very ELO meets Rolling Stones.

If they ask you to stand, well they just want you to kneel

So if you stand based on someone else’s command, then you will kneel when they tell you to kneel.

Stand Up

It’s a basic blues rock song in a Rolling Stones “Sympathy For The Devil” and “Revolution” from The Beatles vibe with the message from the 80s, like “Stand Up And Shout” and “We’re Not Gonna Take It”.

Stand up, you got to live while you can
Stand up, burn up before you fade out
Stand up, don’t you follow the crowd
Stand up, you got to live in the now

Rip It Up

Might as well call it “Wipeout” as it has that 60s Beach feel.

Rip it up, rip it up if your ever gonna make it!

Skin And Bones

It starts off with that “Shooting Star” and “Werewolf In London” riff.

Shiny Magazine

It’s that whole Beatles/Oasis feel.

Eleanor

Strummed acoustics and a campfire “Rubber Soul” feel.

All You Have To Do

And the album ends.

They recorded a shit load of songs for this album and there are so many versions of the album with a lot of bonus tracks and demos.

It didn’t sell anywhere near the debut but that doesn’t mean it’s a crap album.

Check it out.

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The Record Vault: Deep Purple – Perfect Strangers

Mark 2 was back.

It made perfect business sense to have one of the premier bands of the early 70’s come back in the 80s MTV era.

“Perfect Strangers” is album number 11, released in 29 October 1984 and it became the most successful album from the ‘Mark II’ line-up.

Like nomads, they all arrived from different directions. Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath and his solo band, Jon Lord from Whitesnake and Ian Paice from Whitesnake and Gary Moore’s backing band.

But problems existed from the outset. Business problems.

Gillan and Glover wanted the credits to be of the collective. Blackmore didn’t. As the main writer, he didn’t want to share any song writing credits with people who didn’t write anything. After years in the business, Blackmore knew how valuable the publishing is.

It wasn’t until Blackmore left the group in 1993 that the issue was finally resolved within Deep Purple.

I missed this in 1984 because I was into the whole Motley Crue, Twisted Sister, Iron Maiden, Quiet Riot and Judas Priest phenomenon. These guys were just old dudes. Just look at the “mo” on Jon Lord. It’s classic 70’s.

All songs are written by Ritchie Blackmore, Ian Gillan and Roger Glover except where noted.

Knocking at Your Back Door

By now Blackmore had the experience of Rainbow and the commercial success that came with that, so when this song exploded out of the gate you get the best of Blackmore’s influences from Deep Purple and Rainbow.

If you don’t believe me, listen to the Verses, which is very similar to other Deep Purple verses like the one on “Smoke On The Water” and then the Chorus riff which has that Rainbow melodic rock feel, circa Graham Bonnet and Joe Lynn Turner.

And Ian Gillan has a smile on his face as he feels it coming while he’s knocking at someone’s back door, while probably cool for Motley Crue or Ratt, this is Deep Purple we are talking about.

But stick around for the outro solo.

Under the Gun

It was the first track I heard via a double compilation LP called “Headbangers Heaven”.

The intro riff grabs my attention right away, making me think of Rainbow and I like the way it all works with the Jon Lord’s keys.

But Ian Gillan is in form here, as it’s not an easy riff to sing over which then gets me thinking of his Gillan project.

Nobody’s Home

It’s a blues rock number and the only song listed as written by all Deep Purple members.

It’s like the band never left and continued to make albums after “Who Do We Think We Are?”

And if it sounds familiar, it should. “Lay Down, Stay Down” comes to mind.

Mean Streak

But press play to hear the Chorus Riff as Blackmore shows he can compete with the LA bands and do it better by taking “Schools Out” from Alice Cooper and making it sound a bit modern.

In the verses I am reminded of “Black Night” and in the solo break, the riff behind it like “Roadhouse Blues” from The Doors.

And I like it.

Perfect Strangers

The side 2 opener.

It’s a classic and one of their best songs.

How good is the “Kashmir” style groove when it kicks in at the 2.30 minute mark?

Whatever Jimmy Page could do, Blackmore could do as well, at a time when Page was not as prolific as he used to be.

A Gypsy’s Kiss

It could have come from “Rising” but “Highway Star” also comes to mind. Gillan’s bluesy delivery suits.

Check out the unison keyboard and guitar riff/melodies. It brings back memories of the work that Lord and Blackmore did on “Burn”.

And Ian Paice behind the kit. He is relentless.

Wasted Sunsets

Remember in the 70’s when these kind of slow blues rock ballads sounded progressive and epic and then in the 80’s they morphed into clichéd power ballads.

While this song isn’t a 70s classic, Blackmore is in his element here with his emotive soloing.

Hungry Daze

That exotic Eastern European melody hooks me. It could have come from the Balkans, maybe Hungary or even Russia.

Not Responsible

I don’t have this on the album, but how good is that intro. It reminds of “A Light In The Black”. It’s an extra track on the cassette and CD release. And Spotify has it.

Son of Alerik

At 10 minutes, this Blackmore penned instrumental is for the diehards.

The song appeared on the 1999 CD issue as a bonus track and it also appeared in an edited form on the 7″ B-side of the “Perfect Strangers” single, or in full on the 12″ “Perfect Strangers” single and the European version of the compilation “Knocking at Your Back Door: The Best of Deep Purple in the 80’s”.

The thing is, if a band reforms these days, or in the last 30 years, it would have been quite a media show, but their comeback in 1984, didn’t cause a ripple in the news outlets who had jumped on board the LA Sunset Strip Train or the San Francisco NWOBHM Thrash Scene.

But their comeback was met with success in the European markets which loved em back in the 70’s. The U.K, Switzerland, West Germany, Norway, Sweden, France, Austria, Finland and Holland jumped back on board the Deep Purple train.

Japan never left em. Australia and New Zealand also provided em with a certification.

And The Boss was the only artist on the touring circuit that out grossed out em.

Crank it.

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The Week In Destroyer Of Harmony History – December 5 to December 11

4 Years Ago (2017)

1983

The final blog post of my devotion to the year known as 1983 involved an eclectic bunch of artists.

Like “Modern Love” from David Bowie,
“One Of The Few” from Pink Floyd, “Sirens” from Savatage and “Cuts Like a Knife” from Bryan Adams.

“Alpha” from Asia which sold a lot but it was still seen as a failure by the record label because it didn’t match the sales of the debut album a year before.

“Head First” from Uriah Heep, another 70’s act that had to re-establish itself in the 80’s MTV world. So it was no surprise the band delivered a very pop sounding 15th album.

“Nemesis” from Axe was also on the list. Remember “Rock ‘N’ Roll Party In The Streets”. It’s from Axe’s 1982 album “Offering”. The name “Axe” didn’t really market the band to its full potential.

Axe was touring with Mötley Crüe in 1984 when their guitarist was killed in a vehicle accident. Another member was badly injured and the band broke up after the accident.

Michael Bolton was a rocker first and a balladeer later. He was in a hard rock band called Blackjack with Bruce Kulick between 79/80, so it was no surprise to see Bruce Kulick on lead guitar when Bolton went solo on his self-titled debut. Even Bruce’s bro, Bob Kulick makes an appearance. Another favourite guitarist of mine, Al Pitrelli replaced Kulick for the tour which was cancelled after four shows.

U2 and the “War” album was on the list along with Divinyls and the “Desperate” album. The song “Boys In Town” was all over the TV and the radio in Australia.

Eurythmics had me hooked with “Sweet Dreams (Are Made of This)”, “Here Comes The Rain Again” and “Who’s That Girl”.

Being the long haired lout I was, I hated the way Spandau Ballet looked, but man they could write a good pop tune that worked well in a rock context. “Pleasure”, “Gold” and “True” are such songs. Great to re-interpret on guitar for a rock setting and it was interesting learning sax solos for lead guitar.

Elton John along with Bernie Taupin wrote pop songs that worked well as rock songs. “Kiss The Bride” and “I’m Still Standing” are two such songs I covered in various bands I was in.

Jim Steinman moved from Meatloaf to Bonnie Tyler. Big production, big songs and a lot of piano lines ripped off from classical music. But the best song on the album is “Have You Ever Seen The Rain” a cover of a Creedence Clearwater Revival song.

“90125” from Yes was album number 11 and the band was a very different beast from its Seventies incarnation.

SAYING ONE THING AT A TIME

If an artist is creating songs and making those songs difficult to get, the audience would surely move on to something else.

If a person talks for 70 minutes we will hear nothing. If an artist releases 70 minutes of music, we will remember some of it and forget the rest.

Most of my favorite albums lasted between 30 to 40 minutes in total.

All new music is competing with the history of music, plus TV shows with movie budgets, plus blockbuster movies, plus technologies and social media, plus AI created news stories and the history of print.

Maybe music is better when it is released frequently and when an artist tries to say one thing at a time, instead of 10 different things at once.

8 Years Ago (2013)

SALES

Spotify came into the market with the idea that they need to compete with free. And compete they did. The service even started to break artists to the masses, something that the record labels couldn’t do or were clueless to do.

But the mass media still focuses on the sales in the first week and the chart position. This is so old school and not a great measuring tool of reach or success, especially for new acts starting out.

But we get headlines like this.

Loudwire: Dream Theater’s new DVD ‘Live At Luna Park’ recently entered at No 1 on the Soundscan music DVD chart.

Loudwire: Volume 2 of Five Finger Death Punch’s ‘Wrong Side Of Heaven; lands at No. 2 on Billboard 200.

Blabbermouth: “Wretched and Divine: The Story of the Wild Ones” sold 42,000 copies in the United States in its first week of release to debut at position No. 7 on The Billboard 200 chart.

DOES A BAND HAVE CUSTOMERS OR FANS?

“Our audience are fans first and customers second. We really try not to annoy them.”
The above quote is from Stefan Mennerich, Bayern Munich Director of New Media, Media Rights & IT.

So how can a band turn fans into satisfied customers that keep on coming back, again and again?

DREAM THEATER

My favorite tracks from the DT album are still…
“The Bigger Picture” and “Illumination Theory”.

MEGADETH

Megadeth was in the news sections of the metal and rock websites a fair bit back then.

Regardless of what people think about Dave Mustaine or Megadeth, they can never take away the historical fact that Megadeth were early web pioneers.

Does anyone remember their old “Megadeth, Arizona” site that was launched in 1994 and then re-designed and re-launched for the “Cryptic Writings” release two years later?

Apart from the normal pieces of information, it was also a place for fans to check in, hang out and interact with the band along with other fans. Something that social media has built on and improved.

2013

Well the year was almost over and it was time to look back at the albums that connected and hit the mark for 2013 for me.

  1. Protest The Hero – Volition
  2. Avenged Sevenfold – Hail To The King
  3. Five Finger Death Punch – The Wrong Side Of Heaven And The Righteous Side Of Hell Vol 1
  4. Killswitch Engage – Disarm The Descent
  5. TesserAcT – Altered State
  6. Trivium – Vengeance Falls
  7. Coheed and Cambria – The Afterman – Descension
  8. Five Finger Death Punch – The Wrong Side Of Heaven And The Righteous Side Of Hell Vol 2
  9. Volbeat – Outlaw Gentlemen and Shady Ladies
  10. Alter Bridge – Fortress

Notable Mentions

Audrey Horne – Youngblood
Mutiny Within – Synchronicity
Hearts And Hands – My Own Machine
Love and Death – Between Here and The Lost
Sound Of Contact – Dimensionaut
Faith Circus – Turn Up The Band

Final Notable Mentions

Due to my kids overdosing on the music I placed on their iPods certain classic rock albums have come back into my life.

Twisted Sister – You Cant Stop Rock N Roll
Twisted Sister – Stay Hungry
Kiss – Lick It Up
Kiss – Asylum
Kiss – Destroyer
Deep Purple – Machine Head
Bon Jovi – Slippery When Wet
Survivor – Eye Of The Tiger
Europe – The Final Countdown

CRY FOR FREEDOM

White Lion had the balls to tackle the subject of apartheid.

The Eighties mainstream Metal and rock had degenerated into a state of generic and clichéd derivative lyrical themes and subjects involving sex, partying and drugs.

When bands branched away from that, it was very hit and miss.

White Lion fell into that crowd of misses as the label “Atlantic” would still push them as pop metal or pop rock.

The tours and marketing had White Lion sandwiched amongst bands like Motley Crue, Skid Row, Kiss, Whitesnake, Alice Cooper, Blue Murder and Badlands.

RANDY RHOADS

Randy Rhoads is a huge influence.

My first introduction to Randy Rhoads was the “Tribute” album and the tablature book that came with it formed my bible for a long time.

He was just unique.

Rhoads formed Quiet Riot when he was 16 years old however as good as Randy Rhoads was, the band couldn’t get a record deal in the U.S and they ended up releasing two albums (QR I and QR II) in Japan. Of course this incarnation of Quiet Riot was a totally different line up that sang “Cum On Feel The Noize” which in turn brought metal to the mainstream.

Most people know his musical legacy from the two landmark albums he made with Ozzy Osbourne.

The post covers my Top 10 songs from Randy Rhoads.

And that’s another wrap for another week.

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The Record Vault: Deep Purple – Stormbringer

“Stormbringer” came out about 9 months after “Burn”. In the space of a year, Deep Purple were busy writing and recording frequently.

What a novel idea.

Try and tell that to a lot of acts, who want to record an album every three to five years. And the usual argument of ‘no money from recordings’ doesn’t work, because even back in the 70’s, the acts were getting ripped off on the sales part. So they had to tour to make coin. Then again it was normal in the 70’s to release an album a year. It was expected.

The album cover also has a story, about a tornado in a U.S town during the 1920s which was photographed and added to the Copyright free archives, which allowed the image to be used.

And the same photograph was used for Miles Davis’ album “Bitches Brew” in 1970.

And Siouxsie and the Banshees’ album “Tinderbox” in 1986.

MK3 Deep Purple is Ritchie Blackmore on Guitars, David Coverdale on Vocals (except “Holy Man”), Glenn Hughes on Bass and Vocals (except “Soldier of Fortune”), Jon Lord on Organ and Keys and Ian Paice on Drums.

Its Produced by Deep Purple and Martin Birch again.

Stormbringer

Another thunderous opener written by Blackmore and Coverdale.

If there wasn’t a Heavy Metal movement before, well there was one now. By 1974, each major rock act like Led Zeppelin, Free, Bad Company and Black Sabbath had a heavy song or two on each album that young blue collared youths would take and run with to create even heavier tracks.

I like the exotic flavouring in the solo. It’s not fast, but goddamn, it sounds progressive.

Love Don’t Mean A Thing

Written by Blackmore, Coverdale, Glenn Hughes, Jon Lord and Ian Paice.

This is the whole funk blues soul jam that Glenn Hughes brings. In saying that, the riffs here work so well within the Deep Purple sound.

Holy Man

The Bad Company/Free brand of hard rock had caught on and suddenly Deep Purple was doing a cut that wouldn’t be out of place on the first two Bad Company albums or Free albums.

If the intro sounds familiar, it should, as it’s a common progression used throughtout the 70s, but it went missing a bit in the 80s and came back in the 90s.

I recall Motley Crue using it for “Misunderstood”.

And Blackmore was not the main writer anymore as this song was written by Coverdale, Hughes and Lord.

Hold On

The funk blues rock in the verses grooves and the Chorus is like Soul Rock Music. Blackmore again is missing from the song writing credits, with Coverdale, Hughes, Lord and Paice listed as the writers.

Coverdale and Hughes share vocal duties here and Blackmore brings out his rockabilly Chuck Berry licks which gives way to a Jon Lord solo.

Lady Double Dealer

It’s that fast blues rock that Deep Purple was known for and something that David Coverdale would do a fair bit with the early versions of Whitesnake.

There is a cool Blackmore solo as well.

You Can’t Do It Right

Play that funky blues music white boys.

High Ball Shooter

I like the Intro as it always reminds me of another song which I can’t thing off right now.

The Gypsy

The riffs on this are metal like, but the way Blackmore delivers em, it’s almost progressive like, with a fusion of blues, southern rock and metal like grooves.

Soldier Of Fortune

A great acoustic ballad to end the album, something which David Coverdale would recreate with “Sailing Ships”.

The long jam sessions from the past had disappeared. Replaced with a more structured song arrangement. It’s a bridge between this album and their next album.

Blackmore obviously didn’t like this new direction and left after the tour. And he wasn’t one to keep his thoughts to himself, so he publicly declared his dislike for the funky direction the band was taking and made it clear that was the reason why he left.

But Scandinavian Melodic Rock and Metal was being born with the MK3 albums as they did big business in Sweden, Norway, Denmark and Finland. Austria and Germany also liked this era, along with the UK, France and the U.S.

Check it out.

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Australian Method Series; Airbourne – Black Dog Barking

“Black Dog Barking” is album number three, released in May 2013 via Roadrunner Records.

By now, everyone knew that Airbourne sounds like AC/DC.

But on this album, they amped up the AC/DC sounds with a bit of 80s rock like Cinderella and the first two albums from Def Leppard along with some Euro Metal like Scorpions.

And those backing vocals.

The Personnel for the album is Joel O’Keeffe on Vocals and Lead Guitar, David Roads on Rhythm Guitar, Justin Street on ass and Ryan O’Keeffe on Drums.

Producer Brian Howes has worked on the slick productions with Nickelback and Puddle Of Mudd, but on this album he captures the energy of the band performing live.

Ready to Rock

The blast out of the gate with it. It’s loud, aggressive and it feels like a circle pit punch up in a pub.

Animalize

I think of Kiss and Paul Stanley singing this tune.

No One Fits Me (Better Than You)

A take on “Let Me Put My Love Into You”.

Back in the Game

This one is the best song, bringing that Acca Rock and Euro/80s Rock vibe. There are Whitesnake, Cinderella, AC/DC and Scorpions influences.

Firepower

This one reminds me of “Let It Go” from Def Leppard in the verses and I like it.

Live It Up

The whole Intro is Acca Dacca with that open string acting as a pedal point while a melodic riff is played on the other notes. Think of the Intro to “For Those About To Rock”.

Woman Like That

This could be on a Bon Jovi album or a Cinderella album and not be out of place.

Hungry

Another favorite, which borders on speed rock.

More WASP like and it has a cool Spanish like guitar lead,

Cradle to the Grave

Crank it and enjoy. While the verses are stock standard hard rock, the Chorus has some of that Euro arpeggios.

Black Dog Barking

It closes with the barking and aggressive title track.

Airbourne does what they’re good at, the same way that AC/DC does what they’re good at.

Its better produced and the songwriting is concise, as the album is done in under 38 minutes.

This is rock’n’roll, the way it should be. Loud, aggressive, dumb and no ballads.

And Joel O’Keeffe gets a lot of credit for his vocal chops, i also believe that his Lead Guitar playing should also get some notice.

Because the dude can play.

Crank it.

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The Record Vault: Deep Purple – Burn

When a band loses members, no one really knows what would come next. Will the band break up or will they continue with new members?

When bands lose their lead singers, the uncertainty is even higher.

But when Deep Purple lost Ian Gillan and Roger Glover, Richie Blackmore stepped up even more to push the band forward. As far as Blackmore was concerned, he was the driving force behind the band and this grit and determination would lead him to find not one but two vocalists who would assist him in moving forward with the massive riffs he was coming up with.

“Burn” is the eighth studio album, released in February 1974, and the first to feature an unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals.

The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio.

Deep Purple MK3 is Ritchie Blackmore on Guitars, David Coverdale on Vocals, Glenn Hughes on Bass and Vocals, Jon Lord on Keyboards and Ian Paice on Drums.

Production was still listed with the band as Producers and Mixers (but all they had to do was just say yes or no to the takes and mixes), with Martin Birch doing the bulk of the work capturing the sounds and actually mixing the album.

Burn

It owes some of its thought and structure to “Highway Star” as the DP guys wanted to have another high energy song to open the show and new album with.

It also has structured organ and guitar solos like “Highway Star”, around Bach like sequences which Lord and Blackmore worked out.

Coverdale mentioned in the “The Purple Album Track By Track”, that “Burn” was the first song that he started working on with Richie Blackmore, which he called sounded like “Symphonic Rock”. He also wrote four different lyrical versions for the song, with the Sci Fi version being selected by the guys in the band as the one to use.

David Coverdale loved the riff so much, that “Children Of The Night” from the 1987 self-titled album was the result. I would add that part of “You’re Gonna Break My Heart Again” also has some of the “Burn” feel.

And as good as all of the riffs and solos are, Ian Paice behind the kit, just brings the power and the pace. As soon as his drums come in, the foot is tapping and the head is moving.

It’s my favourite Deep Purple song which gets performed at Whitesnake or Glenn Hughes or Yngwie Malmsteen concerts instead of Deep Purple concerts because of the singers.

Might Just Take Your Life

The Jon Lord organ riff to start it off is from “Woman From Tokyo”.

Jon Lord was the primary writer for Deep Purple on the first couple of albums until Richie Blackmore had enough and started to become the primary songwriter from “In Rock”.

The melodies came from a relaxed jam session that Coverdale and Lord were having.

Overall it’s got that British blues rock feel.

But press play to hear Coverdale and Hughes harmonize in the Chorus.

Lay Down, Stay Down

It’s got that blues rock feel from the “Who Do We Think We Are” album and that sound and riff is something that Blackmore would come back to with his Rainbow project.

Ian Paice again showcases his drumming abilities.

Sail Away

Its got that “Superstition” and “Play That Funky Music” funk rock groove that Blackmore came up with.

Its sung by both Coverdale and Hughes however both could have done the song justice if only one of em just sang it.

This song and “Mistreated” sums up what Coverdale brought to the Purple sound on this album.

Press play to listen to the funky bass playing from Glen Hughes. Hughes was also a co-writer, but he wasn’t credited due to being tied to another recording contract at the time.

The 30th Anniversary release fixed that.

You Fool No One

Coverdale and Hughes doing dual harmonies.

Ian Paice also showing his love of John Bonham and coming up with a definitive drum groove which formed the basis of the track for Blackmore to build on.

The middle solo section is almost Jazz Rock fusion, progressive like.

Press play and just enjoy.

What’s Goin’ On Here

A fun blues song based around a Jimi Hendrix song called “Highway Chile”.

Mistreated

It’s listed as being written by Blackmore and Coverdale.

Coverdale (who calls himself a “Domestic Guitar Hero) wrote a riff on Blackmore’s White Strat, in the Crypts of a Castle they were rehearsing at and when Blackmore heard it, instead of playing the riff with the Coverdale chords, Blackmore played the single notes.

And “Mistreated” was born.

And that opening vocal “I’ve been mistreated” is iconic.

This version is my go to version but on the Purple album from Whitesnake, Reb Beach takes the solo spotlight and creates a fresh and emotive blues shred lead.

A’ 200

An instrumental.

Coronarias Redig

It’s a B-side and if no one had heard it in the 70s, it appeared on the “30th Anniversary Edition” as a bonus track.

It’s a blues Rock song but those Hammond Organ chords give it a soul gospel feel.

And press play to hear Blackmore’s leads.

In Australia, the M3 version of DP went to number 5 on the charts. In Austria, Denmark, Germany and Norway it went to number 1. In Canada, Holland, Finland, France, UK and US it was a Top 10 album.

In other words people liked it.

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The Record Vault: Deep Purple – Who Do We Think We Are

The success of “Hush” in 1968 was more luck than anything. After that they struggled while Richie Blackmore kept evolving the band and the sound. Once the MKII version was in place, things started to change.

“In Rock” was released in 1970 and it definitely got people really interested. “Fireball” came quickly in 1971 and is often overlooked, but it kept the momentum going. “Machine Head” broke the band to a bigger audience in 1972 and in order to capture that success, the label released a live album called “Made In Japan” in December 1972.

Four albums in three years.

And then at the height of their fame, they dropped “Who Do We Think We Are” in 1973, their seventh studio album overall and fifth album in four years.

It would also be Deep Purple’s last album with singer Ian Gillan and bassist Roger Glover until 1984’s “Perfect Strangers”.

Fame is definitely a funny thing. You bust your ass to get there and then break up once you there.

Because of the touring, the album was recorded in two stages.

In July, 1972, they had some time in Rome to write and record new songs via the Rolling Stones Mobile Studio. The songs from these sessions that are known are “Woman From Tokyo” and an outtake known as “Painted Horse”.

In October, 1972, they had some time to do the same in Frankfurt, West Germany. This is where the remainder of the songs were completed.

Woman From Tokyo

It was the first track recorded in July, written about their life on the road and touring Japan for the first time. It’s also their best track from this album.

As soon as the drum groove started I was thinking of “Run To The Hills” from Maiden.

Mary Long

Ian Gillan combined the names of two people who represented things he hated in the prudish older generation of the time, which made him question how they even had sex.

How did you lose your virginity Mary Long?

It feels like a Lynyrd Skynyrd cut. But this is Deep Purple, the masters of speed, heavy and melodic rock, with a flourish of blues.

Super Trouper

It’s almost like early AOR blues rock, something that bands like Foreigner and Survivor would use on their earlier albums.

It’s short but it gets me interested.

Smooth Dancer

The comparison to “Speed King” was always going to happen.

And Jon Lord owns this track with his honky tonk piano and neo-classical Hammond organ solos.

Rat Bat Blue

I like the blues rock riff that starts this song off. A young Jake E Lee, would have been woodshedding this riff, ready to unleash it with Badlands.

Then the keyboard solo kicks in, over another groovy riff by Blackmore and suddenly power metal is born in Finland.

Place in Line

ZZ Top comes to mind here. It’s got that Texan strut, which is a bit different to the way the Brits did the blues.

Our Lady

It reminds me of The Beatles and I like it.

Actually it reminds me of the song “The Real Thing” from Russel Morris who was an Australian artist from the mid 60’s. The song was a hit in Australia and the U.S and it’s got that Beatles influence.

Painted Horse

This track was released on the Anniversary edition.

Blackmore would also use the riff from this for “Man On The Silver Mountain” with some minor tweaks.

Musically, it was a move to a more blues-based sound, and the album was criticized for its American sounding songs in the U.K, for “Super Trouper” and “Smooth Dancer”.

And when Gillan and Glover left, everyone thought the band was done. But not Richie Blackmore. He had other ideas and MK3 was about to be born.

This version would release two of my favorite albums would be released.

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