Tag Archives: David Coverdale

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

The Record Vault – David Coverdale

Into The Light



I wasn’t sure why David Coverdale needed to release a solo album. Whitesnake is more or less his band and it’s basically a solo artist hiding behind a band name.

And solo artists operate in two extremes, they either keep the same band members (or 70% of em) around for a long time or they could keep changing em. Bryan Adams kept the majority of his band around and so did Pat Benatar.

Then again, bands also operate on the same premise, with members leaving and coming back. The different Deep Purple bands are known as Mark I, II, III, etc.

So his trusty group is Denny Carmassi on drums, Marco Mendoza on bass for all the songs, except “Don’t You Cry” which featured Tony Franklin. John Sykes would have been pacing his house in rage at Coverdale using his old bass player and current bass player on this project. And Mendoza would also jump ship from the Sykes camp to the Coverdale camp as well.

Guitar is handled by Earl Slick and Doug Bossi with Coverdale making a recorded appearance. Reeves Gabrels and Dylan Vaughan also appear on some guitar tracks. Earl Slick was known to me from his excellent instrumental “In Your Face” album released in 1991. It’s a fusion of blues, funk and rock with guitar hero like playing.
 
“…Into the Light” should have been fleshed out into a bigger song. It’s first minute sounds like an epic song is about to begin.

And it goes into the blues rock flavoured “River Song”. I saw a YouTube comment as to how the riff sounds similar to “Midtown Tunnel Vision” by Rainbow and to “I Can’t Dance To That” by Gillan and Glover. But DC did say in an interview that it’s a homage to Jimi Hendrix.
 
And that Outro of the song just keeps rolling, reminding me of songs like “Looking For Love” and “Don’t Turn Away” from the Whitesnake 87 album. After 7 minutes, the song is over.
 
“She Give Me…” sounds like it came from a Coverdale/Page session or the “Trouble” album from Whitesnake or even a Led Zep session. As I am hearing this song, I am thinking of “Jelly Roll” from Blue Murder. And this song appeared again on the recent Whitesnake “Rock” album release
 
“Don’t You Cry” is one of those ballads that reminds me of Eric Clapton and his song “Wonderful Tonight”. The intro lead break is memorable and worthy.
 
While the first four tracks are all DC cuts, “Love Is Blind” and “Slave” are written by Coverdale and Earl Slick. “Love Is Blind” is like a Goo Goo Dolls like tune with the music, and lyrically, well its DC, the most broken hearted vocalist ever. “Slave” is a Southern Rock tune like Lynyrd Skynyrd. Even the Chorus chords remind of “Sweet Home Alabama”.
 
And the album follows the vibe set with the first six songs, moving between ballads and rockers. Even “Too Many Tears” from the “Restless Heart” album appears.
 
If you are looking for the grand epicness of the Sykes and Vai Whitesnake albums, then you will not find it here. But if want to hear an artist going back to his roots and putting his life into the words of the songs, then this album is for you.

And it’s probably why DC went all solo on this album. It’s personal.

And the other DC albums in the 70s before Whitesnake, will be listed with the Whitesnake Vault edition.

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

The Record Vault – Coverdale/Page

The album came out in 1993.

The guitar work on it from Page is exceptional. Which was needed, as his 80’s projects “The Firm” and his solo album “Outrider” didn’t really set the charts alight or have people talking about him again.

But on this album they did talk about Page again.

The opening string pull off lick for “Shake My Tree” is an oldie from his Zep days. Simply, yet effective and Coverdale follows the riff with the vocal lead. Then when it gets heavy, it’s a cross between “Still Of The Night” and “Communication Breakdown”.

The lead break on “Waiting On You” is simple and effective and the riffs groove behind it.

“Take Me For A Little While” is one of Coverdale’s best songs. Jimmy Page breaks out one of his best lead breaks and that little lead lick in the Chorus, makes me press repeat on this song.

“Pride and Joy” could have come from Led Zep III, as Jimmy Page brings his open string tunings to David Coverdale. And while it rocks acoustically, it’s the heavy open string verse riff which connects, and when it goes back into the open tuning acoustic bit, it’s just perfect.

Four tracks in and I’m on the floor.

When “Over Now” kicks in, I am digging the psychedelic nature of the vocals and the exoticism of the music.

Page doesn’t follow the typical verse, chorus, verse, chorus. “Over Now” has no real structure as it moves between verses and something which resembles a chorus and an outro which feels like a cool jam.

You talked to me of virtue / And sang a song so sweet / But all I know is I could smell / The perfume of deceit / And it’s over now

Coverdale is referencing his break up with the Jaguar dancing Tawny Kitaen. And there are quite a few songs on the album which reference the relationship.

“Feeling Hot” is the sped up child of “Johnny Be Goode” crossed with “Hit The Road Jack”.

And the comparison to Led Zep is always going to happen, because Jimmy Page is Led Zep’s main musical writer and it doesn’t matter with who he works with, his riffs will always sound like Page and Page’s career is held within his work with Led Zep.

Like “Easy Does It”.

It is one of the best Led Zeppelin tracks that Led Zeppelin didn’t write. And when it morphs into a rocking track from about 2.40 mark, it’s so cool to hear Coverdale steer away from the typical verse and chorus format.

It’s these kinds of songs that get me to commit. For Whitesnake, it was “Still Of The Night” which got me to commit, because it didn’t follow the conventional verse and chorus format.

“Absolution Blues” has David Coverdale delivering a near perfect Led Zep vocal line in the verses.

Come the dawn of judgement day / I’ll get down on my knees and pray / The Good Lord don’t send me away / I’ll never ever go

No one wants to leave the land of the living. They realize then how much living they really need to do.

“Whisper A Prayer For The Dying” is one of my favourite songs on the album. That dropped D intro riff is excellent. Even System Of A Down used a very similar style riff for their awesome song “Aerials” from the mega selling “Toxicity” album.

Also the idea of the song happened back in 1982-83 as their is an acoustic demo of the song on the “Slide It In” Deluxe reissue.

And when you combine the various wars for lyrical inspiration and Jimmy Page”s dropped D riff, you get a classic.

The suffocating heat of jungles, burning desert sands / Where everything reminds you, you’re a stranger in a strange land

There is a whole generation of people who wouldn’t even know about the Vietnam War or the Gulf War. And when leaders from around the world decide to send in their troops to a place, well those troops already have a target on their back, as strangers in a strange land.

Machine gun, battle cry / You pray to God when the bullets fly / The bombs fall like black rain / And all your dreams take you home again

At the end of the first Gulf War, the Iraqi forces set an oilfield alight, which burned black toxic smoke for months. And when it rained, all those black toxins came back down as black rain. And the ones who survived, are struck with PTSD.

You try to carry the heavy load / Walking down Armageddon road, oh, Armageddon road

In reality what did all of the Wars achieve?

Iraq invaded Saudi Arabia and all the democratic countries rushed to the Saudi aids so their young Prince could grow up and order the dismemberment of a journalist who spoke out against him. And Iraq along with Afghanistan is still a hotspot of violence and extremism.

And as soon as this project got traction, Page jumped ship to work with Robert Plant again, who suddenly wanted to work with Page again.

Funny that.

And Coverdale went back and reformed Whitesnake, with Adrian Vandenberg and Warren DeMartini on guitars, Rudy Sarzo on drums and Denny Carmessi on drums.

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1977 – Part 3

Quiet Riot – Quiet Riot

It’s not on Spotify and never will be. Who knows who even owns the rights to these songs?

The main songwriters in Randy Rhoads and Kevin DuBrow are gone. If anything, these songs should be in the public domain. But Copyright is a lot different these days, so someone/most probably a corporation is holding the rights to these songs locked up until 2080 and that someone has done nothing to enhance culture except to profit from it.

DuBrow resurrected some of these recordings in the 90’s for an album called “The Randy Rhoads Years”. Which is also not on Spotify. And it probably never will be.

And on those recordings he took the original tracking of Rhoads guitar sound, (there was a DI take with no effects on the master tapes) and DuBrow put the DI guitar take through different pedals to update the sound. Then he re-did his vocal tracks and the drums and the bass. Purists call it sacrilege and I call it “keeping the songs alive”.

The band for the debut album, (which was released in Japan only) was DuBrow on vocals, Rhoads on guitar, Kelli Garni on bass and Drew Forsyth on drums.

Randy Rhoads still riffs away like the guitar hero he is. More in a glam pop/rock kind of way.

“It’s Not So Funny” has an aggressive minor key verse riff, with a major key Chorus. A style that RR would use in “Crazy Train”. This song also made it to the “The Randy Rhoads Years” CD many years later.

“Mama’s Little Angels” has a sleazy bluesy riff that David Coverdale would have loved to sing over. And Kevin DuBrow did just that when he re-wrote the lyrics for the song (with a little help from Bobby Rondinelli), re-sung it and called it “Last Call For Rock and Roll” on “The Randy Rhoads Years” album. And suddenly, a better version of the song was kept alive.

In “Ravers” there is a riff that RR took for “Over The Mountain”, just before he plays the “Black Sabbath” lick in the song.

“Back To The Coast” is familiar, a song solely written by Randy Rhoads and his brother Kelle Rhoads.

And I like QR because Kevin DuBrow was unique, very different to the other metal/rock singers in looks and style, but I always struggled to connect with any of DuBrow’s lyrics, except for a few tracks like “Bang Your Head”, “Run For Cover”, “The Wild And The Young” and “Don’t Want To Let You Go” which was written by Carlos Cavazo.

“Look In Any Window” is written by Randy Rhoads and it’s very Alice Cooper-“ish” which isn’t surprising as Randy Rhoads has talked about the influence of the two Alice Cooper guitarists on his playing and song writing. This one also appears on “The Randy Rhoads Years” album.

As I was listening back to the QR1 album on YouTube, I was reading the comments and people like to compare between EVH and RR.

If you compare QR1 to VH1, well there isn’t a comparison. VH1 is far superior. Even RR didn’t like QR1 and he made his Mum promise to never get it released in the U.S if something happened to him.

Sammy Hagar – Sammy Hagar

Sammy’s voice is one of the best. This album is interesting because of its variety. If you are looking for hits then this album is not for you. But if you are looking to hear an artist stretch their wings and try different things out, then you will like this album.

“Red” has this bass groove which reminds me of ELO. “Catch The Wind” is a ballad, which reminded me of R&B soul artists. And then I remembered it was a cover from “Donovan” who had a hit in 1965 with it and was known for his folk rock songs.

“Cruisin’ And Boozin’” moves between acoustic and distortion, the verses sounding progressive, while the Chorus could have come from an AC/DC album.

“Free Money” has a haunting piano riff to kick it off. It’s a cover of Patti Smith song. Musically and melodically, the song moves at the correct pace, slowly percolating until its ready to explode. And that happens from about the 2.09 minute mark. And although it’s like a rock song with a 4/4 time signature, its song structure is progressive in nature.

When I saw the title “Rock ‘N’ Roll Weekend” I sort of had a sound and groove in my head as to how it would sound. And it didn’t disappoint, with its nod to Bad Company.

“Fillmore Shuffle” comes across like a Southern Rock track, moving between its acoustic riff and harmony leads. But underpinning it all is Hagar’s voice. And it’s another cover song which Hagar has taken and given them a new Hard Rock life.

There is a horn section on “The Pits” and some of Sammy’s best social lyrics about not having enough money to survive.

“Love Has Found Me” is the heaviest track on the album (whereas I expected a ballad), and the closer “Little Star- Eclipse” brings back the progressive nature of the album which was introduced with the Patti Smith cover, especially when it moves into the “Eclipse” part of the song and that riff to kick it off.

David Coverdale – White Snake

It’s not on Spotify for his first ever solo release and a return to his blues/soul rock for the album which would become the birth of Whitesnake.

After Purple splintered, Coverdale started writing and when he got stuck with ideas, Micky Moody would come in and help him. Some of these songs and some of the songs from “Northwind” would eventually end up on Whitesnake releases.

“Blindman” is one of my favourite cuts ever. I like everything about it. It appeared a few years later on the “Ready N Willing” album.

The acoustic guitars, the vocal line, the backing singers, the lead breaks and the distortion riffs when it call kicks in and overall, the lyrics.

“White Snake” is a twelve bar blues sleaze romp. And it was two words before it became one word, about DC having a White Snake and does she want to shake it.

“Time On My Side” reminds me of a Bad Company cut and at that age, DC had time on his side, but these days, pushing almost 70, time is not with him. And it’s that sense of mortality which resonates even more. When I was young, I felt indestructible and the whole world was there for the taking. Now, I don’t feel so indestructible, and the amount of broken bones I’ve endured and had to heal from because of sports or drunken stupidity, keep reminding me that time isn’t on my side.

“Peace Lovin’ Man” captured me instantly because of its title and the soul rock vocal line from DC, hooked me in.

And it’s that soul voice from DC that makes these songs stand out.

Ted Nugent – Cat Scratch Fever

The U.S Patriot that dodged the draft. I saw that comment on a Dee Snider tweet. Actually anything I read on Mr Ted these days, is because of his controversial comments, but at least he stands for something. It doesn’t matter if you agree or disagree. Like John Mellencamp said, you need to stand for something, otherwise you would fall for everything.

I always thought Ted Nugent was the singer as well. You wouldn’t think that another person sang the songs, with Crazy Ted all other the covers.

I like the riff that kicks off “Cat Scratch Fever”. It rocks, it grooves and its heavy. “Wang Dang Sweet Poontang” has this riff that is played after each line is sang. And I like it.

“Death By Misadventure” has a boogie woogie verse riff, and so does “Live It Up”. Santana was also writing songs like these around this same period.

Lynyrd Skynyrd – Street Survivors

Credit Zakk Wylde. His love for this music translated into well-spoken interviews and he got me interested to check out these kind of influences.

The last album before the plane crash which happened a few days after the album was released. And of course, this tragedy translated to a lot of sales, which kept the record label happy. But the world lost a lot of talents in Ronnie Van Zant, and a guitar hero the world will never know in Steve Gaines along with his sister Cassie Gaines who did backing vocals.

It was Cassie who recommended her younger brother Steve to replace Ed King when he departed and it was Cassie who initially refused to board the plane because of a small fire on one of the engines on a previous flight. But she was persuaded to board by Van Zant. And she survived the plane crash only to bleed to death. 18 months later, the mother of Cassie and Steve Gaines, got killed in a car crash near the cemetery where Cassie and Steve are buried. So much tragedy.

“That Smell” written by Allen Collins and vocalist Ronnie Van Zant, about the smell of a person’s surroundings doing drugs and alcohol captured me instantly. The guitar player from the riffs to the lead breaks had me picking up the guitar to learn em. And at 6.30 plus minutes, it’s perfect.

“One More Time” just plods along and as soon as the harmony leads kicked in for the outro, it ends.

“I Know A Little” sounds like the songs that SRV would take to the top and there is this lick before the verse kicks in, that sounds like “Unskinny Bop”, which means a young CC DeVille would have been listening. And this track is solely written by Steve Gaines. It’s his guitar hero spotlight.

Well that’s a wrap for the third part of 1977, so off to 2000 we go again for part four.

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2000 – Part 2

Motley Crue – New Tattoo

Three Crue members plus Randy Castillo, who was a very competent drummer in his own right, but he’s not Tommy Lee nor would he have had the same input and pull as Tommy Lee would have had on the Crue music.

Actually, Lee himself decided to not participate in the song writing for the “Saints of Los Angeles” album. Then again, if you just heard the two songs he dropped recently, maybe that’s a good thing. But as an artist, you need to have different outlets to explore different creative sides.

This version of Motley Crue and this album acts as a music bridge between the eras.

After the excellent self-titled Corabi led album, they brought Vince back and pushed the industrial sonics on “Generation Swine”. This didn’t sit well with a lot of their existing fans, and it didn’t gain them any new fans either. So Nikki Sixx, forever the marketing guru, knew that a return to hard rock would be on the cards.

Musically, it’s okay.

The AC/DC influenced “Hell On High Heels” and “Punched In The Teeth By Love” are typical Motley, while the title track “New Tattoo” carries on the spirit of the 94 Corabi album. “Fake” has a heavy F#m groove which I dig and the punky “Porno Star” has some of the funniest lyrics from Sixx, about his credit card being in debt due to visiting too many dot cum websites.

But the year 2000 isn’t 1980 and some of these lyrical themes just didn’t resonate.

Pretty Maids – Carpe Diem

“Seize The Day and living their life” is what the Pretty Maids (aka founding members Ronnie Atkins and Ken Hammer) did with this release and their brand of Euro Hard Rock.

“Violent Tribe” is on steroids while “Tortured Spirit” shows you can be heavy and melodic. “Poisoned Pleasures” and “Until It Dies” shows what a great songwriter and guitarist Ken Hammer is.

And track number 5, “Clay”, for a ballad which doesn’t get cheesy is a great track.

And the last three tracks, “They’re All Alike”, “Time Awaits For No One” and “Invisible Chains” makes you press repeat.

Cold – 13 Ways To Bleed On Stage

I picked this one up in a bargain bin, 3 for $20 and I was surprised by how good it was. But I didn’t get any of their other music afterwards.

Maybe because guitarist Terry Balsamo left to join Evanescence.

I just did some reading on this album and was surprised to read how people called it a low-budget album (which it wasn’t, as Geffen financed it and had people like Adam Kasper who was doing Foo Fighter albums involved).

Basically if you are a fan of modern hard rock and alternative rock, then you will like this album.

Racer X – Technical Difficulties

Racer X is a band which was needed, so that all of its members could get a start and then go out and take over the world with different bands. You can call it an origin band. An origin story.

Paul Gilbert is now more famous for his Mr Big gig and his solo records and his instructional videos, plus his amazing list of guest appearances and tribute album appearances.

Drummer Scott Travis got the Judas Priest gig for the “Painkiller” album, then went to Fight with Rob Halford and he returned to Judas Priest for the “Jugulator” album in 1997 and has remained there since.

Vocalist Jeff Martin ended up as the drummer for Badlands for the “Voodoo Highway” album and since then he has done stints with Dokken and The Michael Schenker Group. Plus he had an excellent Judas Priest like band called “Surgical Steel” which appeared in a very underrated movie called “Thunder Alley” before “Racer X”. It definitely is a long way to that invisible line which symbolises the top.

Bassist Juan Alderete went into The Scream with guitarist Bruce Bouillet and after Corabi fled the coop for Motley Crue, he started working with others and ended up in “The Mars Volta”.

This album came out in 1999, however I am pretty sure it got a release in Australia in 2000, so it’s in the 2000’s for me.

And it’s their best album by far with the stand out track being the title track and Paul Gilberts guitar prowess.

Check it out and you will know what I mean.

Yngwie Malmsteen – War To End All Wars

The cover is a Frank Frazetta painting so Molly Hatchett came to mind immediately.

When you get tracks with titles like “Molto Arpeggiosa” and “Instrumental Institution”, you know what you are gonna get. Malmsteen and the rockets in his fingertips, tap dancing on the fretboard.

And in “Bad Reputation”, Malmsteen gives his self-defence counter argument in the lyrics.

So if you like overdone guitar leads at the expense of other instruments and cheesy lyrics by Malmsteen, with a crap production, then you will like this album.

And I remember looking at the CD booklet at my cousin Mega’s place, with 20 or so photos of Malmsteen in various self-love poses, thinking, this must be a new record of artist shots for an album.

But…

There are some good songs here, which are lost in the mush that “The Fury” created.

I would really like to hear songs like “Crucify” and “Bad Reputation” with a better production and mix like he had on “Odyssey” and “Marching Out”.

David Coverdale – Into The Light

What can an artist do after being in the game of making music for 26 plus years with Deep Purple, Whitesnake and Coverdale/Page?

What can an artist do in a musical climate dominated by Nu-Metal and Alternative Rock, which proved to be very hostile to the artists who had success in the 80’s, courtesy of MTV and their music videos?

When in doubt, you go back to the beginning, and to the blues.

If you want to read a review I agree with, check out the fantastic blog 2loud2oldmusic by clicking here.

So into the time machine I go and set course for 1985.

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Coverdale/Page, Cinderella and Winger

The Spotify AI is recommending artists based on Whitesnake.

Yesterday, the first recommendation was “Mechanical Resonance” from Tesla, then “Live At Sweden Rock – 30th Anniversary Show” from Europe, then “Meanstreak” from Y&T, then “Slave To The Grind” from Skid Row and then Coverdale/Page.

After Coverdale/Page it was “Euphoria” from Def Leppard, “Bent Out Of Shape” from Rainbow, “Standing Hampton” from Sammy Hagar, “Eat Em And Smile” from David Lee Roth and finally “Erase The Slate” from Dokken.

What, no Deep Purple?

Surely the AI is programmed to look at previous bands of artists?

I guess not.

Today, the AI recommended “Erase The Slate” from Dokken again, “Winger” self-titled debut as second, “Night Songs” by Cinderella as third. Then “Hysteria” by Def Leppard, “Absolute Hits” by Great White, “Slave To The Grind” by Skid Row, “Coverdale/Page” again (even after I streamed it a few times the day before), “Outlier” by Kingdom Come, “Simplicity” by Tesla and “Prisoners In Paradise” from Europe (which is not even available to stream in Australia).

And what the AI seems to be doing is just replacing the albums of artists. Like “Euphoria” and “Hysteria”.

Anyway, over to Coverdale/Page.

The album came out in 1993 and for me it was a stellar album. I loved the guitar work on it, like the opening string pull off lick for “Shake My Tree”. Simply, yet effective and Coverdale follows the riff with the vocal lead. Then when it gets heavy, it’s a cross between “Still Of The Night” and “Communication Breakdown”.

The lead break on “Waiting On You” is simple and effective and the riffs groove behind it. Plus I dig the lyric line, “till the rivers run dry”, a metaphor for change.

And although the song has nothing to do with climate change, it got me thinking how bizarre the situation is, our oceans are rising, getting ready to swallow coastal lands while the water on our lands via rivers and rainfall is drying.

“Take Me For A Little While” is one of Coverdale’s best songs. Jimmy Page breaks out one of his best lead breaks and that little lead lick in the Chorus, makes me press repeat on this song.

“Pride and Joy” could have come from Led Zep III, as Jimmy Page brings his open string tunings to David Coverdale. And while it rocks acoustically, it’s the heavy open string verse riff which connects, and when it goes back into the open tuning acoustic bit, it’s just perfect.

Four tracks in and I’m on the floor. When “Over Now” kicks in, I am digging the psychedelic nature of the vocals and the exoticism of the music. And artists tried to recreate their 70’s influences in the late 80s and 90s like Jake E Lee in Badlands, however, it still sounded like stuff they would have done within a modern rock context.

Because the 70’s artists, used their 60’s influences to create their 70’s sounds, hence why the songs from these artists like Page don’t follow the typical verse, chorus, verse, chorus. “Over Now” has  no real structure as it moves between verses and something which resembles a chorus and an outro which feels like a cool jam.

You talked to me of virtue
And sang a song so sweet
But all I know is I could smell
The perfume of deceit
And it’s over now

Coverdale is referencing his break up with the Jaguar dancer Tawny Kitaen. And there are quite a few songs on the album which reference the relationship.

“Feeling Hot” is the sped up child of “Johnny Be Goode” crossed with “Hit The Road Jack”.

And the comparison to Led Zep is always going to happen, because Jimmy Page is Led Zep’s main musical writer and it doesn’t matter with who he works with, his riffs will always sound like Page and Page’s career is held within his work with Led Zep.

Like “Easy Does It”. It is one of the best Led Zeppelin tracks that Led Zeppelin didn’t write. And when it morphs into a rocking track from about 2.40 mark, it’s so cool to hear Coverdale steer away from the typical verse and chorus format.

Of course, songs which follow that format will give you success if they cross over into the mainstream, but for me, it’s these kinds of songs that get me to commit. Like for Whitesnake, it was “Still Of The Night” which got me to commit, and it didn’t follow the conventional verse and chorus format.

“Absolution Blues” has David Coverdale delivering a near perfect Led Zep vocal line in the verses.

Come the dawn of judgement day
I’ll get down on my knees and pray
The Good Lord don’t send me away
I’ll never ever go

No one wants to leave the land of the living. They realize then how much living they really need to do.

“Whisper A Prayer For The Dying” is one of my favourite songs on the album. That dropped D intro riff is excellent. Even System Of A Down used a very similar style riff for their awesome song “Aerials” from the mega selling “Toxicity” album.

Also the idea of the song happened back in 1982-83 as their is an acoustic demo of the song on the “Slide It In” Deluxe reissue. And when you combine various wars for lyrical inspiration and Jimmy Page”s dropped D riff, you get a classic.

The suffocating heat of jungles, burning desert sands
Where everything reminds you, you’re a stranger in a strange land
The soothing words of politicians, those bodyguards of lies
While guardian angels waste their time and every mother cries

There is a whole generation of people who wouldn’t even know about the Vietnam War or the Gulf War. And when leaders from around the world decide to send in their troops to a place, well those troops already have a target on their back, as strangers in a strange land.

Machine gun, battle cry
You pray to God when the bullets fly
The bombs fall like black rain
And all your dreams take you home again
Nothing but bad dreams

At the end of the first Gulf War, the Iraqi forces set an oilfield alight, which burned black toxic smoke for months. And when it rained all those black toxins came back down as black rain.

And the ones who survived, are struck with PTSD.

You can’t read, you can’t write
You’re so scared, you can’t sleep at night
You try to carry the heavy load
Walking down Armageddon road, oh, Armageddon road

In reality what did all of the Wars achieve?

Iraq invaded Saudi Arabia and all the democratic countries rushed to the Saudi aids so their young Prince could grow up and order the dismemberment of a journalist who spoke out against him. And Iraq along with Afghanistan is still a hotspot of violence and extremism.

Would you have gone there for a holiday when these countries were controlled by dictators?

Would you fly there now, that these countries have been liberated by the good democratic countries?

I’m pretty sure the answer would be NO to both questions.

How good is Cinderella?

They are a lot more than just a hair band, a stupid genre they got lumped in. Maybe it’s their fault for allowing their image to look like a hair band but then again when you are trying to make it, you will listen and do what the A&R department tells you to do.

Anyway, “Night Songs” opens the album which carries its name and it’s a hooky slow dirge.

Workin’ this job ain’t payin’ the bills
Sick and tired rat race takin’ my thrills
Kickin’ down the road not a dime in my pocket
Nightime falls and I’m ready to rock it

It’s a game of collusion. Governments and corporations ensure that the wages paid are just enough to live a frugal lifestyle, however as the cost of living goes up, the wages don’t seem to follow the same trajectory. My land rates go up 4% each year for the last 3 years. My wage has gone up 1% each year.

Which then means we need to find a second job, or a higher paying job or we need to borrow money from the banks.

And before payday, I used to have just a dime in my pocket but regardless of what state I was in financially, I always had my music and was always ready to rock it.

Forget the day ’cause we’re gonna scream

And that is exactly what we did.

Night songs
Makes the day right

Even in the comfort of your own home, when you drop the needle and the sound surrounds you and bounces off the walls, it normally happens at night and when you are alone with your thoughts.

When “Shake Me” rolls into town, you know the party is just getting started.

And Tom Keifer’s raspy voice is the difference. He didn’t sound like any other singer out on the market. Maybe a bit like Brian Johnson. Hell, the band Hinder had a career in the music business many years later because their singer had the same raspy voice like Keifer.

Then, those clean tone Am arpeggios start and “Nobody’s Fool” fills the room. For a debut record, Keifer has knocked me out with a triple left hook.

And how good is the vocal melody and riff in “Nothin’ For Nothin’”?

You got nothin’
Nothin’ for nothin’
You’re hurtin’ overtime
Nothin’ for nothin’
And we don’t need your kind
Nothin’ for nothin’
Pushin’, shovin’, got no time
Nothin’ for nothin’

Kids these days have a lot more rights in life and in the workplace than what their parents and grand parents had. But the mindsets are different. They always get something.

“Once Around The Ride” is a classic heavy metal track, with an air guitar pedal tone riff, a wicked lead break from Jeff LeBar and a vocal melody from Keifer which sticks around long after the song has finished.

“Hell On Wheels” could have come from any NWOBHM act, but with better melodies and vocals from Kiefer.

We’ve had enough of the raw deals
Hit the road and tell ya how it feels

Like hell on wheels

“Somebody Save Me” is my favourite. The “Knock Em Dead Kid” riff merged with “Looks That Kill” works a treat and Keifer delivers vocally.

Somebody save me
I lost my job, they kicked me out of my dream

The Australian dream is to own your home. And once upon a time people did just that and then passed it down to their next of kin. And Governments didn’t like that because they didn’t get any tax on it, so they passed laws that to change the name on the deed you still had to pay a stamp duty tax.

But these days people are buying, paying the minimum repayments and then selling it when they need to move because they lost their job and the next job is in a different state or in a city hours away. And if they don’t sell it in time, the bank will sell it for them and kick them out of their dream.

And the house prices are so high it’s hard to even enter the market.

Well, everybody’s got opinions
But nobody’s got the answers
And the shit you ate for breakfast
Well, it’ll only give you cancer

So true. A while back, I was in a meeting at work and I had my opinionated vent in it. Then I was asked how I would do the job that needs to be done and I had no fucking answer. So I made a note to myself that if I’m going to question others I need to also have answers and solutions.

And what about all the research coming out about processed meats giving you cancer, how too much red meat will give you cancer and all those cereals that the corporations said were healthy in the 80s (backed by Government research financed by the cereal makers) proved to be full of sugar and bad for you.

Somebody get the doctor
I think I’m gonna crash
Never paid the bill
Because I ain’t got the cash

You can’t pay a bill when you don’t have the funds. And you don’t have the funds because you either don’t have a job or you have a job but are over committed to a lot of debt. Either way, it’s a pivotal moment in your life when you are in this place. And you understand that life is not fair and the game is rigged.

“In From The Outside” has an excellent outro and it’s the reason why I go through the whole song, just to hear the outro and how they fit in this metal like section to a 12 bar blues. Brilliant.

And “Back Home Again” is a great way to bookend the album. An open string riff kicks it off and the vocal melody from Keifer is brilliant.

I hit the road wide open at seventeen
Mama cried herself to sleep
Lost a dad I’d never seen
Took all my childhood friends
Guitar, and a dream

It doesn’t happen like that anymore or does it. These days it’s let’s hit the internet and build an online social presence and you play live if their is demand. Once upon a time you played to get better and you took what gig you could get in order to build your fan base.

And for the sake of it, I streamed Winger (released in 1988), because of Reb Beach. He is a phenomenal guitarist and he always interviewed well, with a great grasp of techniques when it came to the guitar. And the Winger debut is full of Reb Beach.

“Madalaine” kicks off the album and the first time I heard it, I was really surprised at how good the vocals sounded.

“Hungry” is one of my favourites on the album and I always compared it to “Hungry” from White Lion’s which is a bit more superior because that riff from Bratta rocks hard and is brilliant to play.

But the way, “Hungry” starts off with the violin like orchestra, then it morphs into a syncopated groove for the pre –chorus and in the chorus, listen to how Reb Beach takes a stock chord progression and decorates it.

Now the piece d resistance in this song, is the prog rock bit after the solo, which goes into an acoustic bit of the 1st verse, then Reb Beach and the drums take over, playing just the chorus riff and then the whole band comes in as they move into the ending of the song. For such a commercial sounding track with a big arena rock chorus, it has a lot of movements which people either didn’t notice because the band made it sound so seamless.

“Seventeen” is the best Van Halen track that EVH didn’t write. Just check out the opening riff. But that lead break from Reb Beach. Wow.

“Time To Surrender” has a wicked guitar riff and a 12/8 groove feel in the dreams. The vocal melody from Kip is also on the money, but man, the lyrics, about it being time to surrender because his love don’t live there anymore just didn’t do the music any justice.

“Hangin On”. Listen to it, to hear Reb Beach decorate again.

“Headed For A Heartbreak” is a song that is not forgotten easy. I think it’s that keyboard lick in the Chorus (after they sing “Headed For A Heartbreak”) which remains. Maybe even the solo section. Or that outro guitar solo from Reb Beach or the offbeat drumming. Whatever it is, something always remains with me after hearing this song.

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Whitesnake 30th Anniversary 

I’ve been listening to the 30th Anniversary Deluxe Edition of the 1987 self-titled album from Whitesnake since it hit Spotify on Friday.

The whole deluxe version is available for streaming, so kudos to David Coverdale for not punishing Whitesnake fans who prefer to stream. From time to time, bands release deluxe editions however they only put part of the release on a streaming service, withholding the rest for the physical edition with the hope people would go out and buy it.

So the original album kicks off the 30th anniversary edition. It’s still a solid album from start and finish. Coverdale might have racked up a $3 million plus debt recording it, but I am sure Geffen Records recouped their investment and Coverdale got to make some coin himself.

Then again, Sykes was hired in 84 with a million dollar sign-on fee. I would presume that also came from Geffen, which would then turn out to be another amount Coverdale had to pay back. Because, you know, labels recoup everything before they start to pay anything out.

The original LP version I have is the North American edition, which has a different track list.

1. Crying in the Rain ’87
2. Bad Boys
3. Still of the Night
4. Here I Go Again ’87
5. Give Me All Your Love
6. Is This Love
7. Children of the Night
8. Straight for the Heart
9. Don’t Turn Away

And to be honest, I prefer the above better. I guess John Kalodner would have had a say on how the album was sequenced. I also purchased the European version because it had the two extra tracks not on the North American version. And then I purchased some of the 7 inch singles like “Give Me All Your Love” and “Is This Love” and 12 inch singles for “Still Of The Night” and “Here I Go Again” because they had tracks from earlier albums on em. Then I purchased the CD of the album. What else was I going to do with my money?

There is no denying the knock out punches in the above track list. But I also like how they have “Straight For The Heart” in the middle on the 30th Anniversary edition. That’s where it belongs.

The album track order on the 30th Anniversary Edition goes like this.

1. Still Of The Night
2. Give Me All Your Love
3. Bad Boys
4. Is This Love
5. Here I Go Again ‘87
6. Straight For The Heart
7. Looking For Love
8. Children Of The Night
9. You’re Gonna Break My Heart Again
10. Crying In The Rain
11. Don’t Turn Away

The live tracks from a gig in Tokyo that followed the album were disappointing. Live shows are about selling an experience. If you record a live gig, it’s riddled with errors. Most live albums from the past that I enjoy like, “Live After Death” and “Tribute”, well they had some things redone in the studio to make em sound better. In saying that, I like how Coverdale gets the crowd involved in a sing-a-long. Apart from seeing the artist in the flesh, the “sing-a-longs” and the “extended jams” are the experiences the live show sells.

But the Evolution demos are gold. Pure Gold.

The way Coverdale has edited them together to demonstrate the evolution of each song is excellent. It just shows how a good chorus or a vocal melody evolves into a song. In some of the demo’s Coverdale is lost for words, but he’s hearing the melody and he repeats the same lines so he has something on tape to go back to later on.

Sykes on those jam versions; solo’s and riffs like hell. He’s unrefined and spontaneous and just trying stuff out, seeing what sticks and connects. The beauty of demos are the mistakes. There are no maps but the artist sort of knows where they are going. So they try and try and try until they get there. Coverdale is pure evidence of trying out vocal melodies and vocal phrasings.

But once they establish the hook or the chorus or the verse riff or just a groove, they start to map it out. That’s the beauty and rawness of music.

For example, in “Still Of The Night”. In the first minute, Coverdale is drumming on his legs, singling and adlibbing while Sykes is playing a riff over the normal F#5 chord. Then the phone rings and the next bit you hear from the minute mark to 1.45, I believe is from another song writing session. Then it evolves into a band rehearsal. And it just keeps on evolving from there. It’s edited to show an evolution. And of course, Sykes is shredding like a maniac in the band rehearsal. So originally, I believe the expectation was to have an up-tempo lead break which then morphs into the solo riff. At the 4.48 minute mark it evolves into another band rehearsal session, which this time showcases the embryo of what would become the moody interlude and how the outro came to be.

“Give Me All Your Love” was interesting to hear. It’s basically an embryo of what the song would become. At 1.38, I believe it evolved into a different take. This time we hear the Chorus we know and the tempo is a bit quicker. Then from 3.17 it evolves into a band rehearsal and the tempo again is just a bit quicker. This time we get a Chorus and some lead improvisations from Sykes. At 4.12 it evolves into another band rehearsal. With each evolution, the song is getting closer to the version we all know and love. This time we get the Chorus again before the lead break and Sykes again is improvising. At 5.20 it evolves into another band rehearsal.

“Bad Boys” original demo is to a drum machine. Yep that massive pedal point riff is played a lot slower to a drum machine. But Coverdale and Sykes had the Chorus melody from the outset albeit with som different words. From 1.39 the song morphs into a different song writing session (with the drum machine going again). This time we get the Chorus again, very similar to what we know and the riff is getting closer to being the metal pedal point monster we know. Then at 2.49 we get a band rehearsal version. This kicks in at the lead break section which is very different to the one committed to tape. Then at 3.25 it evolves into a different band rehearsal and the riff is there as we know it. The tempo is also quicker. Maybe a bit too quick.

“Is This Love” version starts off with the words;

“This is the Chorus to take over the world”

Coverdale and Sykes had the hook. They repeated it over and over again and over again because it was that good. And then they built the song around it. I am pretty sure from 1.37 when the verse riff is played it’s from a different song writing session. Then from 2.01 the song is performed with a drum machine. Again, the chorus is repeated over and over again.
I can go on and on and on about these “Evolution” versions. It’s best to invest time and check em out yourself. 

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Ready An’ Willing

Coverdale posted on Twitter that 31 May is the 37 year anniversary of the “Ready An’ Willing” album. So I called it up on Spotify for a few relistens.

My Whitesnake fandom started with the 1987 album. It was my first introduction and I was hooked. It was so guitar heavy, yet accessible. Sometime after I had the album, I purchased the 7 inch single to “Give Me All Your Love” because of an unknown B-side track. The track in question is “Fool For Your Loving”. I got home, dropped the needle and I was shocked. It sounded like a garage demo compared to the polished 87 album.

But the song was good, so I was curious to hear more. The magazines of the time didn’t really talk much about the earlier part of Whitesnake, so I went to “Rings Music World” (our local record shop) with $10 in pocket change. I looked under “W” and all that was there was the 87 album. I went to the discount boxes and found the cassettes to “Ready An’ Willing” and “Saints And Sinners” for $5 each. So for $10 bucks I had some new tunes to listen to, albeit many years after their release.

The band is what makes Whitesnake roll so good during this period. Neil Murray on bass and Ian Paice on drums lay a solid groove and foundation. Jon Lord on keys is a bit more in the background, compared to his Deep Purple output, however he does offer some cool keys on “Aint Gonna Cry No More”. Micky Moody and Bernie Marsden on guitars are really unsung heroes and veterans of the stage by 1980, while David Coverdale brings it all together with his voice. Plus he’s a pretty cool bluesy guitar player, something he doesn’t get enough recognition for.

The album leads with “Fool For Your Loving”. The track was originally written for BB King and it went on to become Whitesnake’s first hit. I was asked by a friend which version do I like better, the 1980’s version or the 1989 version. My answer is both. The original version has that bluesy feel which I dig, while the 89 version has the Steve Vai modern feel which I also dig. Both are different, but the essence of the song is still there.

“Sweet Talker” is a breather before the sleaze and roll of the title track. “Ready An ‘Willing” has one of those addictive foot stomping grooves that still works today. It’s a timeless song, in the same way “Fool For Your Loving” is. While “Carry Your Load” has this Beatle’s vibe that sounds fresh, it’s “Blindman” which is the piece’de’resistance on this album.

“Blindman” is one of my favourite Whitesnake songs. Yeah it might sound similar to “Soldier Of Fortune”, but hey, that’s music. My wish would be for “Blindman” to achieve the same love as other Whitesnake songs.

Like a Blindman
I can feel the heat of the sun
But like a Blindman
I don’t know where it’s coming from

“Aint Gonna Cry No More” is White Led Zep Styx Snake and I swear Tommy Shaw and Jack Blades built Damn Yankees on the backs of songs like these. Influences aside, it’s a track that’s good enough to stand on its own.

“Love Man” is a 12 bar blues dirge. “Black and Blue” is another 12 bar blues rock and roll drinking style of song. “She’s A Woman” is “Black and Blue” part 2. Personally, the last three songs are pure filler, but the first six are not.

Happy 37th Birthday.

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How Long Until The Streaming Well Goes Dry?

“Musicians can go out and play to fill the gaping hole that the lack of record sales has created, but streaming has actually become the saving grace for record companies. But it really is to the point of such diminishing returns for musicians that I have no words to describe it. I would turn around and say, “Okay, let’s make this work,” but now I’m hearing that new contracts that are sent out from friends of mine who are lawyers, that record companies now want to pass on paying even streaming royalties because they consider streaming “promotion.” That is beyond a grey area.”
David Coverdale

Streaming and Spotify is the best thing to ever happen the music industry. It competed with piracy and more or less won the battle. It’s subscriber base is growing and people are moving from freemium to the pay model. Adele’s record label is withholding her album from streaming services, however Pandora is streaming it, because as it happens, Pandora is a radio station.

But it is a long game. As Coverdale alludes too, the record labels want to wither away the streaming money tree as well, claiming all of the licensing fees and royalty payments for themselves. All of those writers and musicians complaining about Spotify or another streaming service, need to complain about their labels and publishers.

Because the people who used to control music, have a short-term mindset. And it all comes down to money. Streaming service Rdio is gone, claiming bankruptcy. It didn’t have the user base to support the licensing fees it needed to pay. Pandora purchased it’s assets, however Pandora has its own problems with court cases (financed by the Record labels and the Publishers) around pre 72 recordings and royalty payments on those recordings and others. And it’s a battle for which service will win the streaming wars, as to the victor, 70% market share awaits them. Like how Facebook and Apple won the social media and phone wars.

The reason why the record labels are so powerful is because they have locked up culture and copyrights for a very long time. As I have posted before, “Smoke On The Water”, a song written in 1971, will still be under copyright once we enter the 2100’s. The writers/creators will have passed a long time before that, and there is a good chance that any heirs of theirs will also have moved on to the afterlife. But the main beneficiary in this copyright hijack, is the corporation.

So what we have in the music industry are Record Label Executives that contribute nothing to music, living it up, flying private, because they satisfy Wall Street and via their lobby group, the “RIAA”, fight to get laws approved to protect their business models.

“The old copyright model – the person who creates something owns it and anyone else that wants to use it or see it has to pay them – has expired in the same way that around the world you’re seeing structures and social norms [lapse] that were standard for many years. The old copyright model has expired. It can no longer exclusively control music.”
Steve Albini

The old copyright model only benefits the labels in this day and age, so it’s no surprise that they are fighting hard to get even longer copyright terms. It’s a monopoly they don’t want to lose, even at the expense of the public domain, because the public domain is how more works are generated.

The power to make change lies with the musicians.

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1980

A lot of my favourite albums from the past are always having some kind of anniversary each year. Since we are in 2015, I am feeling nostalgic, so I am going back to 1980.

Now let me be clear, all of these 1980 albums didn’t end up in my collection until the mid to late Eighties. Finances always proved a problem when it came to deciding what music to purchase.

Coming into 1980, Whitesnake was working a lot. The band was putting out an album a year and touring consistently. Then the Martin Birch produced “Ready an’ Willing” dropped, launching the song “Fool For Your Loving”, a piece written by Bernie Marsden, Micky Moody and David Coverdale. That song brought about a new interest into the band.

To me, “Ready an’ Willing” is the album that started Whitesnake’s rise. It holds a special place in my life as it was the first album I purchased from Whitesnake’s back catalogue after the 1987 album exploded. And I was impressed. While the “1987” album is a classic, I really loved the raw sound on this one and the working bands attitude. You can hear it in the notes.

While the album has songs that deal with relationships, my two favourites are “Blindman” (which is a derivative version of the Coverdale/Blackmore penned “Soldier Of Fortune”) and the very Led Zeppelin sounding, “Aint Gonna Cry No More”. Those songs also nail it lyrically for me. Talk about completely forgotten, no one under forty would know these songs.

“Chasing rainbows that have no end, The road is long without a friend….” from BLINDMAN

“Memories of broken dreams, As distant as the sun, Are drifting like an echo in the wind….” from AIN’T GONNA CRY NO MORE

In that same year, the Ronnie James Dio fronted Black Sabbath released their version of “Heaven and Hell”. As with all things record label related, this project was always meant to be a new band.

The first song written by Iommi and Dio for the new band was “Children of the Sea”. Geezer Butler was so set against continuing without Ozzy, so Iommi had Geoff Nicholls on hand to play bass on those initial sessions. It was actually Nicholls that came up with the “Heaven and Hell” bass line.

On board to produce “Heaven And Hell” was Martin Birch. That’s right, the same Martin Birch in charge of Whitesnake’s “Ready an’ Willing’ album.

“The world is full of kings and queens, who blind your eyes and steal your dreams…..” from HEAVEN AND HELL

I purchased this album very late. It was actually after “Lock Up The Wolves” from Dio came out in 1990.

At that time, I had the cash and my plan was to get stuck into Dio’s past works starting with Rainbow. However, I also came across the Black Sabbath releases in the second hard record store and purchased all five albums, the three Rainbow albums and the two Sabbath albums.

I was blown away. I couldn’t believe I was that late on hearing this unbelievable music.

Who can forget “British Steel” from Judas Priest?

I purchased it on cassette, which I still have today. It was right after “Painkiller” came out. I knewe of “Breaking The Law” and Livin After Midnight” but man, there are so many other good cuts on this album, I was again blown away.

Produced by Tom Allom, it started a winning campaign for Judas Priest that still sustains them to this day. After “British Steel” came “Screaming for Vengeance” and “Defenders of the Faith”. They are still doing victory laps on the backs of these three albums.

“British Steel” came out at a time when “The New Wave of British Heavy Metal” was starting to gain momentum. Even though Judas Priest was around way before, “British Steel” set up a certain sound for the many bands that would follow.

It was also an album recorded with a tour already booked to promote it. So when the band went into the studio with a handful of ideas, it was up to Glenn, KK and Rob to sit around and bang out the songs. From that pressure, great songs was the outcome.

In relation the tour, it featured a young band by the name of “Iron Maiden”.

“There I was completely wasted, out of work and down…..” from BREAKING THE LAW

“Living after midnight, rockin’ to the dawn…..” from LIVING AFTER MIDNIGHT

“I’ve had enough of being programmed, And told what I ought to do…..” from YOU DON’T HAVE TO BE OLD TO BE WISE

Which brings me to Iron Maiden’s self-titled debut, an album I purchased after “No Prayer For The Dying” came out.

It was recorded in 13 days, aided by the fact that all of the songs had been well-rehearsed live staples. They fired two other producers before settling on the disinterested Will Malone, who basically gave the band free-reign to do whatever they wanted.

I first heard “Running Free”, “Iron Maiden” and “Phantom Of The Opera” on 1985’s “Live After Death” album with Bruce Dickinson singing, so when I first heard the debut I was taken aback by Paul DiAnno’s vocals. I hated them, as I was so used to Bruce Dickinson. But man, like everything, the harsher street style of DiAnno grew on me. And what about that wah riff to kick off “Prowler”.

It was also the album that gave people a glimpse into Iron Maiden and the artwork of Derek Riggs.

“Unchain the colours before my eyes, Yesterday’s sorrows, tomorrow’s white lies…..” from REMEMBER TOMORROW

Just sixteen, a pickup truck, out of money, out of luck, I’ve got nowhere to call my own, hit the gas, and here I go…..” from RUNNING FREE

“You’ve been living so long in hiding in hiding behind that false mask…..” from PHANTOM OF THE OPERA

So what do you get when you finish the music for an album in six days and the entire album in eight?

Van Halen’s “Women and Children First” is the answer.

I actually heard “1984” first, then “5150” and “Eat Em And Smile”. So it was only natural that I went deeper into Van Halen’s back catalogue after that. There are a lot of stories about the making of the album, the photo shoot, which can be found here.

“Well, they say it’s kinda fright’nin’ how this younger generation swings…..” from AND THE CRADLE WILL ROCK

“Don’t want no class reunion, this circus just left town, Why behave in public if you’re livin’ on a playground?…” from FOOLS

“I’m takin’ whiskey to the party tonight, and I’m lookin’ for somebody to squeeze….” from ROMEO’S DELIGHT

The album holds a special place for me because of its jam orientated vibe. It’s basically saying to me, this is Van Halen and this is who we are in 1980. As a guitarist learning to shred in 1987, any piece of Van Halen music was seen as a must learn, however I never really sat down to learn anything from “Women And Children First”. I always said, I will learn “And The Cradle Will Rock”, but never did. That is why it is special in a silly way.

It’s actually funny, but the songs that I do play from Van Halen are from the debut album, the “1984” album, the “5150” album and the “Balance” album. Those are the albums I actually sat down and learned. I suppose, subconsciously, that I preferred the more pop orientated structures than the wild jam orientated structures.

What does a band do after releasing two massive science fiction progressive albums in “2112” and “Hemispheres”?

In Rush’s case, and Metallica’s a decade later, they both scaled back the arrangements and veered to shorter track lengths and more personal lyrical topics.  Longtime Rush producer Terry Brown was on hand again to assist. The songs from “Permanent Waves” are all over “Exit Stage Left” which was the only Rush album I had in the Eighties.  “The Spirit Of Radio”, “Freewill” and “Jacobs Ladder” all appear on the live album.

And when I purchased the album, “Natural Science” became a must song to add to my bible of guitar songs to learn.

This album also hold a special place in my life, because it was the first album I purchased based on a Dream Theater interview I read in the Nineties where they talk about their influences and it cemented my love for Rush. After this album, I was all in. It was only a matter of time before I purchased all of their other albums. If I had purchased something like “Hold Your Fire” first, then the love for Rush would have been very different.

So many great lyrics from Peart on this one as well.

“One likes to believe in the freedom of music, but glittering prizes and endless compromises, shatter the illusion of integrity….” from THE SPIRIT OF RADIO

“There are those who think that, they’ve been dealt a losing hand, the cards were stacked against them, they weren’t born in Lotus-Land…..” from FREEWILL

“You can choose a ready guide, in some celestial voice, if you choose not to decide, you still have made a choice…..” from FREEWILL

“I will choose a path that’s clear, I will choose free will…..” from FREEWILL

‘Freewill’ continues that sprightly pace, navigating a bouncy chorus hook and a theme about mankind’s lack of moral evasion.

 “We’re linked to one another, by such slender threads, we are planets to each other, drifting in our orbits….” from ENTRE NOUS

“Different eyes see different things, Different hearts beat on different strings…..” from DIFFERENT STRINGS

“Time after time we lose sight of the way, our causes can’t see their effects…..” from i. Tide Pools – NATURAL SCIENCE

“Computerized clinic for superior cynics, who dance to a synthetic band, in their own image their world is fashioned, no wonder they don’t understand…..” from ii. HyperSpace – NATURAL SCIENCE

“Science, like nature, must also be tamed, with a view towards its preservation…..” from iii. Permanent Waves – NATURAL SCIENCE

“The most endangered species – the honest man , will still survive annihilation, forming a world, a state of integrity, sensitive, open, and strong…..” from iii. Permanent Waves – NATURAL SCIENCE

“Wave after wave will flow with the tide, and bury the world as it does, Tide after tide will flow and recede, Leaving life to go on as it was…..” from iii. Permanent Waves – NATURAL SCIENCE

“Blizzard Of Ozz” is what happens when a technically gifted guitarist teams up with a well-travelled and experienced bassist to form a band around a washed up and intoxicated singer. It sounds like a plot line for a movie.

In order to go back to 1980, I need to go forward to 1988.

The “Tribute” album came first for me. The tablature book was my bible. So many nights spent practicing all of the licks and riffs in that book. Eventually in the early Nineties, I got around to purchasing “Blizzard Of Ozz”.  So many iconic songs on the album and the legend of Randy Rhoads will never be forgotten. Credit Bob Daisley, the unsung hero and creative lyricist.

The special part for me on hearing the “Blizzard Of Ozz” album is understanding the work that Randy Rhoads did to blend/merge so many different layers of guitars from the studio album into ONE DEFINITIVE GUITAR TRACK for performing live.

Brilliant.

I was left speechless.

It was an album that you needed to get to hear all the songs. These were not songs that could be purchased as singles and these songs were not promoted heavily on radio. We knew them only if we purchased the albums.

From the start to the end, the album is an experience.

And how good are the lyrics from Bob Daisley. So many brilliant lines.

“Everyone goes through changes, Looking to find the truth, Don’t look at me for answers, Don’t ask me, I don’t know…..” from I DON’T KNOW

“How am I supposed to know, Hidden meanings that will never show, Fools and prophets from the past, Life’s a stage and we’re all in the cast…..” from I DON’T KNOW

“Crazy, But that’s how it goes, Millions of people, Living as foes…..” from CRAZY TRAIN

“Maybe, It’s not too late, To learn how to love, And forget how to hate…..” from CRAZY TRAIN

“I’ve listened to preachers, I’ve listened to fools, I’ve watched all the dropouts, Who make their own rules…..” from CRAZY TRAIN

“One person conditioned, To rule and control, The media sells it, And you live the role…..” from CRAZY TRAIN

“I’ve been the king, I’ve been the clown, No broken wings can hold me down, I’m free again…..” from GOODBYE TO ROMANCE

“And the weather’s looking fine, And I think the sun will shine again, And I feel I’ve cleared my mind, All the past is left behind again…..” from GOODBYE TO ROMANCE

“Take a bottle, drown your sorrows, Then it floods away tomorrows…..” from SUICIDE SOLUTION

“Heaven is for heroes, And hell is full of fools, Stupidity, no will to live, They’re breaking God’s own rules…..” from REVELATION MOTHER EARTH

I remember playing pool at the local pub and the jukebox cranking ACCA DACCA’s “Back In Black” constantly. That is how I heard the album from start to finish, by waiting for the older crowd with more disposable incomes to get the jukebox cranking. And people wondered why we started to cherry pick songs from iTunes. We have been doing it since the jukebox.

The Eagles “Hotel California” and Deep Purple’s “Machine Head” are two other albums that I heard via the jukebox.

It was the antidote to New Wave and whatever else was popular at the time. Even in 2015, it still sells over 150,000 units a year.

“If you’re into evil you’re a friend of mine….” from HELLS BELLS

“I got nine lives, Cat’s eyes, Abusin’ every one of them and running wild…..” from BACK IN BLACK

“She was a fast machine, She kept her motor clean, She was the best damn woman that I ever seen…..” from YOU SHOOK ME ALL NIGHT LONG

“Hey there, all you middlemen, Throw away your fancy clothes, Way out there, sittin’ on a fence, So get off your ass and come down here…..” from ROCK AND ROLL AIN’T NOISE POLLUTION

“We’re just talkin’ about the future, Forget about the past, It’ll always be with us, it’s never gonna die…..” from ROCK AND ROLL AIN’T NOISE POLLUTION

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A to Z of Making It, Music, My Stories, Unsung Heroes

Class of 1989

Another trip down memory lane via my Hot Metal magazines. This is issue 6 from 1989. Lets look at the bands/artists mentioned:

Doro Pesch
Remember “All We Are” from Warlock. Even though Doro has released a shit load of records under the “Doro” name, none have come close to “All We Are”.  One YouTube channel has 3,428,785 views for the song “All We Are”. It was anthemic and energetic.

Dee Snider
Dee Snider’s new band Desperados had just signed a recording deal with Elektra Records and the article mentioned that they will start recording their debut album shortly.

We all know how that turned out. Elektra Records became Neglektra Records. The project is almost forgotten, except for Dee Snider who always resurrects a song or two or three from those sessions.

The Widowmaker debut album had a few and his solo album “Never Let The Bastards Wear You Down” also had a few. His new anthology will also contain a few songs.

Quiet Riot
Strong rumours circulated that the band had split up and that Frankie Banali had become a permanent member of W.A.S.P while vocalist Paul Shortino had been offered a solo record deal.

How funny that the vocalist who came in towards the end of Quiet Riot’s fame gets a solo deal. Seriously what song has Shortino written that has stuck around for the last 25 years.

Go on YouTube and type in Paul Shortino or Rough Cutt.

Forgotten, because no one cared.

Rough Cutt was just a band that had okay musicians and those okay musicians acted as a backing band for the better musicians like Jake E.Lee, Craig Goldy and Claude Schnell to launch careers. If Chris Hager was really a great songwriter he would have remained in RATT.

Whitesnake
The new Whitesnake album was finished and the press release said it was tentatively titled “Slip Of The Tongue” and the band had also re-recorded two old Whitesnake tunes in “Fool For Your Lovin” and “We Wish You Well”. The album was set for an August release, however it wouldn’t come out until November of that year.

We all know that the album was held back by David Coverdale as a threat to Geffen to stop the promotional push on the Blue Murder album. “Slip Of The Tongue” went on to sell over a million copies while Blue Murder’s self-titled debut got killed off.

David Lee Roth
Was recording his third album with producer Keith Olsen who just finished the Whitesnake, “Slip Of The Tongue” album. The band had new guitarist Rocket Ritchotte who replaced Steve Vai.

The album that would eventually become “A Little Ain’t Enough” came out in January 1991 (almost two years later), and the producer ended up being Bob Rock and the guitarists ended up being Jason Becker and Steven Hunter, however Rocket Ritchotte does have a few songwriting credits. Goes to show how quickly things can change in the music business.

And lets not forget Jason Becker and his diagnosis with Lou Gehrig’s Disease.

In the end the album is forgotten. The title track lead single has about 420,000 YouTube views, which pales compared to “Yankee Rose” and “Just Like Paradise”. Hell, it even pales to Warlock’s “All We Are”.

Black Sabbath
They issued a press release calling off their U.S tour because guitarist Tony Iommi had fallen ill. The band at the time consisted of Tony Martin on vocals, Cozy Powell on drums and Geoff Nicholls on keyboards. The illness came at a time when the band was enjoying a revival of interest following the release of their critically acclaimed album, “The Headless Cross”.

But the truth was so much different. Sales in the US/Canada were low as the record wasn’t available in the shops to buy. Iommi more or less said the same in a Black Sabbath fanzine called Southern Cross, which is also up on Wikipedia for all to read.

Blue Murder
Weeks after the release of their self titled debut, the album was enjoying a decent run on the charts. We all know that this promotion push from Geffen would be pulled because of a certain David Coverdale withholding the “Slip Of The Tongue” album. And with that went the mainstream career of John Sykes.

Britny Fox/Faster Pussycat
Both bands began work on their follow-up albums. “Boys In Heat” and “Wake Me When It’s Over” are the albums respectively. Britny Fox and CBS didn’t go over too well with audiences, while Faster Pussycat continued their Gold run with Elektra. However by 1992, both bands were at the crossroads.

Both bands don’t even have the stats that “All We Are” from Warlock has.

Junkyard
The Hot Metal magazine loved their no bullshit rock n roll. The band at the time was a success story in work ethics. All the magazines wrote about their story to the “big time” and in all of their interviews all they wanted to do was be successful enough so that they can do more follow-up records to the debut.

In the end they came at the tail end of a glam rock movement which unfortunately they got lumped into and when that movement committed hara-kiri, the career of Junkyard was collateral damage. Their major label career also forgotten. The stats on YouTube tell the story.

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