Tag Archives: Hard Rock

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

1976 – Part 2.7: Black Sabbath – Technical Ecstasy

The sound was a bit different but it still did well.

The Grunge movement brought Black Sabbath back into the mainstream. Alice In Chains spoke of their love of Sabbath, so did Soundgarden and even Nirvana.

Kyuss/Queens Of The Stone Age also spoke of their Sabbath love.

So it was no surprise that Sabbath started selling records in the 90s.

Eventually in 1997, “Technical Ecstasy” received a Gold certification in the U.S.

It’s the seventh studio album.

Released in 1976 and produced by Tony Iommi. But he struggled with it to the point of anger against his band members who spent most of the time on the beach and on booze and drugs.

Ozzy mentioned in his book “I Am Ozzy” that recording the album in Miami was very expensive and he was confused as to why they had to sound like current popular bands. Maybe that was due to their label head Don Arden throwing his interest behind ELO during this time.

The writing was on the wall, as punk had broken through in the U.K and the Sabbath brand of doom was on its way out.

They are also in the midst of releasing a box set of this album, with all the extras that come with box sets.

Back Street Kids

The Intro/main verse riff has a similar feel to “Immigrant Song” and their own “Children Of The Grave” and I like it.

At 1.50 it goes into an excellent major key riff which reminds me of Styx/Free/ELO and acts like that.

The solo from Iommi utilizes the Major Pentatonic. It’s weird to hear happy leads.

You Won’t Change Me

The most doomiest riff starts the song off and their most melodic progression becomes the verse.

Check out the melancholic swirling organ riff from 4.11 and Iommi decorates nicely.

It’s Alright

It’s a Beatles cut and it came out of left field but then again this album is all about expanding the sound.

Bill Ward wrote it and sings it.

Gypsy

Such an overused title in the 70s and 80s. I don’t recall the word being used much in the 90s and beyond.

Bill Ward opens up the song with a drum groove that reminds me of “Sympathy Of The Devil” from The Rolling Stones.

Iommi busts in with chords which further reinforces the Stones influence.

The Pre-Chrous riff is excellent and Ozzy brings out a vocal line that he used in “SATO”.

Then there is a section which I call the ELO section, with piano and distorted guitars.

The last minute is essential listening as Iommi wails away with his pentatonic leads. A perfect closer for Side 1.

All Moving Parts (Stand Still)

The Side 2 opener and what a great blues rock riff to kick it off. And Butler on the bass is massive.

At 1.40 it changes into something different and this is why I like Sabbath. The songwriting can be progressive with the arrangement and at other times the arrangements can be more mainstream like. You get the best of both worlds.

The vocal melody from Ozzy in the verses was used again within his solo career.

Rock ‘n’ Roll Doctor

The Intro reminds of Uli John Roth and his Scorpions work.

But after that a “No Bones Movie” cut blasts out of the speaker.

She’s Gone

I don’t know how much Randy Rhoads listened to this album, but goddamn the acoustic arpeggios on this song sound eerily familiar like the songs “You Can’t Kill Rock N Roll”, “Diary Of A Madman” and “Revelation Mother Earth”.

Dirty Women

This is classic Sabbath. So many good riffs and Iommi’s solo is excellent.

The riff at 2.30. Check it out.

Straight after that it goes into this “2112” style riff and progression.

Overall, the album is really under appreciated. Most of the 70s music had variety on the albums because artists weren’t afraid to experiment. This one is no different.

A few stray observations if I may.

Ozzy mentioned in his book that he doesn’t like the album but this is the sound that made his solo career. Plus having Randy Rhoads, Bob Daisley and Lee Kerslake helped with the songs and Sharon Osbourne ran the party with an iron fist.

Bill Ward can carry a tune vocally which was a surprise. It was almost Queen like.

The synth work complements the songs. So I don’t know why so many reviews focused on the synths.

And what’s the go with two robots making out on the cover.

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The Record Vault: Disturbed – Believe

Album number 2, released in September 2002. David Draiman is on vocals, Dan Donegan is on guitar and keyboards, Steve “Fuzz” Kmak is on bass and Mike Wengren is on drums. It’s also the last album to feature original “Fuzz” before he was booted from the band in 2003.

It’s also produced by Johnny K and the band members. And the mix from Andy Wallace is excellent.

The lyrical focus is different this time around. While “The Sickness” dealt with violence, “Believe” is more of a spiritual album.

Prayer

As soon as the opening staccato riff for “Prayer” starts off, in syncopation with the kick drum, I was hooked.

One thing that was clear to me when I played it, was the anthemic melodic rock Chorus in which Draiman soars, and this vocal style would appear across all of the songs on the album.

Liberate

It could have come from the first album as the verses follow the staccato singing with the catchcry of “liberate your mind, motherfucker you’re so narrow minded, narrow minded”.

The Pre-Chorus has Draiman doing fast spoken vocals on one track and on another he’s doing middle eastern ohhhs and ahhhs.

But the Chorus. Anthemic.

Wengren on the drums deserves special mention here. Its percussive and frantic.

Awaken

It’s a heavy rock song with a foot stomping groove and as Wikipedia tells me, it deals with America’s never-ending obsession with “wallpaper music”. I didn’t get that impression from the lyrics but…

The vocal style from “The Sickness” is prevalent here as he spits out the words like a machine gun.

Check out the outro riffing and how the bass drum is in unison with it.

Believe

Another staccato style riff in the vein of “Prayer”.

The Chorus. Brilliant.

All your belief cannot absolve your sin

Check out Donegan’s multi-layered guitar parts after the second Chorus.

At 2.36 it goes into a Tool/Deftones style groove. Instead of head banging, you sway.

Remember

One of the best Disturbed songs. The opening riff grooves and man its heavy.

And vocally, David Draiman really announces himself here as a force to be reckoned with.

The Chorus you don’t get to hear until half way through as the song goes, Verse, Pre, Verse, Pre and then the Chorus. But when it comes in, it explodes out of the speakers and totally worth the wait.

Wikipedia tells me that “Remember” delves into the cutthroat nature of the music industry as well as Draiman’s resistance to indulgent partying. But I don’t get that view by looking at the lyrics.

Check out the multi-layered guitar parts in the last Chorus.

Intoxication

It’s more of the same style from the debut album, with the vocal line and guitar line and bass drum pattern all syncopated in unison.

The Chorus is massive and it rhymes vilify with sanctify and I like it.

Rise

The intro riff is metal at its best.

There is another riff in the song which I always called the Chorus riff, but I think it’s played just after the Chorus.

Mistress

The riffs are cool to jam on.

At 2.09, a change of groove comes in, with slightly distorted arpeggios. It percolates before it crashes back in to the main riff.

Breathe

The intro/verse riff is a great riff to jam to. And checkout the bass riff which compliments it.

At 2.56, this Tool “Schism” like groove kicks in and I’m jamming it.

Bound

A flanged/phased wah riff kicks off the song, before the effects are taken off and its good old distortion cranking through.

You can call this a relationship song.

At 2.33, the song goes into a few grooves which they use for an interlude. No solos are allowed on Johnny K produced albums.

Devour

Great riffs in this song, especially the riff just before the anthemic Chorus.

At 2.35, a simple riff kicks in which they build back up into the Chorus.

Darkness

And for the fans who said Disturbed sold out with their cover of “The Sound Of Silence” must have forgotten about this song, which is just acoustic guitar, piano and strings. And one of their best.

In Australia and Canada, it went Platinum. In the U.S it went 2x Platinum. In New Zealand and the U.K it went Gold.

Crank it and believe.

I guess the word “motherfucker” was too much for the censors, so they felt the need to sticker it.
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1976 Part 2.6: Ted Nugent – Free For All

It’s album number two for the “Motor City Madman” released in October 1976. Wikipedia mentions that it’s his first album to go Platinum, but it doesn’t mention that the year was 1992, 16 years after its release.

A “free for all” is a chaotic situation, lacking rules or structure. Like an uncontrolled fight that involves many people or a concert circle pit, or a press conference that deteriorates into a smash and bash or a barrage of questions without any control as to who is asking.

But this album is cohesive and structured, nothing like a free for all.

It’s well known that Ted Nugent liked his solo career to be all about him. But he did need others to make that happen, like Derek St. Holmes, who was hired as a vocalist and rhythm guitarist for the debut album. But as the lead singer, you could say that some attention was directed towards him.

Fast forward a year later, St. Holmes left the band, due to growing personal and creative conflicts with Nugent however he did play and sing on a few tracks before his departure. Left without a vocalist, Nugent turned to himself and to an unknown singer called Meatloaf, who was a year away from his “Bat Out Of Hell” international success.

And like all things in business, money talks and St. Holmes was back in the band at the request of Epic Records for the tour and “Cat Scratch Fever”.

The musical side of the recording has Ted Nugent on guitars plus vocals on the title track, along with Rob Grange on bass and Cliff Davies on drums. Derek St Holmes played rhythm guitar on the tracks he provided vocals on and Meatloaf did the rest.

Tom Werman is also producing.

St. Holmes hated the Werman production as he believed it was too watered down, but Werman knew exactly what was needed to get as many songs onto the radio.

The view from Werman was simple. If the songs were played on radio, it meant that the band would have a chance to tour. By touring and having songs on radio, the album would then sell.

This type of thinking would come to fruition for Werman by the late 70’s and most of the 80’s. His streak of Gold and Platinum albums is an envious one, and most of the artists who succeeded with Werman or had their biggest selling album with Werman, would go on to blast Werman many years after.

“Free-for-All”

I was reading that the intro riff is based upon the track “Sufficiently Breathless” from Captain Beyond, but when I first heard it, it reminded me of “Stormbringer” from Deep Purple and “Stranglehold”.

Vocals are provided by Nugent.

Lyrical, the Nuge is in top form with lyrics like “the stakes are high and so am I” and “When in doubt I whip it out”.

It’s a free-for-all alright.

“Dog Eat Dog”

It feels like Accept took this song and used it as the basis for the “Balls To The Wall” album and song.

Vocals are provided by Derek St. Holmes. The pentatonic leads from Nugent are excellent and towards the end, he does an open string lick, which reminds me of the things that Angus Young would do on “Dirty Deeds Done Dirt Cheap”.

Lyrically, it’s pretty descriptive. We are told of a riot, “Sabotage on a downtown street / Police cars overturned” and a suicide, “Kamikaze from the hundredth floor / Swan dive to the street”. “Wild Side” from Motley Crue comes to mind here.

“Writing on the Wall”

7 minutes long.

My kind of cut, that just jams along and takes you on a journey. The main riff reminds me of “Stranglehold” and “Free For All” but it’s the vocal delivery and melodies from Meatloaf which makes this song sound epic.

The Chorus section sounded like “Gates Of Babylon” exotic before “Gates” was even recorded.

I like the lead break section in this. The bass grooves on the main riff, the drums lay down the foundation and Madman Nugent decorates it with pentatonic lines, bends, slides and a ringing chord.

At some stages it moves into the melodic minor domain before moving back into the bluesy pentatonic lines.

“Blazing’ down the highway / I’d rather have it my way”

I don’t think the kids these days have the same view of the highway as we had back then. It was a rite of passage to get your licence, get a car and drive. It opened up new places.

What’s a rite of passage these days?

Get the latest tech, have the most followers, play the crypto game or the stock market.

“Turn It Up”

It feels like a Led Zeppelin cut in the “Rock N Roll” vein. But at 1.22, it changes into these sleazy groove for a Nugent solo before it picks back up into the 12 bar blues.

Vocals are provided by St. Holmes.

And in the last 30 seconds, Nugent becomes Jimmy Page with fast Pentatonic lines.

“Street Rats”

It kicks off Side 2.

The intro riff would sound familiar to Van Halen fans, as I’m pretty sure a young EVH was listening to this. Hell, the Sunset Strip sound is this riff.

Vocals are provided by Meatloaf.

“Post war anti-social” is a lyric that resonates for some reason. Maybe it’s due to the in-depth study I did on the Vietnam War back in High School and how the soldiers returned as villains and not to any Victory Parade, with PTSD and drug issues and problems with the government.

“Together”

The song is written by Rob Grange and Cliff Davies. Vocals are provided by Meatloaf. It’s like a power rock ballad, and one of the best tracks on the album.

Grange and Davies create a great foundation, for Nugent to solo over and Meatloaf to create a great vocal on.

“Light My Way”

It’s written by Derek St. Holmes and Rob Grange and vocals are provided by St. Holmes. Its more in the vein of the blues rock tracks that St. Holmes is involved in.

“Hammerdown”

It’s a heavy metal cut that would rival most NWOBHM bands and make sure you check out the vocals by Meatloaf.

I’m not sure if Steve Harris was listening, but the riff in the Verses and Chorus is very similar to “Running Free”.

Even the vocal melodies from Meatloaf could be said inspired some of the NWOBHM vocalists.

White line
Double time
Come around with a hammerdown

Was the Nuge a user/taker or just using artistic licence. It’s pretty clear what he’s writing about here.

“I Love You So I Told You a Lie”

Written by Cliff Davies, and what a great title.

Vocals are provided by Meatloaf for a 12 bar blues in the verses.

A family life and a loving’ wife
Just ain’t my kinda scene

But when you’re all alone, you would long for this scene as a we are creatures of the tribe.

Underrated stars on the album are Rob Grange on bass and Cliff Davies on drums. While Grange was Entwistle like, Davies was very technical.

Ted Nugent is also more of a melodic player than a technical shredder and I like it.

And although he has views on things are different to mine, those views rarely distract me from good music.

Crank it.

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Dee Snider – Leave A Scar

I grew up on the 80’s Twisted Sister albums. I have em all, from “Ruff Cutts” to “Love Is For Suckers”. Albums like “Stay Hungry” I have four times. On cassette, vinyl and on CD I have the original issue and “Still Hungry” anniversary edition with extra tracks and demos.

I eagerly waited for Desperado, only to read it got shelved. Then I heard about Widowmaker and waited for those albums, which finally got a release in Australia, almost half a year after it was released in the U.S. And I never stopped following Snider’s career.

“Never Let The Bastards Wear You Down” had Dee digging into the vaults to grab songs written for Twisted Sister and Desperado albums. “We Are The Ones” showcased an alternative rock vibe with massive anthemic Choruses. And while I like it when artists branch out, I didn’t like the Showtunes covers album.

Dee Snider has a voice for heavy metal.

If you don’t believe me, check out tracks like “The Fire Still Burns”, “Burn In Hell”, “Under The Blade”, “Stay Hungry” and “Come Out And Play”.

And his metal vocal style was forgotten behind the big clips of “We’re Not Gonna Take It” and “I Wanna Rock”.

A simple dare from Jamey Jasta, brought forth “For The Love Of Metal” and it caught a lot of people by surprise. “Leave A Scar” carries forth the metal torch that Dee Snider has recently lit. I’ve got the Dee-Lux Wooden Box Edition (limited to 500) on pre-order via Napalm Records which comes with a 7 inch single of a non-album track.

The band line-up is Dee Snider on vocals, Charlie Bellmore on guitar, Nick Bellmore on drums, Russell Pzütto on bass and Nick Petrino on Guitar.

“I Gotta Rock (Again)”

The intro riff from Bellmore is excellent and the drum groove smashes you awake.

A fitting title for a return to live music after a pandemic.

I can’t stop
Be a lifer til I’m done
Gonna ride it til I’m gone
For as long as I’m breathing!

Even a strain of COVID-19 couldn’t stop Dee from rocking out again.

And the lead work from Bellmore and Petrino is Judas Priest “Tipton and Downing” like.

How good is the foot stomping riff after the lead breaks?

“All Or Nothing More”

It could have come from a Megadeth or Metallica album as the riffs are super head banging material.

What is your life?
Choose a path, decide what you will do
Anger and strife
Won’t get you where you need

A new call to arms for a new generation needing some guidance. Choose a path and enjoy the journey and remember it’s okay to take some twist and turns along the way.

The Chorus is anthemic.

All or nothing
All or nothing more
Make a choice
Use your voice
It’s your soul you’re fighting for

Its written in a period of political upheaval and if people didn’t use their voice for change, then the same corrupt leaders would remain.

There is this bass riff after the Chorus that reminds me of “Holier Than Thou” and I like it.

And the wah-wah is out for the lead break.

“Down But Never Out”

Its furious, more Killswitch Engage like. Another empowerment anthem for the S.M.F’s.

Musically, its excellent.

And we could be down, it happens from time to time especially now, trying to survive a pandemic and lockdowns, but we are never out.

As the Chorus states, we’ll battle on and fight to turn things around.

“Before I Go”

My second favourite track.

The guitar work from Bellmore is excellent especially in the riff department.

Like the verses.

From the cradle to the grave
You’ll be judged by those that you saved

Truth.

And how the hell do you fit the words “gossamer wings” into an anthemic chorus?

They did.

The simple dynamic of quietening down after the solo is excellent.

“Open Season”

The opening riff gets the head banging immediately.

Hey motherfucker, are you kidding me?
You better get ready

The intention of the song is clear.

Now it’s open season
I aim and never miss

If there was any confusion about the message in the song, I think this sums it up.

The riff after the second chorus. Fist pumping devil horns epic-ness.

“Silent Battles”

My favourite track on the album.

The guitar riff to kick off the song reminds me of all the good things I like about the 80’s. I’m hearing George Lynch, EVH, a bit of Vito Bratta and Nuno Bettencourt.

Did I mention that Snider can rock pretty hard?

Fighting silent battles
The war some must go through
Now let us be guided
Guided by the truth

The Chorus is one of the best I have heard for a long time.

Rising bravely to face this new day with hope
Some kneel down with solemn pause

And the harmony solo. How good is it?

The only thing I can do once the song finishes is press repeat.

“Crying For Your Life”

It reminds me of “Reason To Kill” from Widowmaker. The clean tone intro hides the anger of the song.

You left your mark every step of the way
You were so sure you wouldn’t have to pay
Now look in the mirror, what do you see?
Look in the mirror, no ride’s for free

Actions will have consequences.

Check out the riffs/music from 2.36.

It’s like a funeral march, very Paradise Lost like, aka “Draconian Times” album.

“In For The Kill”

A bone crunching riff along with the bass drum acting like a metronome starts the song off.

But it’s the harmony solo in the intro that gets me ready to break my desk.

I’m tired of waiting, sick of holding back
Been ready for this day
It’s not a reckoning and it’s not an attack
I’ve got to have my say

If there’s any confusion to the songs intention, well the first four lines lay it all out.

Make sure you check out the excellent lead breaks.

“Time To Choose”

A thrash metal cut, with “Corpsegrinder” from Cannibal Corpse on backing vocals. Typing it feels strange. Death metal backing vocals.

How can death metal vocals be backing vocals?

It is.

Your dreadful choices you just can’t defend

Check out the technical guitar playing in the outro.

“S.H.E”

A great melodic Chorus for a super heavy groove metal cut.

And it’s the most hardest rocking and metallish love song I have ever heard.

“The Reckoning”

A speed metal cut with a riff that reminds me of “Don’t Tread Of Me” and “Of Wolf And Man” in the intro. In the verses it reminds me of early Megadeth.

Your reckoning
Is here
There’s nothing that you can do
You’re living
In fear
You’ll never know what hit you

And the drumming is relentless.

“Stand”

I like the ominous and slightly distorted intro which also serves as the Chorus riff.

Stand up
Don’t leave your mark, leave a scar

“I carved my name in a tree. 55 years later, I went back to my school, and I saw the tree, and my name is still there. That’s a scar. That’s the difference. And that resonated in my head. When I was writing the song, ‘Stand,’ that line that’s where it comes from. Don’t leave your mark. Leave a scar.”
Dee Snider in HollywoodLife.com

There aren’t a lot of artists in their mid-60’s producing quality music like this. Dee Snider is doing it and he’s making it look very easy. The Bellmore brothers are underrated talents as songwriters and instrumetalists, on the guitar and drums.

And hopefully my box set with the 7-inch single will arrive someday from Germany.

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The Week In Destroyer Of Harmony History – August 9 to August 15

4 Years Ago (2017)

Thinking short term hurts us. Every leader thinks about the now and never about what’s around the bend. The majority of people in charge of corporations only care about the now.

What is our bottom line looking like?

There is no care about their environmental footprint or employee well-being.

Record labels are the same. They focus so much on first week sales and charts as they believe it brings in an instant payday, without understanding that the payday they are really earning is from music created 30 plus years ago and it just percolated, slowly rising to the top.

Have you heard of the record labels starting to employ artists as employees and offer them retirement plans?

Of course not. That’s long term thinking.

And while everyone kept complaining that Spotify doesn’t pay, they couldn’t explain how Warner accumulated $360 million dollars in streaming fees from em.

All of those artists who sold their rights to the labels and publishers are losing out in the long run but maybe winning in the short term.

I was writing about the 80s and listening to music those bands released in the early 90s.

And I didn’t see much dumbing down of lyrics in the way the writers of the time claimed. And that’s why grunge took over. Instead I saw better lyrics, more mature lyrics, lyrics that showcased highs and lows.

8 Years Ago (2013)

Music and movies just didn’t seem to last anymore.

So why would artists and film makers spend so much time on making one project every two to three years.

George Lucas once said that the $200 million movie is dead. But in 2013, a lot of blockbusters cost over $200 million and man didn’t they flop big time.

Movies like “R.I.P.D “ (a derivative version of Ghostbusters and Men In Black) and “The Lone Ranger” (a derivative version of The Lone Ranger TV show, National Treasure and Pirates of The Caribbean) came to mind.

For some reason, Hollywood still believes that they need a $200 million movie, meanwhile, the movies that did well in 2013 had lower budgets.

“The Conjuring” cost $20 million and when I wrote the article in 2013 it had made made $140 million and when I checked it today, it was at $319.5 million.

“The Heat” cost $43 million to make and in 2013 it had made $190 million and in 2021 it was at $229.9 million.

“Now You See Me” cost $75 million to make and in 2013 it had made $233 million and in 2021, the figures was at $351.7 million.

So is a $200 million budget movie really worth it or should those big budgets be used to make 5 lower budget movies.

So is social media a way to broadcast to people or connect with people?

And while I was critical of Dream Theater having a listening party with no fans, a few weeks later, they invited a select group of fans to experience the new album.

I was reading a lot about “The Pirate Bay” as it turned 10 years in 2013.

From its inception”TPB” is like a number one act, albeit a controversial act, always on top of the charts.

And it all happened via word of mouth in the same way we used to talk about artists and movies back in the day.

Or you can do like Lady Gaga, who would manipulate the mainstream media to write about her and get her loyal “monsters” to spread the word.

Are deluxe editions just overpriced boxes, offering the same thing over and over again for a higher price or offering something of value to a super fan that no one can get anywhere else?

The “Dream Theater” self-titled deluxe edition box set had the same album on a CD, a VINYL LP version and a FLAC version in a box and they charged over a $100 just to format shift the same music.

Meanwhile for half the price (at $55) Coheed and Cambria’s “The Afterman Limited Edition Deluxe Box Set Amory Award Edition” gives you the albums, the demos, a DVD making of, a VIP pass, a book of the story, and notes about the songs, plus a link to download the album and demos on mp3.

Back in the Eighties, the goal was to work in the music business for a record label while you dreamed of being a rock star. Fast forward thirty years and the goal is to work in technology as the new rock stars are the tech heads.

Artists don’t need a middle man to distribute their music, but artists are in love with the story of fame and wealth however they don’t understand that the aim of the game is to outlast the competition.

The “rock star myth” was a deliberate creation of the major labels. Wannabe musicians bought it hook, line and sinker, signing everything away to be the next star. And the Labels licked their lips at all the talent waiting to be exploited.

“Stand Or Walk Away” is an underrated cut from “HellYeah”.

It’s got a “Kashmir” like groove I like. The head nods, the foot starts to tap and the fingers start to lay down the beat. There is a sense of classic rock familiarity that intrigues me and it is modern at the same time.

One last thing, when the future generations write the history of metal guitarists, talented players like Greg Tribbet will be forgotten. But he shouldn’t be.

Tribbet is a sum of his influences.

He can be progressive (Mudvayne’s 2nd album is the piece d resistance in progressive riffage), he can be heavy, he can be a guitar hero and he can be soulful, bluesy and even countrish. He is a great talent.

And since we are in the single music era, go and stream the crap out of this song. It will be worth your time.

And that’s another wrap for another week.

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Australian Method Series: Teramaze – I Wonder

From Australia. Advertised as Progressive Metal but it’s more like hard alternative rock with some progressive grooves on this album. And I like it.

“I Wonder” came out in October 2020 and I was surprised to learn that it’s their seventh album but my first time listening to them.

For this album Teramaze is Dean Wells on Guitars and Vocals, Andrew Cameron on Bass, Nick Ross on Drums and Chris Zoupa on Guitar.

The term Progressive Rock has a bad concoction these days, associated with a million notes over complex chord changes or in Tool’s case, long laboured grooves that move in and out of time signatures or polyrhythms. But there are a lot of bands that can take it all and make it sound easy, not complex and not too long.

Teramaze is one such band.

“Ocean Floor”

Kids noises are heard over an ominous synth riff and then the band crashes in with the lyrics “Children pray, from the ocean floor / Are we too late, to save their lives”.

The lyrics are based on a true story of children gone missing and their bodies been discovered at the bottom of the ocean.

It’s powerful and you need to listen to it.

Especially that “Interstellar” soundtrack influence from 3.17 to 4.06.

“Only Daylight”

The way the songs starts off with the heavy groove riff, just gets the head banging.

By the time the verses come in, it’s slower but still powerful.

The lead break is excellent, emotive.

There’s this section after the solo which has the lyrics “No one will find me, no one will see me / From up above, I’m down below / They watch as they dance around me”. The way it is sung over the music is haunting as it carries the song for the last 2 minutes.

“Lake 401”

The clean tone arpeggio riff makes me pick up the guitar to learn it.

And the way the Chorus vocal melody with the words “Its so hard to know / If she’ll be waiting forever” is delivered is excellent.

And for styles, it’s more rock than anything else.

“A Deep State of Awake”

The synths start it off before an “Enter Sandman” style groove kicks in with the drums, bass and then guitar.

There are some leads which has the keys and guitar in harmony and it reminds me of Dream Theater “Images And Words” era.

Lyrically I see it as two voices within the same person. One part is delivered aggressively and the other is delivered melodically.

“Here to Watch You”

The Chorus.

Especially when Wells sings “The Fearless will construct / Our way all the world will know now”.

“Sleeping Man”

My favorite track.

The “Sleeping Man” has a chorus hook of “I’ve awoken the sleeping man inside”. It’s catchy, its hard rock and its perfect.

The keyboard hooks under the melodies are also memorable.

Check out the guitar solo.

“Run”

Man, this song for the first 90 seconds reminds me of those piano and vocal songs that Evergrey do so well.

After that it becomes a melodic rock song with excellent guitar playing

“Idle Hands / The Devil’s Workshop”

9 minutes long.

Musically and melodically the section in which Wells sings “We spent the time, and wasted it all most every year / And there is nothing left to follow” is excellent.

At 3.30, a lead break kicks in. It’s emotive and one of the best I’ve heard recently.

The section after it with the lyrics; “You never run it together / You never stopped the war / If only you could’ve chosen me / What life would have in store” is almost Daughtry like in delivery.

At 5.12 it’s just piano, playing the chords and vocal melody.

Then the vocals come in with the acoustic guitar. It builds up again to the “You never run it together / You never stopped the war” part again.

The last 90 seconds has double kick, fast melodic guitar leads and the only thing I can do is press play again and devote another 9 minutes of my time to the song.

“This Is Not a Drill”

Musically this song reminds of bands like Haken and Tesseract.

I see the world has changed
Theres nothing left to gather now
I feel the world has fallen
Tomorrow, may never come again..

We’re waiting for the cure
Assured it’s on the horizon
Pandemic fabrication
The lies insure well never know again..

I wonder what they’re singing about. And for everyone the world did change. People died, relationships ended, how we did things changed, flying and travel ceased and a lot of careers ceased to be.

At the 5 minute mark, the section that comes in reminds me of “Home” by Dream Theater.

To find someone to love, whatever.

That’s all we want in the end.

At 8 minutes and 40 seconds it never got dull or boring.

“I Wonder”

The closer.

The way this song builds and is constructed is excellent.

Check out the Chorus with its symphonic and anthemic melody, especially when Wells is singing “We’re here tonight, you’re never gonna see me alone / we feel alive, I’m never gone make it”.

The “I watch them killing you slowly” section reminds me of Muse.

At about 5.10 some intricate playing happens but it’s all still accessible and sing along like.

And the lead break is excellent.

By the end of it, each track left something behind with me.

And from reading some of the reviews, this is the first album in a while which features lead vocals from band leader and guitarist Dean Wells. And I’m like, “why didn’t he sing on all the albums?”. His voice needs to be heard.

Check it out.

And don’t let the progressive tag turn you off some great Rock and Metal.

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The Record Vault: Disturbed – The Sickness

I was working as an Insurance Broker in Sydney during this time. And everytime I went for a walk during lunch time to the record shops, the flyers for Disturbed always grabbed my attention, but I didn’t buy.

Then they got added to the Ozzfest festival. Ozzy apparently said, he’s seen the future of heavy metal and that is “Disturbed”. Then I got a transcription of “Voices” in one of the guitar magazines I subscribed to and after playing through what I thought the song sounded like, I was very interested.

So in 2001, I made the purchase.

And I looked at the band member names. Totally unrecognisable.

From Chicago, they formed in 1994. The band currently (2021) is vocalist David Draiman, guitarist/keyboardist Dan Donegan, bassist John Moyer and drummer Mike Wengren.

Donegan and Wengren have been involved in the band since the start, with Moyer replacing former bassist Steve Kmak and Draiman replacing original lead vocalist Erich Awalt.

In 2000, the band released its debut album, “The Sickness”.

In the U.S alone (and if you like to use the RIAA sales metric as a gauge for success) it went Gold by August, 2000.

Platinum by November, 2000.

2x Platinum by October 2001.

3 x Platinum by March 2003.

4 x Platinum by September 2008.

5x Platinum by June, 2018.

It went Platinum in Australia, 2x Platinum in Canada, Gold in the U.K

“Voices”

“Are you breathing?”

“Soooooo”.

And a new trademark is born.

The metal groove of the riff became known as the “Nu-Metal” riff.

And Draiman talks about some freaky shit, and the staccato vocal delivery from Draiman was so unique it got me interested. It was just so different from the 80’s type of singers I was so used to.

“The Game”

The NIN electronics plus bass drum acting like a metronome and a catchy vocal melody hooks me in.

And those dog barks from David Draiman. WTF. But I liked it. It was different. Very different.

Also the syncopation of vocal melody, guitar riff and bass drum was insane when I first heard it.

“Stupify”

The groove on this. And the vocal style of Draiman was bizzare, it was like he had a health issue the way he was singing. But I couldn’t turn it off. I wanted to hear what he would come with up with next.

At 2.33, this Middle East style vibe kicks in, before the heaviest part of the song kicks in when Draiman is singing “Don’t deny me”.

The guitar riff takes the style of Korn and guitarist Dan Donegan has this ability to take influences from what was current like NIN, Korn, Limp Bizkit, Tool and put it all into his metal influenced blender, and out comes the magic brew of Disturbed.

“Down With The Sickness”

The drum pattern and riff to kick off this song is now iconic, along with Draiman’s bird like calls “Oo Wahahahah” and the disturbing Bridge, which has Draiman talking and screaming at an abuser.

In the live arena, there are a sea of faces jumping up and down and head banging, like an ocean swell about to hit the stage.

“Violence Fetish”

The riff is jarring.

“Bring the violence its significant”

“Fear”

It’s like soundtrack music at the start but when the riff kicks in, it’s more of the same.

“Numb”

It has this Deftones/Tool like feel in the music which I like as it offers some variation from the previous tracks.

“Want”

The verse riff is cool to jam to.

“Conflict”

It feels like a re-write of the first four songs with “en-e-me” as the catchcry.

“Shout 2000”

I really like what Disturbed did with this “Tears For Fears” song and how Dan Donegan created the heavy palm muted riff.

“Dropping Plates”

A groove metal cut, a fan favorite.

“Meaning Of Life”

It starts with electronica and the riffs from Donegan build nicely while Draiman is singing “I wanna get psycho”.

Lyrically there wasn’t anything that grabbed me, but the music, the grooves and staccato vocals definitely got me thinking differently when it came to writing riffs.

Disturbed would nail it with the next two albums, “Believe” and “Ten Thousand Fists” which I consider superior to “The Sickness” and both of them did good business in the multi-platinum figures. But those stories are for a different post.

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1976 Part 2.5: Tommy Bolin – Private Eyes

I had no idea about Tommy Bolin until Motley Crue covered the song “Teaser” and released it on their “Raw Tracks II” EP which came out in 1990 for the Japanese market and suddenly I was scrolling the used record racks for Tommy Bolin albums or albums that had him playing.

Actually, the Motley Crue version of “Teaser” was officially released on a 1989, compilation album called “Stairway To Heaven/Highway To Hell” which featured the bands who performed at the Moscow Music Peace Festival. And of course the song re-appeared on their “Decade Of Decadence” collection in 1992.

Shock horror to everyone these days who grew up with Wikipedia, I was surprised to read that he was in Deep Purple, but only for a brief moment and that he was in Deep Purple with David Coverdale who was another artist’s back catalogue I was digging deep into during the same period.

The Tommy Bolin “Teaser” album came out in 1975, and while successful he couldn’t really tour behind it due to his Deep Purple commitments, so he kept on writing and over an 8 day period, “Private Eyes” was recorded and released in 1976. This would be his last studio album before he died of a drug overdose on December 4, 1976 at 25 years of age.

It’s worth pointing out that from 1969 to 1976, Bolin was involved in 10 studio albums, with the bands Zephyr, James Gang (he replaced the guitarist who replaced Joe Walsh), Billy Cobham, Alphonse Mouzon, Moxy, Deep Purple (he replaced Ritchie Blackmore) and as a solo artist.

To put into context, Metallica have released 10 studio albums in 38 years. Avenged Sevenfold have released 7 albums in 20 years. The different work ethics of the artists and the labels across different decades is evident.

As a 15 year old, he hitchhiked from his hometown to Denver and met up with a singer called Jeff Cook to form American Standard. Cook would also act as a co-writer for Bolin’s solo output. He then joined Zephyr and after a few albums, he grabbed drummer Bobby Berge to form “Energy” with Jeff Cook on vocals.

But the fusion of styles in the music of “Energy” didn’t resonate with people and the labels. But Bolin did enough to get the attention of Billy Cobham who asked him to play on his record. And then the high profile gigs and studio work started. And by the time he was in Deep Purple he was heavily into drugs and alcohol.

“Bustin’ Out For Rosey”

Its funk rock groove is great to jam to.

The outro jam with the fuzzed out guitar licks and brass section is great listening.

“Sweet Burgundy”

I don’t know who influenced who, but “Wonderful Tonight” from Eric Clapton sounds very similar to this in the intro.

The slide guitar is sublime.

And in the outro, they just jam out the main melody, something that Bruce Springsteen would do to great effect with “Born In The U.S.A” when they keep playing the vocal melody in the outro.

“Post Toastee”

A nine minute song.

So many songs came out between the years of 1968 and 1978 that had similar riffs to either “Cocaine” or “Sunshine Of Your Love”. This is another for the first two minutes and 20 seconds.

Then a bass groove comes in and it’s all funky and soulful. As the bass and drums jam, Bolin starts his lead break. Listen to his phrasing, how he lets certain notes ring and others he deadens.

It’s this fusion of so many different styles which makes Bolin unique.

At the 4.30 mark, the “Cocaine” riff is back in.

Then Bolin shreds away again for the rest of the song.

“Shake The Devil”

It’s a blues jazz fusion cut, like how Joe Walsh played in James Gang.

But at 2.34, the embryo of bands like Iron Maiden is there. Check out the change of pace, the riff and the lead breaks.

“Gypsy Soul”

It’s like a campfire “Love Boat” acoustic cut.

And what I like about this is that Bolin stays within the acoustic guitar and delivers a stellar flamenco lead outro break.

“Someday We’ll Bring Our Love Home”

Carmine Appice filled on drums on this one, as Bobby Berge was unavailable that day. It could have appeared on a Steely Dan album. Its bluesy and full of soul.

“Hello Again”

The strummed chords outline a similar progression like “Free Bird” as the song percolates in that acoustic domain with violins and violas.

“You Told Me That You Loved Me”

A bluesy jazz fusion cut full of sleaze and soul with an ascending walking bass riff.

I like the change at the 3 minute mark, and then the brass instruments come in and the leads starts and its solos to the end.

If you like a lot of guitar playing, this album has it. Crank it.

P.S. Reggie McBride on bass and Bobby Berge on drums are excellent and unsung heroes on this album.

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The Record Vault: Dio – Holy Diver Live

The rebuild of the Dio brand in the 2000’s involved a revolving cast of musicians.

Tracy G served as the guitarist from 1993 to 1999. He brought in different elements to the band and assisted it keeping the band going throughout the 90’s.

Craig Goldy came back in between 1999 and 2002 to help with a new album “Magica” and keep the live show going.

Doug Aldrich came in between 2002 and 2003 for the album “Killing The Dragon” and to keep the live show going. Warren DeMartini did a small stint in 2003 for the live show, with Craig Goldy to return for a new album called “Master Of The Moon” in 2004.

Doug Aldrich returned again as a touring musician for 2005.

Interest in Dio was high, as “Master Of The Moon” was highly praised and recommended. The 1983 “Holy Diver” was also reissued by Rock Candy during this time.

The band for the tour was Ronnie James Dio on vocals, Doug Aldrich on guitar, Scott Warren on keyboards, Rudy Sarzo on bass and Simon Wright on drums. The show was filmed at London’s Astoria Theatre on October 22, 2005 and released in 2006. The DVD booklet describes the concert as “one of the best hard rock gigs of all time”.

The stage show is not as extravagant as the 1983/84 stage shows. Wright is only 70cm off the ground, instead of the 3 metre drum riser that Vinny Appice had to contend with.

“Tarot Woman”

From Rainbow.

When I saw it as the opener, I was surprised, but goddamn, the song is full of energy and the riffs in the song are perfect foot stomping live riffs. Blackmore wouldn’t create anything else.

Aldrich’s tone is stellar and is faithful to Blackmore as much as possible with a bit of improvisation in the lead break.

“The Sign of The Southern Cross”

From Black Sabbath.

How heavy does this sound on this recording?

A perfect addition to the set list and the crowd responds.

“One Night in the City”

From “The Last In Line” album. I used to mix up “Caught In The Middle” and “One Night In The City” and intertwine the lyrics of the songs.

Then we get the whole “Holy Diver” album.

“Stand up and Shout”

The band is on fire. Sarzo and Wright own the foundations while Aldrich comes across like he’s been in the band forever. Dio is vocally good, singing in a lower range, so he doesn’t overstretch those vocal chords knowing that as you get older, they seem to disappear.

At 3.32 long, its fast and relentless.

“Holy Diver”

The feedback leads into the riff of “Holy Diver”. The tempo feels a bit slower compared to the previous live performances I’ve watched.

Dio’s voice is gravelly and perfect. Wright is a monster on the drums and Rudy Sarzo is still making love to his bass. Aldrich here remains as close to faithful to Campbell’s licks and leads. And there is no better singer at ad-libbing on the outro’s than Dio.

“Gypsy”

It’s got a groove riff that’s like a “let’s get this party started” riff. Aldrich here is given the freedom to do his own thing in the lead break. And the song morphs into a “Drum Solo” and you all know my views on these kind of lone solos in concerts.

“Caught in the Middle”

How good is the intro riff?

And I love that melodic rock chorus?

Just press play to hear Dio ad-libbing the outro.

“Don’t Talk to Strangers”

A great song to listen to and Dio is all gravelly on this one as well, giving it a different vibe. By now, Aldrich is sweating and his rock hard abs are on show for the predominantly male audience.

“Straight Through the Heart”

The groove riff to kick it off and the verse vocal melodies are my favourites. Aldrich also shines on the lead break while Wright and Sarzo, along with Warren on the keys and peculiar dance moves, provide a great foundation

“Invisible”

Once the clean tone arpeggios are done, a distorted riff kicks in and it sounds similar to “Shout At The Devil” from Motley Crue.

It’s amazing how many albums released around the same time (1983/1984) had similar songs.

“Rainbow in the Dark”

As soon as the Am chord comes crashing in and the synth lick starts playing, the crowd is involved and loving it.

In the ending part of the song, Dio is saying to his audience, “you are all my rainbow in the dark”.

“Shame on the Night”

The bluesy Pink Panther crime noir style riff always gets my foot tapping.

And just before the Outro of the song kicks in, there is a “Guitar Solo” moment, but done as part of a jam with the band which is a lot better than just the “lone ranger” style of solo. And you can hear how exotic Aldrich is, with his melodic minor soloing.

Then the “Escape From New York” influenced outro kicks in.

And for some strange reason, they reprise “Holy Diver” again, maybe as a way to musically say to the audience that this is the end of the “Holy Diver” album play through.

“Gates of Babylon”

From Rainbow and how can you not like it. It’s got an exotic riff, pentatonic riffs and a killer Dio vocal. Warren on the keys is excellent, Sarzo and Wright bring the power, while Aldrich is excellent especially in the lead break, which goes to show how complex Blackmore can get.

“Heaven and Hell”

The best Black Sabbath song and we get 11 minutes of it.

This time around, the crowd is chanting the opening riff with Dio and they are all in when Dio’s starts singing, as he waves his devil horns salute around.

Rudy Sarzo is one hell of a bassist. Very underrated.

The middle section lead break is faithful to Iommi.

And we get four minutes of the fast outro section with Aldrich wailing away.

I guess the world is full of kings and queens who blind our eyes and steal our dreams.

“Man on the Silver Mountain”

The first song of the encore is from the Rainbow days. And Aldrich nails the song riff, using the pick and his fingers to sort of chicken pick the intro riff.

If you listen closely, you will notice how Dave Sabo was influenced to write “Youth Gone Wild” and “Monkey Business” from this riff.

And I like how they go into the “Little Wing” influenced “Catch The Rainbow”.

“Long Live Rock and Roll”

And those Rainbow days are back again for 3 minutes and 30 seconds of energy and crowd sing-alongs. And if this was the end of the concert, it would have been a worthy end.

But there was one more track to come.

“We Rock”

The closer, which became a standard closer for Dio but with the fast metal riff, it could easily be an opener.

At almost 2 hours, the show is done and Dio leaves the building.

P.S. From start to finish the set list flows like a classic metal album, a one stop overview of Dio’s career and if you’re a fan, you will see a lot of songs missing that maybe should have been in, such was Dio’s quality output.

P.S.S. Doug Aldrich is faithful to the past material and the riffs/leads of Vivian Campbell, Richie Blackmore and Tony Iommi. In Whitesnake, he also did an admirable job in being faithful to the past and assisting David Coverdale to keep the brand going.

P.S.S.S. Dio at 63 is aged and his voice is not the same but if you went to the show you wouldn’t be disappointed. He still delivers a worthy performance befitting a man of his age.

P.S.S.S.S. I can’t believe how many great songs Dio wrote/co-wrote across three different bands and over three decades.

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1976 – Part 2.3: Thin Lizzy – Johnny The Fox

All of my Thin Lizzy listening experiences happened well into the 90’s, when the second hand vinyl market was cheap and rocking, with most of it priced less than $5.

And I was snapping it up.

“Johnny the Fox” came out in 1976 and the last Thin Lizzy album to have guitarist Brian Robertson featured as a full member of the band. Clashes over songs and personalities led to Robertson being sacked, reinstated, and later sacked again.

It was an album of convenience as “Jailbreak” came out at the start of the year and due to Phil Lynott’s illness with hepatitis, they couldn’t really tour behind it, so “Johnny The Fox” was created.

Thin Lizzy was Phil Lynott on bass guitar and vocals, Scott Gorham on lead and rhythm guitar, Brian Robertson on lead and rhythm guitar and Brian Downey on drums.

Johnny

The intro is just so simple and groovy, how can you not like it. I swear it gave birth to the New Wave bands that came out in the 80’s.

And the iconic phrasing and voice of Phil Lynott is unique, it makes you pay attention to the story he’s trying to tell.

The lead breaks are excellent.

And the drumming is so underrated. Its powerful and make sure you check out the fills.

Rocky

“He’s got all the tricks to pull the chicks”, is Lynott at his best.

The harmony solos are nice and delicate before the angry and sleazy pentatonic licks start to wail away.

Borderline

It’s like a bluesy country rock song. Check out the bass lines on this.

Don’t Believe A Word

I was hooked from the opening riff which Robertson re-interpreted after Lynott presented the song in a slow 12 bar blues format.

The faster upbeat, was based on a Downey shuffle. If you want to hear Lynott’s original bluesy version, it’s on Gary Moore’s “Back On The Streets”, released in 1978.

The actual lead break with the wah wah sounds like it’s getting strangled out of the guitar.

Robertson wasn’t happy when the song was only credited to Lynott.

Fool’s Gold

The major key vibe is something that Thin Lizzy used a lot and man, they made it rock hard.

Johnny The Fox Meets Jimmy The Weed

Seriously what a great title for a funk blues rock tune. Phil Lynott was a fan of “The O’Jays” and their song “For the Love of Money.

Old Flame

It’s like a love rock song with a lot of harmony guitars.

Massacre

The best track on the album.

This could appear on an Iron Maiden album and not be out of place. It’s basically a metal cut.

The whole band is on fire. The drums are fast, jazz like, while the guitars and bass syncopate, to play some fast palm muted pentatonic grooves.

Sweet Marie

After the madness of “Massacre”, “Sweet Marie” is like “Love Boat” music, as you’re lying on a beach drinking Pina Colada’s. Vocally, John Sykes borrowed heaps from this song. In some sections, I believed I was listening to Sykes.

Boogie Woogie Dance

It’s got a musical feel similar to “Massacre” but with a stupid title. Then again, it goes with “Johnny The Fox Meets Jimmy The Weed”.

But it wasn’t strong enough to be on the album.

It didn’t get any certifications in the North American markets. But what it did do was put the band on the road. And as long as they could stay healthy, they would make coin.

But they didn’t.

Robertson was fired during the tour, replaced by Gary Moore and back in the studio they went.

Finally, drummer Brian Downey is the unsung hero on this album, delivering so many different rhythms and feels.

P.S. For their second album in the year it’s still solid and some stellar cuts like “Massacre” and “Johnny”.

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