“Rock N Roll Daydream” is album number 2. It came out in 2020 on 30th March. By that time Australia had started its COVID-19 lockdown. Their tour from February to April was halted.
Riff Raiders are powerhouse vocalist Jenni Powell, Marty Powell on guitar and production, Ross Hetherington on drums, Josh King on guitars and Ron E. Smith on bass.
Loaded Gun
As soon as the riff kicks in I was hooked. If you like the ZZ Top blues rock and you like how Jake E Lee composed the riffs on Badlands debut, you will like this song.
Stop Looking At Me
A great modern rock tune, more like Stone Temple Pilots (think “Vaseline”), Shinedown and Nu-Metal with an Aerosmith swagger. Yes, it’s possible as Riff Raiders made it possible.
Samantha Jones
It tells the true story of a fan who left a vinyl copy of their first album on a train, and the efforts Sammy J went to to get it back to him. Musically it’s hard rock.
Best Day Ever
It’s a Foo Fighters like tune and I like it.
Light
A cool rock ballad.
When I’m Dreaming
This song reminds of the power and energy of Jet merged with Queens Of The Stone Age. It’s a perfect blend.
Stepping On A Cloud
If you enjoyed that Oasis hard rock period in the 90s then you will like this one. A perfect psychedelic groove for a song about sky diving.
Standing On My Own
It’s got that AC/DC vibe and a familiar vocal melody. A perfect song for the live arena.
Sunset To Sunrise
It’s got that Led Zep III acoustic vibe. Or Whitesnake on their last few studio albums.
Shade
What a slow sleazy groove to kick it off, merging songs like “Still Got The Blues” and “She’s So Heavy“.
Check out the guitar lead. It’s got Gary Moore and Richie Blackmore influences.
A perfect closer for a worthy album that showcases there is a lot more to Australian rock than AC/DC like acts.
And you hear a lot of classic rock influences like Thin Lizzy, Cheap Trick, The Beatles and Led Zep, and modern rock influences like Oasis, Foo Fighters, Shinedown and Stone Temple Pilots.
The early 2000s were a great time to be making rock and roll, in the same way the ‘70s were a great time for rock bands. Labels just couldn’t stop signing rock bands. Rock festivals were gargantuan. It was a great time to be a singer in the rock band. And there were a lot of rock bands. Rock was at a pinnacle. Country music was nowhere to be seen and nowhere to be found. Chad Kroeger – Billboard interview
“Silver Side Up” hit the streets on September 11, 2001. Yep, that September 11.
But nothing was going to stop this album from going 2x platinum in Australia, 3x platinum in the U.K, 6x platinum in the U.S and 8x Platinum in Canada. It was a monster album for the Roadrunner label.
And they had momentum.
Paying their dues since the mid 90’s, “The State” made inroads and their songs “Leader Of Men” and “Breathe” were doing the rounds on radio. In the guitar mags, those songs also got transcriptions, and those transcriptions got me interested in the band.
Rick Parasher is producing. He worked with Zakk on the Pride And Glory album in 1994, as well as “Ten” for Pearl Jam and “Sap” for Alice In Chains.
Never Again
The rumbling bass and drum groove kick off the song. It percolates until the octave guitar riff kicks in. It’s a riff that’s as good as any of the riffs that became Guitar Store staples.
Its metal, in the 2000 way.
Lyrically, it covers domestic violence. With all the knowledge available to people, it’s an issue that doesn’t seem to go away.
Its heavy metal and a perfect fit for a song about feeling like crap when you wake up in the morning, because life has gotten the better of you.
Too Bad
It deals with abandonment from a child’s perspective. The Kroeger brothers had their father leave when they were young and like all relationships, the father came back into their lives after “Silver Side Up”.
Just For
This song would not be out of place on a Fuel album.
Nickelback had a knack for merging metal with hard rock with grunge with nu-metal with alternative. This song is living proof.
Hollywood
The riff is heavy, reminding me of the “Sad But True” groove. Vocally, its more alternative, grunge like.
Money Bought
It could have appeared on a Nirvana album. These crossover tracks got purists upset.
Where Do I Hide
It sounds like Shinedown took this sound for their debut. Check out the verses call and response vibe.
Hangnail
It’s got a real heavy blues groove. And this part of their style gets missed or forgotten.
And it’s got a chorus which sounds really similar to “How You Remind Me”.
Good Times Gone
Country blues rock before it became massive again in the mid 2000’s and way before Jovi took the “Lost Highway”. Goddamn, it could have come from the vintage fingertips of Tom Keifer and his 1990 “Heartbreak Station”.
In the end, Nickelback had an algorithm. “Physical Graffiti” + “Eliminator” + “Nevermind” + “Superunknown” + “Ten” + “The Joshua Tree” + “Metallica Black” = good popular songs and potential success.
And this album captures the algorithm nicely but “All The Right Reasons” in 2010 would perfect it.
I felt like I was the only W.A.S.P fan around during this period. Most of my metal head friends had jumped off the W.A.S.P train after “The Headless Children” or “The Crimson Idol”. But I kept going. Actually my cousin Mega and I kept going.
“Unholy Terror” is album number nine, released in 2001 and produced by Blackie Lawless, which from reading some of the reviews online recently, people hated, as they found the production flat. But I never did have a problem with it, as most productions circa 2001 sounded like this.
The band at this time is Blackie on vocals and guitar, Chris Holmes on lead guitar, Mike Duda on bass and Stet Howland on drums. But, the album was started in February 1999 and finished at the start of 2001. So during that two year period, the band was a bit different. Which means, you get some other players.
The late Frankie Banali plays drums on “Hate To Love Me”, “Loco-Motive Man”, “Charisma”, “Raven Heart” and “Wasted White Boys”. Basically, my favourite tracks. And Roy Z plays lead guitar on “Who Slayed Baby Jane?” and “Wasted White Boys”.
But.
Chris Holmes left the band during the recording process for this album. And even though he is credited, Holmes has said in interviews he didn’t play a note on it.
Coming into this album, I didn’t like “K.F.D” and “Helldorado”.
So, I was skeptical.
In the CD booklet, Blackie writes that “this album is similar to “Headless” in some ways with the social and political references but “Unholy Terror” brings my religious upbringing into the picture”.
“Let It Roar”
It’s got that “Love Machine” vibe merged with “The Headless Children” solo section.
Come on and stand for what you believe Oh you gotta get up on your feet Or die on your knees Let it Roar, cause I wanna be oh yeah
Before Kate Perry was telling people to roar, Blackie was doing it from way back.
“Hate To Love Me”
Blackie is channelling his Who and Jethro Tull influences.
“Loco-Motive Man”
It’s got that main theme from “The Crimson Idol” as its centrepiece. Think “Chainsaw Charlie” meets “Black Forever” from the “Still Not Black Enough” album. Its familiar, its flawless and I like it.
Oh God I’m coming Read my words I’m coming I got a gun I’m coming You won’t hear me coming
Inspired by the recent rash of school shootings in America. Then again, it’s still relevant today. Nothing has really changed in that regard. If anything, they have gotten worse and worse.
“Unholy Terror”
Crowned messiah, I crucified him And still ya don’t believe I am Kings – I am queens Unholy terrors me
It’s like a Tool song, with a repeating and percolating clean tone riff, sounding sinister as soon as Blackie’s whispered vocal line starts. As the vocal line builds in intensity, so does the guitar. And it bleeds into “Charisma” because “Unholy Terror/Charisma” is one song divided into two tracks.
“When I was writing the lyrics for “Charisma” and “Unholy Terror”, I was talking about the preconceived idea that most of us have about world figures such as entertainers, politicians or athletes that we admire.” Blackie Lawless in the CD booklet to “Unholy Terror”.
“Charisma”
I’m hooked as soon as the John Bonham drum groove and Zeppelin like guitar groove (which reminds me of “When The Levee Breaks” merged with “Kashmir”) kick in. It’s probably one of Blackie’s best songs of the 2000’s era.
I wrap myself in the American Flag And tell people I’m for which it stands I’m coming back till you know I’m God Till you believe, till you know my charisma
In the CD booklet, the first line is attributed to “Ronald Reagan” and the second line to “Richard Nixon and Al Gore”. Typical of politicians to proclaim themselves as Gods.
I’m a fear from a shadow land I seduce you all Here I come new messiah man To bow to me, make me your God
In the CD booklet, these four lines are about “The Anti-Christ”.
I got them all marching to the rhythm Believing me, oh yeah, their new religion I’m a racist with a waving flag Of domination with a fascist plan
These four lines are about “Adolf Hitler” which is bizarre, because if you didn’t have the CD booklet pointing that out and you heard this song for the first time in the last few years, you would attribute these to an ex U.S President that just got booted.
“Who Slayed Baby Jane?”
TELL ME NOW who slayed oh my Little Baby Jane Rolling down the stairs Her Little head has rolled away Put it in my hands
This is the stuff that Alice Cooper writes. And it works in Blackie’s world as well.
“Euphoria”
It’s an instrumental.
It has this “Hold On To My Heart” feel merged with “Albatross” from Peter Green/Fleetwood Mac and “Planet Caravan” from Black Sabbath.
In the CD booklet, Blackie wrote that its “one of the greatest little tunes I’ve ever done. I love it. It’s music to get high by. Enjoy!”
“Raven Heart”
From the intro riff, which reminded me of “Schools Out”, I was hooked.
“Evermore”
It’s interchangeable with “Forever Free”. It’s actually an demo that goes back to “The Headless Children” album. The CD Booklet mentions that the song was originally titled “Circle Of Legend” and it was meant to act as a reprise to “Forever Free”.
Do the shadows of my memory From a long ago time Lead a path to the other lives of me Souls of past great divides
The song is inspired by Native American Indian stories and mythology.
Who knows what kind of spirit world exists and if it does, how it all interconnects.
“Wasted White Boys”
Man, the whole W.A.S.P catalogue is in this song.
Throughout its six minutes, the song sounds like a derivative version of “Blind In Texas”, “On Your Knees”, “Dirty Balls”, “Mean Man”, “Arena Of Pleasure” and “I Am One”.
Wasted boys feeling no pain Howl at the moon in the night Just give me shooters and that demon cocaine I’m the devil alright
And the outro is like “Free Bird”, with “Wild Child Holmes” allowed to spread his wings and fly on this one. Or was it Blackie wailing away or Roy Z. I guess we will never know the true story because those wasted white boys are keeping secrets.
Now if you haven’t heard W.A.S.P previously, go and checkout, “The Headless Children” and “The Crimson Idol” first. If you are a fan and liked those albums, you will like this album as well. It’s W.A.S.P or Blackie doing what they do best. Rocking out.
“The message here in this album is think for yourself, seek out answers for yourself and not be manipulated (as I was) by some guy, selling you “prepacked” beliefs whether they are religious or political (which often times go together)”. Black Lawless in the CD Booklet to “Unholy Terror”
There are a lot of stories of how the recording industry has been transformed since Napster and most of those stories centered around the losses of income to the record labels. They blamed the technology as its never the fault of the record labels.
Then came iTunes and the purchase of mp3’s became legal, putting money into the labels balance sheets. But the labels still complained.
Then YouTube appeared, then streaming came on the scene in Pandora, Grooveshark, Deezer and Spotify and the conversation shifted to the pennies paid per listen. The labels blamed the technology for the low payments because it’s never the labels fault.
In the end if you are signed to a label, creating music which is being listened too and are not getting paid, your issue is with your employer, the record label.
If you read this blog, you will know of my appreciation for The Night Flight Orchestra.
It all started in 2012 with the excellent debut. “Internal Affairs” and it continued in 2015, with “Skyline Whispers” and in 2017, we have “Amber Galactic”, which you can read my review here.
Artist Don Brautigam passed away and I wrote about him here and here.
If you’ve seen the Metallica “Master Of Puppets” or the Motley Crue “Dr Feelgood” covers, then you’ve seen his work.
The album cover is a forgotten art form, but man, it’s an important one. Once upon a time, the look of an album cover would be the deciding vote if a person outlaid their money.
It carried the brand of the band.
It was the first thing that spoke to the music buyer. And as time has gone on, the artists who created some of the iconic covers are never mentioned.
8 Years Ago (2013)
I was listening to Vaudeville. They merge the styles from Muse, Deftones and Radiohead with Hard Rock. It sounds beautiful and original. And if you want an entry point into the band, check out the song “Restless Souls”.
Will you stand up And fight against their wrath Or will you run Until there’s nothing left
Their first album “Dismantle The Sky” came out in 2009. The next album “Vendetta” came out in 2012, and this is the album with “Restless Souls”. In March 2013, they released an EP called “House of The Rising Sun”.
And after I wrote this post they released “Masquerade Part 1” in 2014 and “Masquerade Part 2” in 2015.
Which I didn’t know about. So I have some listening to do.
Daft Punk entered the charts this week in 2013 at Number 1, moving 339,000 copies of their “Random Access Memories”.
And streaming/digital was king as 65% of Daft Punk’s sales came from digital sources. And I was thinking, why couldn’t metal and rock artists get these kind of numbers.
It first began in August 2006, when Hawthorne Heights filed a lawsuit against Victory Records, accusing the label of creative accounting practices, unpaid royalties and for damaging the band’s reputation and relationship with their fans.
In 2011, A Day To Remember also filed a suit against Victory Records for unpaid royalties.
And in 2013, Streetlight Manifesto is telling their fans to not purchase the album from any physical and online retailers and to only purchase merchandise from the band’s website because of their dispute with Victory.
After this post, in 2017, another band called “Darkest Hour” said that they never received a penny from their Victory contract.
And to slap the artists in the face even more, it sold for more than $30 million in 2019 and the artists didn’t get a cent from the sale.
TesseracT is one band that really got my attention and you can read my review of their excellent “Altered State” album here.
Dream Theater announced a “Live At Luna Park” DVD/CD release in February 2013 for a May 2013 release. May was almost at its end and no news had been forthcoming.
Well the release finally came out in November/December of that year.
And people were getting arrested and locked away for copyright offenses. Their jail terms for non violent crimes were longer than violent crimes.
And Police Departments were not doing any investigation of their own. They simple took the evidence of the movie studios and record labels as being true and correct.
This is where I draw the line This is where the old me dies Light a match, let it burn, kiss it goodbye Give it up, what I was, this is where I draw the line
I always like to write posts that highlight how certain songs are inspired by other songs. You can read my post called “The Kashmir Effect”.
And I started a new series called “Classic Album Closing Songs”, thinking it will be a monthly post. And I’ve only done one.
Which actually covered a few albums.
Like “Diary Of A Madman” (1981), “Hallowed Be Thy Name” (1982), “Who We Are” (2011), “S.M.F” (1984), “Shogun” (2008), “Aerials” (2001) and “The Count Of Tuscany” (2009)
And “What About Now” disappeared from the charts and the sales.
Bon Jovi (the band) spent over 5 months recording and writing this album, a few more months promoting it, only to have it do a run of 10 weeks before it disappeared.
From Bon Jovi I went to Megadeth and the lyrics of Dave Mustaine.
And my iPod shuffle was on fire with its selection so I wrote about “Chainsaw Charlie (Murders In The New Morgue)”, “California Morning”, “Crazy Train”, “Caught In The Middle”, “Caustic Are The Ties That Bind” and “Cardiff”.
The band is a natural evolution from the band Dungeon, who sounded more in the power and thrash metal style. Lord is like the classic metal and rock sound I grew up with, and I wouldn’t have it any other way.
We did a some shows with em back in 2010 while they were out supporting their “Set In Stone” album in our hometown of Wollongong. Otherwise known as “The Gong”.
I’ve also seen Lord live a few times opening for overseas acts and on their own run of shows.
The band is currently made up of Lord Tim on lead vocals, guitar and keyboards, Andy Dowling on bass and Mark Furtner on guitar.
“Undercovers” is a 2021 release.
This review is based on the Spotify release. To get the full version (23 songs deluxe), you need to go to Bandcamp.
To The Moon And Back
From Savage Garden.
It’s an Aussie Pop classic. Darren Hayes co-write the song and on Twitter he mentioned how there is a section of fans who like heavy metal and Savage Garden and Lord has given em, an awesome Metal version of the song.
Judas Be My Guide
From Iron Maiden.
That’s how quickly Tim can change vocal styles. From pop rock to Bruce Dickinson.
“Fear Of The Dark” album was maligned for sounding too hard rock but I disagree. To me, it sounded like Iron Maiden.
Send Me An Angel
From Real Life.
There is an 80s like synth as the main riff that makes me think of “Sweet Dreams” from Eurythmics.
I remember this from the “Rad” soundtrack.
Shattered
From Pantera.
This song was Pantera doing Judas Priest on their major label debut. Even Anslemo’s vocals mirrored Rob Halford.
Well Lord Tim is an unbelievable vocalist, so his Halford vocal style was all on show to be heard.
Hard To Love
Readers of this blog know that I have a lot of time for Harem Scarem and their underrated and excellent guitarist Pete Lesperance.
This song is from their debut and Lord don’t mess with perfection much, nailing every part of the song musically and vocally.
(I Just) Died In Your Arms Tonight
Lord Tim passes the vocal duties to bass player, Andy Dowling.
This song is from Cutting Crew.
I always liked the melodic rock overtones of this song and I still like it to this day.
Reckless
From Judas Priest and the much maligned “Turbo” album.
But.
I like the “Turbo” album. And this version is as powerful as the original with a modern mix. If you like Judas Priest you would want to hear this.
I Want Out (Live)
From Helloween.
It’s faster and energetic. They always delivered in the live arena.
Touch The Fire
From Icehouse.
It’s an Aussie classic and Lord make it a melodic rock classic.
Break The Ice
From John Farnham.
This is an excellent cover of Farnham’s melodic rock era when he was cashing in and singing songs for 80s movies. Before “You’re The Voice” took over the charts around the world.
This song is also from the “Rad” soundtrack.
On A Night Like This
From Kylie Minogue.
Check out the hilarious piss take video clip on YouTube.
Bassist Andy Dowling also has a podcast running called “Nod to the Old School”. Here is the Spotify link.
Finally if you like your 80s hard rock and heavy metal than Lord’s music is waiting for you to invest some time.
I grew up with “Gutter Ballet” and “Streets”. I owned those albums and I played em like I owned em.
Constantly.
My cousin Mega, was also a fan. He’s older than me by 4 years and had more cash, so he had “Hall Of The Mountain King”, “Edge Of Thorns”, “Handful Of Rain”, “The Wake Of Magellan” and “Dead Winter Dead”. Of course, my trusty TDK tapes didn’t fail me in copying those albums, until the time came when I had the dollars to buy em myself.
From a vocal style point of view, I didn’t mind Jon Oliva or Zachary Stevens. Both offered different styles. But I was heaps bummed when Criss Oliva died in a head on car crash with a drunk driver. His guitar playing was and still is, inspirational. His work on the “Gutter Ballet” album is up there for me.
“Poets and Madmen” was hard to get in Australia. Released in 2001, there wasn’t a lot of brick and mortar shops looking to import Savatage and zero distributors to release it locally. So studio album number 11 remained elusive. It didn’t help matters that Atlantic Records dropped them and their German label was still seen as an “IMPORT” label in Australia. But Mega was always resourceful and he got it, albeit a few years later. He called to tell me about it, but by then, I also had a copy of it, via AudioGalaxy.
The album had a last minute concept added, inspired by the career and death of South African photographer Kevin Carter, who committed suicide by carbon monoxide poisoning, a few months after winning the Pulitzer Prize for his “The Vulture and the Little Girl” photo, of a frail famine stricken child, who had collapsed on the ground with a vulture in the background, waiting. This photo also caused an uproar about the ethics of photographers.
Is the shot more important than the welfare of a child?
“Stay With Me Awhile”
The outro lead break by Al Pitrelli (who actually left the band to join Megadeth) reminds me of “Empty Rooms” from Gary Moore.
“There In The Silence”
An 80’s like synth lead kicks off the song, before a foot stomping groove kicks in.
The lead break here from Chris Caffery is guitar hero worthy
“Commissar”
The symphonic elements to kick off the song are excellent.
Then it goes into an Iron Maiden like riff while Oliva delivers a schizophrenic King Diamond like vocal.
And the lead breaks are excellent. The first part of the main solo and the outro is Al Pitrelli and the others are Caffery.
“Morphine Child”
One of my favourite riffs. Its foot stomping, head banging heavy metal. It reminds me of classic Savatage, even “Handful Of Rain” is in this song.
The main solo is Al Pitrelli and its one of those special album songs which has the multi-layered counterpoint vocals.
They sort of go something like this.
There is a bunch of voices repeating one word, another group of voices repeating a different melody, another group of voices doing something else and another group doing something different and blended in they all seem to work.
They started this kind of counterpoint vocal arrangement with “Chance” on the “Edge Of Thorns” album, when Zachary Stevens was the singer. In order to pull it off for this album, three other singers came in.
“The Rumour”
The main solo is Al Pitrelli. I had to mention it.
“Surrender”
It’s a haunting piano riff and vocal kicks it off, before the metal comes. The lead break from Caffery has some massive sweeps happening,
“Back To A Reason”
The first two minutes and twenty seconds is country rock awesomeness as a piano like Free Bird. Then it changes like Jekyll and Hyde, similar to “New York City, Don’t Mean Nothing”. And if there is a fault of the album is that all of the songs move between these kind of moods all too regularly.
The by-product of Savatage existing is Trans-Siberian Orchestra. And that project had just started to play to a lot of people, so clearly the inspiration for Savatage was not there while Oliva and O’Neill started to focus on TSO.
Apart from the great listening experience it also changed the way I played and wrote songs. After this album, I was okay with jamming on a groove instead of soloing.
This album joined albums like “Tribute”, “Powerslave”, “Somewhere In Time”, “Appetite For Destruction”, “Slave To The Grind”, “The Great Radio Controversy”, “And Justice For All”, “Metallica Black Album”, “5150”, “Hysteria”, “Wicked Sensation”, “No More Tears” and “Images And Words” as my “Bible” albums. These “Bible” albums are albums that I devoured, learning the riffs and the licks.
Tool is Maynard James Keenan on vocals, Adam Jones on guitar, Justin Chancellor on bass and Danny Carey on drums. Production is handled by David Bottrill.
The album debuted at No. 1 on the Billboard 200 chart. It went to No. 1 in Australia. In the U.S its certified as 3x Platinum and in Australia it’s also certified as Platinum. People were listening and unable to turn it off. Even on streaming services, the song “Schism” has only been on Spotify just under two years and it’s at 49.3 million streams, And it’s a 8 minute song.
The album is a product of the members being at the peak of their creativity and a four year label dispute.
At the time the band was critical of file sharing, so as part of the marketing for the album, they announced a different album title and a bogus 12 song track list, with stupid titles like “Encephatalis” and “Coeliacus”. Of course, the unregulated Wild West of file sharing sites, were flooded with bogus files bearing the titles’ names. It wasn’t until a month later that the band revealed the real album name and that the name “Systema Encéphale” and the track list had been a bunch of bullshit.
CD’s can pack 79 minutes of music and Tool gave em a few seconds back. Because at 78 minutes and 51 seconds long, it’s got every groove and landscape packed in across the 13 tracks. And to think that they kept editing the album at the mastering stage to get it under 79 minutes.
The Grudge
The whine of a machine starting up and it all comes crashing in, the toms are syncopated with the guitar riff and the bass is unique, taking the lead here to outline a different melody.
Once the vocals kick in with “Wear the grudge like a crown of negativity / Calculate what we will or will not tolerate”, they syncopate with the guitar riff. Maynard is telling ya, don’t let your grudges hold you back.
At 1.22, the song changes. It takes you into uncharted territory. The previous landscape is gone, in the rear-view mirror. And we are into the verse.
Clutch it like a cornerstone Otherwise, it all comes down Terrified of being wrong Ultimatum prison cell
You can’t imagine your life without the grudge you might have against the person who wronged you, the scarlet letterman. And what if your grudge isn’t justified and you have been wrong the whole time. You don’t want to be in that position, so you keep holding onto the grudge.
The song changes again after the bridge, with the vocal melody of “Choose to let this go”. The riff is heavy, Sabbath like heavy.
Give away the stone Let the waters kiss and transmutate These leaden grudges into gold
Let the burden go, it’s okay. Don’t let your hate and prejudices define you anymore.
The song then percolates and builds from 6.25 as the intro riff returns. Then there is silence and just the bass. And then an explosion of music from the 7 minute mark as Maynard belts out a scream that he carries for 24 seconds.
Studio trickery. Maybe.
The last 30 seconds is how you end a song. Listen to it. You will not be disappointed.
The Patient
A creeping guitar riff starts the song off. At the Sydney concert I watched, Maynard did say the song is about the vampires that you come across in your life, who try to get you down.
But I’m still right here Giving blood, keeping faith And I’m still right here
Wait it out Gonna wait it out Be patient (wait it out)
The vampires could be anything. The education system, society, the corporations, the government, a friend, a lover, a family member. Be patient. Everyone comes undone eventually.
Schism
8 power chords are played on the bass, then silence for a few seconds, before the iconic bass riff starts the song. Justin Chancellor announces himself as a bass hero.
I know the pieces fit cause I watched them tumble down No fault, none to blame, it doesn’t mean I don’t desire To point the finger, blame the other, watch the temple topple over To bring the pieces back together, rediscover communication
Once upon a time, all religions were the right one, than, they fell apart. The pieces are now corrupt, moulded shadows of the once great temple. This song says if the pieces don’t communicate with each other than we are doomed.
Parabol/Parabola
They are two tracks on the album. But they exist as one as the last note of “Parabol” flows into “Parabola”
The three minutes of “Parabol” feels like I’m in the vast plains of the Middle East, looking at the night sky.
The Pre Chorus and Chorus of “Parabola” echo Maynard’s work with A Perfect Circle.
This body holding me, reminding me that I am not alone in This body makes me feel eternal All this pain is an illusion
Live in the now people. It’s easier said than done. I know people who can’t let go of the past. It consumes them to the stage of insanity. They feel wronged. But all this pain a person feels focusing on the past is an illusion. It’s not real, it manifests in the brain. The pain that you think you are experiencing will pass.
At 2.04 it changes from being a standard hard rock song into a typical Tool song.
At 3.58 the bass takes over for a brief moment before the band kicks in, setting up the finale, the last 2 minutes.
At 4.40, a Black Sabbath fuzzed out riff kicks in. it plays while the drums play like a ceremonial fill.
Ticks And Leeches
A drum pattern kicks off the song. The bass kicks in, with a riff that is played along with the bass drum. It’s weird and off putting. Then the guitars kick in with some repeating single notes, the bass gets busier and so do the drums. By the 50 second mark, the double kick is frantic.
And then it changes for the verses.
Maynard’s melody is bordering on the periphery like a chainsaw.
Hope this is what you wanted Hope this is what you had in mind Cause this is what you’re getting I hope you’re choking I hope you choke on this
How good is that that Pre Chorus and Chorus riff, when Maynard is singing the melody of “hope this is what you wanted” and “I hope your choking”.
At 3.24 it changes into a clean tone guitar riff that keeps repeating forever. It percolates up to the 5.58 minute mark, before it explodes for the final 2 minutes.
Got nothing left to give to you
Every person with a dream or a goal has ticks and leeches waiting to suck em dry. Even good old Mother Nature will have nothing left to give us except floods, droughts and fire, for the humans are parasites here, sucking the wealth of resources dry for profit.
Then the massive ending from 7.20. The double kick drums are relentless, that Pre Chorus/Chorus riff kicks in and Maynard starts with his “is this what you wanted” melody.
Lateralus
The epic title track at 9 minutes and 22 seconds long.
The clean guitar riff is basic and it keeps repeating. Then the bass comes in and the drums, an explosion of poly rhythms and exploration.
How good is the main riff from 1.15? It’s a metal tour de force.
At 4.50, it’s just the bass, playing a triplet of notes with a brief pause.
And the intro guitar kicks in again.
And it keeps building.
Then at 7.17, the best part of the song kicks in. The drums play a simple beat, while the guitar is staccato like and the bass is doing something different, highlighting the vocal melody with a choice selection of notes.
It needs to be heard to be understood.
Reaching out to embrace the random. Reaching out to embrace whatever may come.
A song in which the “spirit” lives outside the norms but the person is still human and divine at the same time. They touch on these kind of themes with “Forty Six & 2” from the “Aenima” album.
Listen to it and read the lyrics. It’s like a complex novel coming to life.
Disposition/Reflection/Triad/Faaip De Oiad
The final tracks are part of a large suite but separate tracks on the album.
“Disposition” is like a tribal drum groove with a clean tone guitar riff. It only goes for about 3 minutes and 20 seconds.
It carries into “Reflection” which is the centrepiece at 11 minutes. It has a drum groove that evokes the Middle East, another iconic bass line, synths and an exotic guitar and vocal line.
So crucify the ego, before it’s far too late To leave behind this place so negative and blind and cynical And you will come to find that we are all one mind Capable of all that’s imagined and all conceivable Just let the light touch you And let the words spill through And let them pass right through Bringing out our hope and reason
It’s an incredible Tool song.
How good is the line “capable of all that’s imagined and conceivable”?
It’s the same mantra put forward by the self-development industry. You know the one, the 10,000 hours, showing grit, emotional intelligence, a growth mindset, resilience and creating a culture in which people feel safe to express their thoughts and everything will turn out okay.
From 8.28 it really kicks into a groove. Watching it live, is a memorable experience.
“Triad”
A 6 minute conclusion as the vast plains of the Middle East are back.
“Faaip de Oiad” is Enochian for “The Voice of God”. Now if you’re wondering what Enochian is, I also had to look it up when I came across it years ago. It’s basically an occult language that two spiritualists from England came up with, who claim angels divined this language to them.
As for the song, it’s just abstract noise and nothing worth talking about.
I was introduced to Tool in 1998. My best man burnt me the “Aenima” CD. I immediately got it. It was exactly what I was looking for. I didn’t want the album to end.
This album has sustained 20 years. It’s not something you play a track from and then forget about, it’s something you go deeper into. It’s a journey.
They covered so much ground with this album and “Aenima”, that they next two albums that came after in “10,000 Days” and “Fear Inoculum” got stigmatised as sounding like “Aenima” and “Lateralus”.
And progressive rock/metal is meant to be dead. But Tool doesn’t fit into that category. It’s a little bit of metal, a little bit of rock, a little bit of progressive in its time changes and song structures and in its lyrics, they push different boundaries and messages. And Tool doesn’t care what the labels want or what the charts like. They push their own envelope, catering to their own needs first and taking their listeners with them.
Most of Tool’s songs since the “Aenima” album, are over seven minutes long. Their most recent album “Fear Inoculum” has every song over ten minutes. From a streaming point of view, this is a bad idea, as one Tool song from start to finish equates to three to four pop songs. And in an hour, you will hear a 15 minute Tool song 4 times whereas a 3 minute pop song will be heard 20 times.
So when you see a Tool song in the multi-millions, just think of the time invested listening to these songs.
If you hate Tool, then keep ignoring em. If you are into hip-hop only, ignore em. If you like your 3 to 4 minute pop fix, ignore em. But if you are a rocker and you liked how bands used to experiment with a song or two on an album, then you need to check out Tool.
And like Tool, I couldn’t edit this post any shorter. It is what it is, because it is.
I always have time for a little bit of Bob Seger. “Old Time Rock N Roll” was the song that got his name into my consciousness. “Turn The Page” was another, but I heard the Metallica version first. Actually, that whole “Garage Inc.” album from Metallica, got me excited to check out bands that I wasn’t sure I should check out.
So “Night Moves” is album number 9. For a person who lived on the road, the cover is perfect, with his image and the spotlight in the background.
At the age of 30, Seger did good live business in middle America, but couldn’t break through nationally.
Then he dropped the “Night Moves” album, a road trip of nostalgia and a soundtrack for many growing up in the 70’s. I didn’t hear this album until the 90’s. Such a long time after its release but if I heard this in the 80’s I wouldn’t have liked it, as I was head over heels in love with hard rock and heavy metal.
“Rock and Roll Never Forgets”
It’s a 12 bar blues romp.
The catchcry of “come back baby, rock and roll never forgets” is truth. As fans of the music and its lifestyle, we can dabble our tastes in other styles but we always come back to our rock and roll roots like we never left.
“Oh the bands still playing it loud and lean / Listen to the guitar player making it scream”
“Night Moves”
When I was doing some reading on Bob Seger, a lot of reviews when the album came out, kept mentioning how his songs sound like other songs that came before. And I’m thinking, perfect, that’s just the way I like it.
“I used her, she used me / But neither one cared / We were gettin’ our share / Workin’ on our night moves”
The strummed acoustic guitar kicks it off, but it’s Seger’s phrasing and vocal delivery, almost “American Pie” like.
The narrative of the secret getaways of teenage lovers takes its cues from Van Morrison and his “Brown Eyed Girl” and the movie “American Graffiti”. Bruce Springsteen’s “Jungleland” from “Born To Run” can also be heard, a coincidence or a fact that both artists have the same influences.
“The Fire Down Below”
It feels like a song from The Eagles “Hotel California” album which came a few years after. Reading comments on the YouTube video of the song, led me to a 60’s R&B singer called Johnny Taylor, and his songs “Who’s Makin’ Love” and “Take Care of Your Homework”. And one comment even mentioned that the Silver Bullet Band is tight in the “Brown Sugar” style of the Rolling Stones.
All I can say is, take what has come before and make it better.
“Sunburst”
“Sunburst” has inspirations from the Beatles “Dear Prudence” and Rod Stewart’s “Handbags And Gladrags”.
Stick around for the change at the 2.10 minute mark when it gets a bit metal like.
“Gaze on the sunburst / His weapon at his side / He flashes it with pride / Before his legions”
What’s this. Lyrics about the wood finish on a guitar. Before the term “Guitar Hero” even existed.
“Sunspot Baby”
Another 12 bar blues romp, that he would really nail with “Old Time Rock’N’Roll”.
“She packed up her bags and she took off down the road / Left me here stranded with the bills she owed / She gave me a false address / Took off with my American Express”
Story telling at its best about a lover who did a number on him as she charged up a fortune on his credit card.
“Mainstreet”
It could be about any town in any part of the world, as we all have the same main streets and a story or two of someone who tried to make it out.
The guitar melodies and leads on this one are excellent.
“And sometimes even now, when I’m feeling lonely and beat / I drift back in time and I find my feet / Down on Mainstreet”
That’s right, you can never escape your hometown. You know every corner, every crack on the road, every curb and every smell. It’s in your DNA.
“Come to Poppa”
It smoulders along with its “Cocaine” groove.
“If you need a pacifier / Call me anytime”
This is more crude than any lyric that the PMRC found offensive in a decades time for their “Filthy 15” list.
“Suck on that”, I say.
“Ship of Fools”
The Eagles influence is present again with “Lyin’ Eyes” and “Take It Easy” combining to become “Ship Of Fools”.
“Mary Lou”
It’s a cover and it sounds like Seals and Crofts “Your Mama Don’t Dance” or “Jailhouse Rock” or “Smokin In The Boys Room”.
You know the riff I’m talking about.
In the U.S, six million copies were shipped, for a 6× Platinum certification. And “Night Moves” is the anchor to Seger’s most successful period which includes “Stranger In Town” in 1978 and “Against the Wind” in 1980.
How many artists can say that their ninth album broke em him to the masses?
The thing with blogs and posts is that you try and write something different and creative. Like this post, titled “Dollars And Cents”. At the time I was reading a book on innovations and Charles Goodyear inspired me.
Everyone today knows “Charles Goodyear” as the inventor of vulcanised rubber. But what they don’t know is that he spent his whole life on struggle street, in and out of prison because of his money problems and six of his twelve children died because he couldn’t support them.
And when he perfected his vulcanised rubber, he couldn’t take out a patent because another scientist called Thomas Hancock took out a patent eight weeks earlier. You see, Hancock had gotten a hold of a sample of Goodyear’s final product and reverse engineered it.
Goodyear tried the courts, however the judge couldn’t understand how Hancock could have reverse engineered the invention and awarded all rights and royalties to Hancock.
It wasn’t until his journals were read by others that the following was found: “Life should not be estimated exclusively by the standard of dollars and cents.”
The Goodyear name would be recognised many years later. His achievements are world-changing but he never got paid for it while he was alive.
And the post combined F. Scott Fitzgerald, Ken Kesey, Dream Theater, Metallica and others.
These days, every town has thousands of bands who are recording themselves and releasing their music. And there are artists who have “made it” who are also releasing music. And they all want to be paid for it. Because their hard work and time spent is worth something. It’s all dollars and cents until you have that iconic hit. Only then you will be paid. When the music listening public decides it’s worthy.
Once upon a time my Release Radar playlist was pretty spot. Check out my love for The Night Flight Orchestra, Rise Against, Hell Or Highwater, Adrenaline Mob and Harem Scarem.
And when I was thinking about innovations, I thought about the cassette.
The Cassette tape allowed me to make demo after demo, mix tape after mix tape and it allowed me to copy a lot of albums from people who either had the original album or had a copy of the album from someone else who either had the original or had a copy.
For me it is was a game changer.
The record labels screamed loud and hard to their politician friends to pass new laws and stop this new sharing culture. Remember their headline, “Home taping is killing music.” A more accurate and truthful headline would be, “Home Taping is Spreading Music to the Masses” or “Home Taping Is Spreading Music And This Leads To Increased Sales Later On”.
In the Year 2000, the mainstream was ruled by Nu-Metal bands and progressive music was really at opposite ends of the spectrum.
On one side, you had the Dream Theater style of progressive music. This involved a lot of time changes, with the focus on high-octane technical musical workouts and each song exhibited a smorgasbord of riffs.
On the other side of the progressive music spectrum, you had the Tool style of progressive music. This involved time changes, but the focus was on groove and atmospherics, with each song building on a unique riff or bass line or drum pattern. Tool always stood by their brand and never wavered from it.
In between you had Porcupine Tree, merging Tool like aggression with Pink Floyd like atmospherics and on the extreme end you had Meshuggah with their focus on groovy, technical polyrhythms.
The missing link is Fates Warning. Fates Warning released an album called “Disconnected” which merged the Tool and Porcupine Tree progressive elements with the Dream Theater progressive elements and put them through the Fates Warning blender. It’s a fusion of all the best progressive elements at the time into a cohesive piece of work that can be listened to over and over again from start to finish.
Making something technical sound simple to the ear is progressive music to me.
Metallica did it with each album up to “…And Justice For All”.
Rush did it with each album until they reset their career with “Signals”.
Dream Theater nailed it with “Images And Words”.
Fates Warning nailed it with “Disconnected”.
And back in 2013, I was writing that if an artist wants to make money from streaming music, then they should stay independent and don’t sign to a label.
Or if they sign to make sure they own their copyrights. Streaming pays pretty good, provided people are listening. And the more people who embrace streaming, the greater the pool of money to divide.
Remember when AC/DC refused to have their music on iTunes and even streaming services? Now they’re on all of them.
And remember that each release is competing with the history of music
8 Years Ago (2013)
I was watching Eurovision and I came across Eythor Ingi from Iceland. He sang a ballad called “I Am Alive”. The song is average, however his voice, his look and his name stuck in my head.
So I went to YouTube. He was in a Deep Purple cover band and he covers “Child In Time”. If you want to separate the vocalists from the wannabe’s, “Child In Time” is the song.
I just rechecked on him and he’s still doing music in his native language. I would like to hear an English speaking album as well.
And did anyone hear the new (at the time) Five Finger Death Punch song, “Lift Me Up” and how similar the vocal line in the verse is to “The Ultimate Sin” from Ozzy. A perfect example of taking something from the past to make something new.
We are overloaded with people creating something. The Internet has removed the entry barriers to promote creative works have diminished greatly. Artists are writing books, comics or creating art via paintings or photography.
And they create because they want to create. And at the time System Of A Down had three quarters of the band ready to do another album. But vocalist Serj Tankian was not interested.
“Kingmaker” from Megadeth was just released. The first thing that grabbed my attention was the “Children of The Grave” influence in the verses.
Finally, the Richie Sambora saga was ongoing and some serious scalping was happening in Australia, as tickets to the first Jovi shows in Australia were still available to be purchased but the shows are marketed as sold out and second shows are up for sale.
The original cover gets more attention than the actual album. Even Wikipedia was embroiled in the controversy for showing it. I’ll go with the alternative cover.
For me, this album showcases the power of Uli Jon Roth. Four of the compositions “Virgin Killer”, “Hell-Cat”, “Polar Nights” and “Yellow Raven” are written solely by Roth (he even sings on two of em), while opener “Pictured Life” is written with Klaus Meine and Rudolf Schenker. “In Your Park”, “Backstage Queen” and “Crying Days” are Meine and Schenker compositions.
Rounding out the band is Francis Buchholz on bass and Rudy Lenners on drums, the underrated rhythm section of the band. Dieter Dierks is credited as assisting with the arrangements and production.
“Pictured Life”
It’s like a party is happening. There are leads all over this song courtesy of Roth.
In the intro, in the verses, in the Chorus and after the Chorus.
And one of their biggest songs, “Rock You Like A Hurricane” is very similar to this.
I also think that “Games People Play” from The Alan Parson’s Project sounds like this.
Make sure to check out the Chorus riff.
“Catch Your Train”
Rudolf Schenker delivers killer riffs on this, while Roth creates the Shrapnel label with his shred’a’licious leads.
Check out the lead break here and you will hear a lot of the 80’s players style. Kirk Hammet, Marty Friedman, George Lynch, Randy Rhoads and John Sykes.
“In Your Park”
It’s like a ballad before the word was overused by MTV and for some reason, I can’t stop thinking of “I’m Eighteen” when I hear this song.
“Backstage Queen”
They are doing the British Blues better than the Brits were doing it at this time.
Lenners and Bucholz are super locked in during the solo section and deliver an excellent groove for Roth to solo over.
“Virgin Killer”
How good is the intro riff to this?
When I heard it, I thought of “Too Fast For Love” which came 5 years later.
And the way Klaus Meine sings this, it sounds like an Aerosmith song.
Roth has mentioned that the meaning of “Virgin Killer” is “none other than the demon of our time, the less compassionate side of the societies we live in today, brutally trampling upon the heart and soul of innocence.”
And the record label thought that putting a naked 10 year old on the cover was a good idea and the guys in the band agreed.
“Hell-Cat”
Vocals are provided by Mr Roth for this bluesy number. Musically it sounds like Hendrix and vocally it should have been performed by Meine.
“Crying Days”
It has this arpeggio line in the intro, that appears on “Lords Of Karma” by Joe Satriani and “Hell Child” from Lynch Mob.
“Polar Nights”
This one also has vocals by Roth. Musically, it’s got a sleazy groove and some smooth legato playing from Mr Roth.
“Yellow Raven”
A ballad with some heavy classical overtones.
From the vocal point of view, I would have preferred Meine to sing on all the tracks, because as a fan of the 80’s Scorpions, it’s his voice I am used to.
destroyerofharmony 