Tag Archives: Heavy Metal

Classic Songs to Be Discovered, Music, My Stories

Dokken – Return 2 The East Live 2016

I listened to this album when it came out in 2018 on Spotify. I felt like I needed to. And I have most of the Dokken albums except, “Broken Bones”, this one and “The Lost Tapes”.

Sebastian Bach on Twitter was asked a question recently, “which band does he believe squandered all their talents?” and he answered that with “Skid Row”, but goddamn, “Dokken” is probably the poster artist for “squandering talents”.

It’s Another Day (New Studio Track)

It sounds like a Lynch Mob track with Don Dokken singing.

Nostalgia and my memory of Dokken in the 80’s wants me to like this.

Kiss Of Death

It’s great to hear Pilson, Brown and Lynch rocking out again musically. The crowd at the ball park fakery is unsettling. Don’s voice is more bass than his earlier self. It’s not how I want to hear him, but I also understand that age is never kind to a voice.

When Lynch breaks loose in the lead break, you hear exactly why he’s a guitar hero. He plays it almost note for note as per the studio recording, however he adds in extra notes and phrases and they enhance the lead break.

And the song fades out.

WTF.

The Hunter

It’s up next but it doesn’t feel like it was the next song in the set list.

The riffs in this song are excellent and I’ve always liked the lead break in this.

And like “Kiss Of Death”, Lynch enhances it, evolves it, throwing in his years of experience of playing it live.

I’m not a fan of the overall vocal delivery or the backing vocals.

Unchain The Night

The songs don’t flow like a concert as there is dead silence between the songs, as one song fades out and the other begins.

Even though the live album was put together from different shows they could have made it flow like a concert experience from start to finish.

The riffage in this song is excellent. And the lead breaks again from Lynch shows an artist who is on top of his game and has been for a long time.

When Heaven Comes Down

This song doesn’t get the credit it deserves as a heavy metal cut, as the riffs are very NWOBHM.

Breakin’ The Chains

It’s sped up just a little bit and I like it. Vocally, everyone is delivering.

Listening to Lynch wail away with just Pilson and Brown providing the foundation is rawk and roll in the power trio sense.

Into The Fire

Another cut, that doesn’t get its dues as a metal cut. And Lynch decorates in between the riffs with little fills here and there.

The lead break also has some fast picked lines added to it.

Dream Warriors

How can you not like this song?

The way the drums introduce it, the spooky clean tone riff and then the head banging distorted riff.

Lynch’s tone in the clean tone verses is excellent.

Tooth And Nail

I always enjoy listening to the lead breaks on this song. Especially the finger tapped section.

And “Tooth And Nail” goes straight into “The Hunter” but its faded out.

Why they decided to sequence it like this and not follow the actual concert set list is mystifying.

Alone Again

Although it’s a ballad, it’s a favourite.

Lynch doesn’t miss a note in the lead break.

The best part of the song is the C to D to Em chord progression, while Don is singing “Alone Again” without you over and over again. It would have been great to hear em jam on that a little bit more.

It’s Not Love

It’s like an anabolic ZZ Top cut, a perfect song for the live show.

After the lead break, the band is jamming and Pilson steps on the fuzz to become the centre point.

There’s some more jamming, some crowd participation and they move back into the song.

In My Dreams

Lynch is tuned down to cater for Don’s voice and the riffs suddenly sound menacing.

I think it’s safe to say that the lead break in this song is iconic. You can only play it one way, and that’s the way it was recorded.

Heaven Sent (Acoustic Studio Bonus Track)

This song would always work as an acoustic cut, because its blues based and the blues started off on acoustic guitars.

Will The Sun Rise (Acoustic Studio Bonus Track)

A nice re-imagining of a stellar rock song.

Actually the two acoustic tracks are the real highlights here.

And for their return to the East, it would have been great if they did a different set list instead of paying homage to the original set list. But they didn’t.

If you want to hear Dokken at their best, then 1988’s “Beast from the East” is their piece d’resistance and one of my top 5 live albums, along with “Live After Death” from Iron Maiden, “Tribute” from Ozzy, “Alive III” from Kiss and “Live At Budokan” from Dream Theater.

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

The Record Vault: Disturbed – Asylum

August 31, 2010 was the release date. 11 years old.

The cover opens up to reveal the Disturbed mascot trying to break out of the Asylum straps.

“Asylum” is the fifth studio album by Disturbed.

It was their fourth consecutive number one album in the U.S.. The other two bands ever to accomplish this feat in the Soundscan era are Metallica and Dave Matthews Band. Good company they keep.

It was also self-produced and keeping within the “it ain’t broke” formula.

Remnants

An instrumental which showcases Dan Donegan on the guitar. Some of the lead sections remind me of Criss Oliva from Savatage.

It was meant to be one song with “Asylum” but split into two as the label didn’t want the title track to be 7 minutes long, in case it messed up it’s chances of radio play.

Asylum

“Remnant” fades into the title track as a fast bass riff rumbles and then all hell breaks loose.

“Release Me” barks David Draiman.

The “Asylum” has a dual meaning, with the concept of a person losing a loved one as both an asylum driving the person insane, as well as a place of comfort.

The Infection

The major key verse riff is different from the minor key fast Intro. And I like the contrast.

A relationship song that likens the feelings you experience after a break-up to an infection.

There is this head banging riff which kicks in at 2.20, which Donegan then solos over.

And did I mention that the Chorus is melodically massive.

Warrior

A foot stomping open string pedal point riff starts the song off. Almost thrash like.

Another Way To Die

About global warming.

The arpeggios in the Intro give way to a rocker rooted in the blues. The main riff is played staccato like, in a similar way to ZZ Top and how Billy Gibbons plays “La Grange”.

Never Again

About the Nazi Holocaust in World War II.

The riffs are excellent. Pure fury.

The lead breaks feel angry and demented. And there’s a crazy sweep lick thrown in.

The Animal

When midnight comes and man turns to a wolf. Queue up Metallica, “Of Wolf And Man”.

Donegan also takes control of this track with his groove riffs.

Crucified

Another song about a broken relationship.

I almost pressed skip the first time I heard it because the Intro and verses didn’t connect, but then the Chorus kicked in.

Serpentine

Wikipedia tells me it’s about a demonic woman who “utilizes her sexuality to prey on the weaknesses of men.”

Ummm. So what’s the problem.

The Intro riffs and wah drenched melodic lead gets me to pay attention every single time.

My Child

About a miscarriage and dealing with the mental fallout. The sounds of a flatline at the end brings home the reality of it.

Sacrifice

A song about how people seem to have two sides to their personality, a light and a dark side.

With a massive PANTERA inspired riff to create the darkness with.

Innocence

The Intro riff is Rammstein industrial like, which is perfect for a song about “corrupt attorneys and the criminals that they choose to defend.”

Check out the Chorus riff and melodic lead.

ISHFWILF

A cover of “I Still Haven’t Found What I”m Looking For” from U2 done in a Disturbed way.

It was certified Gold in Australia, New Zealand and the U.S. and it was certified Silver in the U.K

There’s no doubt that Draiman is one of the premier and easily identifiable voices in Rock and Metal these days.

And like other hard rock singers he stays within the box he created with the debiut. Sometimes the vocal patterns could be interchanged with the vocal patterns of other songs.

But, that’s why we like Disturbed.

And I still haven’t watched the “Decade Of Disturbed” DVD. But I will.

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

The Record Vault: Disturbed – Indestructible

By album Number 4, the Disturbed brand was bigger than ever. Johnny K was gone from the Producers chair. The deals that artists have with producers means that the producers increase their cut and royalty points with each subsequent album. It’s simple business. Instead of paying someone else, they decided to do it themselves.

Disturbed for this album and all albums after is David Draiman on lead vocals, Dan Donegan on lead and rhythm guitars, John Moyer on bass and Mike Wengren on drums.

Released in 2008, it quickly went on its way of matching its predecessors.

In Australia, Canada, New Zealand and the U.S, its certified Platinum. In Finland and the U.K, its certified Gold. It charted well in a lot of countries.

“Indestructible”

It was called “Defend” before it was re-titled to “Indestructible”.

While it is a hopeful song to the armed forces, it also serves as a reminder to everyone that Disturbed is still here after all these years.

Killer metal groove riff to start the song off.

Check.

Anthemic Chorus.

Check.

Guitar Lead.

Check.

Actually, the guitar lead breaks on the album shows the Guitar Community that Donegan is a lot more accomplished than previously thought.

“Inside The Fire”

It was nominated for a 2009 Grammy Award in the “Best Hard Rock Performance” category.

It’s a disturbing song, which Draiman has explained as “standing over the body of my girlfriend, who just killed herself, and the Devil is standing over me, whispering in my ear to kill myself.”

The guitar starts off before the drums and bass kick in.

The chorus shares some similarities to “Primal Concrete Sledge” by Pantera however Disturbed sing it in a melodic and anthemic way and of course the guitar solo is “Guitar Hero” worthy.

“Deceiver”

Another song about a bad relationship or that person in your life that lies, deceives and takes from you.

“The Night”

The original title of the album and the first song written for it. The “Night” in this song is a living entity that surrounds you and hides you.

How good is the intro to this?

And another anthemic Chorus.

Check out the guitar lead. Donegan moves to a new level here with some serious sweeps and string skipping.

“Perfect Insanity”

It’s pre “The Sickness” as the band thought it would be pretty cool, especially for the fans, if they brought back maybe a song or two, that were actually written during the same period that “The Sickness” songs were written.

Another killer lead break from Donegan.

“Haunted”

A bass and drum groove start the song with the sound of rain and a tolling bell, before the guitar riff comes in, all staccato like and in sync with the bass drum.

“Enough”

The way Draiman sings the Chorus showcases his vocal abilities.

“The Curse”

It’s Disturbed from the first album. There’s a bit of everything here.

“Torn”

Another great lead from Donegan.

“Criminal”

The bird calls are back as Draiman sings “huh, huh”.

“Divide”

Another old song from pre “The Sickness”, it’s like a punk thrash song in the intro, before it moves into a groove metal riff that reminds me of Judas Priest’s “Better By You, Better Than Me” for the verses.

Draiman is telling you to be an individual, make your mark and stand out. Don’t be a conformist within the pack.

“Façade”

The drums are frantic for the closer.

And in the same way that AC/DC plays its standard blues rawk and roll, Disturbed doesn’t really stray too much from a style which has brought them public acceptance.

Metal elitists will always look down on em, but Disturbed have flown the flag of metal for many years in the face of hip hop, dance and other crap styles.

Indestructible they are.

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A to Z of Making It, Music, My Stories, Piracy

The Week In Destroyer Of Harmony History – August 23 to August 29

4 Years Ago (2017)

PEOPLE CREATE VALUE

Do artists create value or does the audience create value?

I believe it’s the audience.

We are the ones who decide what song or album we will give our time and money to.

And it’s a cold hard truth for any creator out there. The art they create has no value at the start. It might later, if people decide it’s valuable.

DEF LEPPARD

Def Leppard was huge from 1983 to 1992. Even their sound was huge with multi-layered vocals and instrumentation.

They had a bit of a back lash in the 90’s and maybe alienated some of their fan base with their 90’s sounding “Slang” album. But like all great bands from the 80’s they had a renaissance.

Because of piracy.

No one could purchases or access Def Leppard’s digital music library legally between 2000 and 2017 (apart from the few forgeries the band did themselves and the live releases), so people obtained the music illegally.

And just like that Def Leppard replenished their fan base with younger fans. 

“In recent years, we’ve been really fortunate that we’ve seen this new surge in our popularity. For the most part, that’s fuelled by younger people coming to the shows. We’ve been seeing it for the last 10, 12 or 15 years, you’d notice younger kids in the audience, but especially in the last couple of years, it’s grown exponentially. I really do believe that this is the upside of music piracy.”

Vivian Campbell

8 Years Ago (2013)

MACHINE HEAD

Machine Head is a favourite. And if you want to read a post on some deep album cuts then here it is.

QUEENSRYCHE

Queensryche appealed to me for a few reasons.

  1. Insightful lyrics
  2. Great messages and themes in the songs
  3. Brilliant arrangements and guitar playing.
  4. Each album that they released with Chris DeGarmo followed my own changing musical tastes.

So I did a post on some semi-obscure Queensryche songs.

RECORD FAIRS

I did a post of my score at a Record Fair.

And I’m thinking what is the point of em when most of the stuff is priced high. But I still go. The collector in me makes me go.

100 MILLION STREAMS

Daft Punk’s track “Get Lucky” by August 2013 had been streamed 104,233,480 times. Spotify generally pays 0.004 a stream to the rights holder. So by doing the math that comes to $416,933.92 in payments from Spotify to the rights holder.

How much of this money is distributed down to Daft Punk from Columbia Records is unknown?

For a song that was released in April 2013, it’s proven to be a pretty good earner.

And i was wondering when Metal and rock bands would cross that 100 million mark. Well by 2021, a lot of em have and in the case of Queen, they’ve even crossed the billion mark.

DREAM THEATER

I was re-reading a Kerrang interview that Derek Oliver conducted with Dream Theater back in 1989. It has the title; “PROG ROCK LIVES… RUN TO THE HILLS.”

It’s the same Derek Oliver that negotiated Dream Theater’s deal with Atco. It’s full of praise.

But it’s not 1989 anymore.

It was 2013.

Dream Theater was about to release their first self-titled album. Music is getting released left, right and centre. Independent DIY bands are competing against label funded bands.

Was Dream Theater still one of the most innovative bands in town?

VITO BRATTA

It’s 1991 and Vito Bratta is doing the rounds for the Mane Attraction album. And he was uncomfortable.

A few years before this is what Vito Bratta said in the June 1989 issue of Kerrang magazine.

“I hate recording. I can’t stand it. I cant stand the pressures of writing and recording a record. If they told me tomorrow that i was going to go out on tour for fives years, i’d say, fine, i love it. Playing every night is what i love.”

When Vito did the Eddie Trunk show in 2007, he had this to say about the expectations placed on them by the Record Label;

“So the record company’s saying we need another “Pride”.

I say, “Ok, so what exactly does that mean?”

The label goes, “we need the hit singles”

I go, “listen the songs we gave you, on “Pride” weren’t hit singles written purposely to be to be hit singles. They were just songs that became hit singles and they were just songs we wrote. Now you’ve got somebody telling you now, you have to purposely write a hit single.

Now how do you do that?

How do you purposely write a hit single, I mean there are people out there that do that…”

In a Guitar World interview from the June 1991, Brad Tolinski asked Vito if Mane Attraction was difficult to make.

“In a way it was. It was the first time I ever felt real pressure. When we recorded our first record, “Fight To Survive”, we were real naive and just happy to have a deal.

Our next record, “Pride”, was also very relaxed. It was written over a period of three years, so we had plenty of time to compose and experiment. “Pride” went double platinum, which was both good and bad.

When we went to record the follow-up, “Big Game”, everyone told us, “Don’t worry, whatever you write will sell a million.”

There wasn’t any real fire or hunger on that record. We were playing arenas, getting big checks in the mail, getting calls that we were going platinum, and so on.

On top of that, we had convinced ourselves that we had to write hit singles in order to maintain our popularity, and in the end “Big Game” was too contrived. It didn’t sell as well as “Pride”.

This is what Vito had to say on the Eddie Trunk show;

“Big Game” was a setback for the Label. It didn’t sell as many. We were doing a headlining tour of Europe by ourselves for the “Big Game” album and they (the Label) said, “wouldn’t it be great if we played at Wembley with Motley Crue and Skid Row?”

Skid Row went on and they were just killing the place. And Motley Crue had a great show and here we are sandwiched in between.

We realized, that night, on stage at Wembley that these songs from the “Big Game” album aren’t translating well in the live show.

So we all looked at each other on stage and said we need to throw in some of our better stuff in here. I was like what better stuff. We need to write more for who we are because these songs are not translating.

Then we went back to the States and we told the record label, no more tours on this album. We are going to do the album that we want to do. And they said well considering how the last album went, they said “go ahead”.

They gave us unlimited funds.

“Mane Attraction” was a half a million dollar record. They just said go and do everything that you want.”

And the album failed to connect with a large audience.

1986 vs 2013

And example of how the post flowed.

In 1986, Jon Bon Jovi was in debt to his record label and still living with his parents. Then the “band” Bon Jovi released their biggest seller, “Slippery When Wet”.

I’m 2013, Jon Bon Jovi was flush with money and the band Bon Jovi released their biggest dud, in “What About Now” and Richie Sambora was booted.

In 1986, Megadeth released “Peace Sells.. But Who’s Buying”, which in their case, everyone was buying.

In 2013, Megadeth released “Supercollider” and no one was buying.

In 1986, Queensryche released a superior album in “Rage For Order”.

In 2013, Queensryche became two seperate bands that ended up releasing two inferior albums in “Frequency Unknown” (Geoff Tate version) and “Queensryche” (Todd LaTorre version).

The fans are screaming for order.

In 1986, Vinnie Vincent invaded the charts, with a point to prove.

In 2013, Vinnie Vincent is.

COG – ARE YOU INTERESTED?

Databases store everything we do online. And one of my favorite acts Cog had a song about it many years ago.

Yes they’re making lists of people interested in this
And they’re scanning all their databases
Hunting terrorists
Yes they’re making lists of people interested in this
And anyone who speaks their mind is labelled anarchist

GOVERNMENTS SPYING

Our Government’s get caught red handed spying on it’s own citizens and artists needed to take a stand on this.

But no one did.

And that’s another wrap for another week.

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A to Z of Making It, Influenced, Music, My Stories

2001 – Part 3.3: Avenged Sevenfold – Sounding The Seventh Trumpet

“Sounding the Seventh Trumpet” is the debut album by Avenged Sevenfold, released in 2001.

I started my journey with “City Of Evil” in 2005 and went forward with em. Sometime after the “Nightmare” album, I went back to listen to this one and “Waking The Fallen” as a tribute to The Rev. Even though he was the “drummer”, he was a lot more to the band. Just listen to the self titled album released in 2007 as proof.

This album was recorded on a $2,000 budget. The guys in the band had to have their individual parts down so they didn’t waste time. The Rev did his drum parts in one take. All the guitars are played by Zacky Vengeance as Synyster Gates was not in the band at that point in time. M. Shadows is the vocalist and bass is played by Justin Sane.

“To End the Rapture”

A short 90 second track to introduce the album and musical style. The first 50 seconds has some serious guitar virtuoso work.

“Turn the Other Way”

A lot of technical playing and progressive song writing as a Pantera style groove kicks off the song, while The Rev is channelling Vinnie Paul.

Musically it’s a thrash metal cut. Vocally, the screamo vocals don’t do it for me, however at 2.45, clean tone vocals kick in.

The section from 4.21 to the end is Maiden-esque musically and vocally. The last 30 seconds has a synth playing the chords as the harmony guitars fade away.

“Darkness Surrounding”

Musically its punk thrash. The Rev is a fucking machine on this and somehow he worked out how to put a drum solo into the song.

Check out the metal reggae section between the 3.00 and 3.25.

I dislike the scream vocals but enjoy the clean tone ones.

“The Art of Subconscious Illusion”

Another punk thrash song.

The intro is great to play on the guitar.

“We Come Out at Night”

I like the section from 1.20 to 1.40 musically, but dislike the screamo.

From 1.41 to 2.05, Shadows sings in clean tone and this same section comes back in at 3.18. The last 40 seconds is a piano playing the riff and Shadows singing in clean tone.

“Lips of Deceit”

Great riff to start the song. Actually the first 70 seconds are excellent.

But the screamo vocals don’t do anything for me and they detract from the excellent riffs.

“Warmness on the Soul”

My favourite song.

Excellent piano playing and emotive vocal melody leads the song. At 1.57, a country/southern rock solo kicks in. A highlight of the song.

“An Epic of Time Wasted”

It’s hard to listen to because of the screaming.

But the head banging riff from 2.50 to 3.09. Listen to it. And from then on, there are clean tone vocals and the song feels redeemed.

“Breaking Their Hold”

A fast pop punk drum beat starts the song. At 50 seconds it’s the shortest song. And it’s all screaming.

“Forgotten Faces”

Nice intro riff, but the screaming.

“Thick and Thin”

A skip.

“Streets”

The drum/bass groove to start the song gets me interested. After 33 seconds, it becomes a fast punk song. The good thing about this song is that Shadows is singing in clean tone and by now I wish most of the albums tracks were in clean tone.

“Shattered by Broken Dreams”

The closer.

An arpeggio acoustic guitar that reminds me of hard rock songs kicks starts the song. And for the first part of the song, Shadows is in clean tome. The guitar work is brilliant and The Rev plays those drums like they are part of him.

It reminds me of the 70’s closer tracks which experiment with different styles. Almost progressive like.

This one moves from slow rock to hard rock at 2.10. This time around, I didn’t mind the screaming vocals. And then it moves to speed metal, then groove metal and at 4.24 its back to slow rock and clean tone vocals.

I heard this album once circa 2010 in its entirety and today was my second time. I don’t like it. But I do have “To End The Rapture”, “Warmness On The Soul” and “Shattered By Broken Dreams” in my Avenged Sevenfold playlist. And the stuff they did after this album is so much better. But all bands need to start from somewhere.

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

Rammstein – Paris

I own no Rammstein records. All of my listening experiences from em is via burnt CD’s from ex band members, YouTube and Spotify. Recently streaming services can be added to that list as they have a few concert videos of the band showing.

But.

For a person who doesn’t own any of their music, a band I was in between 2000 and 2005 used to cover “Du Hast” from Rammstein. And if I could get my hands on a ticket, I would go to watch em live.

So in which category do I fit in. I’m a fan, who hasn’t spent a cent on the band.

And who can forget their comeback song circa 2009 with the “Pussy” porno video clip.

So when I saw this concert on Amazon Prime I was interested to check it out.

The concert film was actually released on 19 May 2017. So I’m late to watching it.

And the concerts used for the footage are even older, filmed entirely on 6 and 7 March 2012 in Paris.

Every show was filmed with 30 cameras in front of 17,000 people. And i was surprised how big they are, so I looked at live returns for concerts and Rammstein is up there, with the big acts.

Their 2019 Europe Stadium Tour grossed 116.66 million Euro’s from 31 shows. Each show had an average attendance of 41,715 people.

The whole start of the concert is like a ritual. A funeral march. Almost scary.

Remember those movies scenes when people are clothed in black, holding a candle and leading/taking someone to their sacrifice. Well that’s how Rammstein begins their concert.

They walk out into the audience from a side door and make their way to a bridge which connects the main stage to a smaller stage in the middle of the GA floor attendees.

And once they plug in and play, you get to see how massive their live show is.

Apart from the normal fire and pyro which most bands do, they also wear suits which produces pyro and Fire.

Fire also comes out from under the stage so you don’t want to be standing in the wrong place.

Fire comes out from the microphone stands. From flame thrower guns. From face masks they wear. Pyro also comes from props they hold.

And they have steam jets all over the stage and under the stage. Plus massive industrial fans.

Their riffs are head banging and bone crunching. I have no idea what they are singing about but I couldn’t take my eyes from the TV.

Vocalist Till Lindemann is unsettling in appearance and stage presence, demented and looking like he escaped from an asylum

In the “Mein Teil” (My Part) song, Lindemann comes out all bloody and looking like he decapicated someone, which is fitting for a song dubbed “The Cannibal Song”.

The keyboard player Christian Lorenz is walking on a treadmill as he plays. It looks bizarre but it works.

There’s a fake cock which Lindemann produces in the song “Buck Dich” which means “Bend Over” and it starts squirting piss all over the audience. Even the drummer gets a mouthful of fake piss.

“Mein Herz brennt” (“My heart burns”) has an excellent Kashmir like groove.

In “Engel (Angel)”, Lindemann is wearing Angel wings that spit fire and pyro.

I didn’t understand a word, but the music was excellent and the theatrics/stage show was massive.

Du. Du hast.

It can mean you hate or you have depending on context. So you’ll either hate Rammstein or you’ll need their controversy. The fact they never conformed and did an English vocal album shows their resilience and mentality. And it didn’t stop them from filling arenas all over the world.

And Till Lindemann. Wow.

So unsettling in appearance. And man, doesn’t he know how to push buttons. He said in an interview on the “Metal Evolution” episodes, he doesn’t know what else to do to shock people anymore on stage, except kill someone.

Du. Du hast.

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

The Record Vault: Disturbed – Ten Thousand Fists

After the excellent “Believe”, I was eagerly anticipating this release and I was a first day buyer. The cartoonish comic cover got my attention, as people from all walks of life are together, raising their firsts in the air.

Released in 2005, “Ten Thousand Fists” is the third studio album from Disturbed.

John Moyer joins David Draiman, Dan Donegan and Mike Wengren this time around. However, Moyer was considered a session musician during the time of recording, and only became a full-time member during the tour supporting the album.

Johnny K is also producing. This would be his last album with the band.

The album was also dedicated to Dimebag Darrell, who was murdered the year before the album’s release.

“Ten Thousand Fists”

A great song about the metal show and the glorious sight of “ten thousand fists in the air”.

Musically its classic Disturbed, in which the vocal melody follows the syncopated drum and guitar riff in the verses.

The Chorus’s by now have become anthemic for Disturbed.

You will remember the night you were struck by the sight of ten thousand fists in the air

The interlude with the backwards guitars gives it all a Middle Eastern vibe. Check it out.

“Just Stop”

Another killer riff to start the song off. Check.

Verses is syncopated, with riffs, vocals and bass drum. Check.

Anthemic chorus. Check.

Just stop enough of the limitless critical comments on my life
Just drop the judgment and all of your pseudo-involvement in my life

We might see our Metal hero’s as indestructible, but they are normal like all of us and they have feelings, which do get hurt within relationships.

“Guarded”

A speed metal cut, as it comes racing out with double kick drums and fast alternate picked lines.

Guarding yourself from the love of another
Left you with nothing tonight

How much are you willing to let people in?

Then it goes into an arpeggio riff that reminds me of Coverdale/Page’s “Whisper A Prayer For The Dying”.

“Deify”

“Deify” means to worship someone or treat as a god.

The song starts off with a sampled speech of George W Bush Jnr before it cranks into an angry song against the Bush administration.

I won’t let them
Deify you
They view you as the new messiah
Deify you
Renew belief in some demented man

It’s a divisive time. A lot of people disagreed with our Government’s at sending soldiers into Iraq and Afghanistan. And look how that’s worked out for Afghanistan at the moment. And Iraq hasn’t been stable since.

Check out the speed metal in the Interlude.

“Stricken”

One of my favourite tracks on the album. It has a groove riff similar to “Remember” in the intro.

The Chorus is anthemic as you would expect by now.

And finally Dan Donegan shreds.

2005 was the era for guitarist who didn’t normally shred on albums to start shredding.

“I’m Alive”

Another song with an anthemic chorus.

How good is that Tool like groove in the Bridge?

There will never be a reason why I will surrender to your advice
To change myself, I’d rather die

Would you rather fail doing it your way or on someone else’s advice?

“Sons Of Plunder”

The dog and bird barks are back vocally with the catchcry “Tell me you like it” as Disturbed rocks the new metal sounds in the verses and goes all anthemic in the Chorus.

At 1.53 it goes into this bass feel that reminds me of “My Friend Of Misery”. But the way the guitars and drums build it back up, needs to be listened to.

Lyrically Draiman is attacking artists that create soulless songs just to have a hit.

You say you’ve found yourself a new sound
The shit’s loaded and ready to go
A bit too much just like the old sound
Already heard it for the hundredth time
One hundred more, all have the same sound
Running around with all the sheep that you know
“It’s so sublime, they’re breaking new ground”
“They’re sure to have another hit this time”

It sounds like the decline of Hard Rock music between 1988 and 1992.

I’m still surrounded by the “new sound”
I’ve had enough and I’m ready to go
A strangle-hold throughout the world now
The new obsession will fade in time
A thin reminder of the past now
All convoluted hardly ready to go
Their whines and moans will never last now
I think you’ve given us our fill this time

And the Grunge came (“the new sound”) that took over the world only to see if fade within 5 years.

“Overburdened”

The bass riff again echoes an influence of “My Friend Of Misery” with a bit of the “Orion” interlude and “Rime Of The Ancient Mariner” interlude chucked in.

Then it becomes a groove cut, reminding me of Tool. And all of those little references to songs I know, makes me like this song a little bit more and it also gets me to check out those influences.

Lyrically it’s about war.

Check out the anthemic Chorus.

At 3.54, the Bridge begins. The riff is like ascending before it descends giving an eerie feeling.

At 4.26, Donegan clicks on the wah-wah pedal and we get another lead break. His style is more bluesy, but when needed he can break out some fast legato lines or alternate picked lines.

And the song ends the way it started, with the bass riff.

“Decadence”

A throwback to the debut in the intro and verses but the Chorus is the new Disturbed. Anthemic and melodic.

“Forgiven”

How good is the interlude/bridge section between 2.00 and 2.43 and then Donegan breaks out another lead break?

“Land Of Confusion”

The Genesis song from 1986 gets disturb-iz-ied.

This is the world we live in
And these are the hands we’re given
Use them and let’s start trying
To make it a place worth living in

This is truth, but how many are willing to risk being uncomfortable.

There’s a perceived safety in comfort so we put up with our Government’s invasion of our privacy and removing more liberties in the name of security and keeping us safe.

“Sacred Lie”

Verses like the debut album. Check.

Anthemic Chorus. Check.

Massive drumming. Check.

My conviction is stronger today
As I fight to uncover your sacred lie
And the fear isn’t going away
As the soldiers still die

Remember the war on “weapons of mass destruction”. The biggest bullshit ever.

“Pain Redefined”

Read the comments for “Sacred Lie”, but this one has a lot more electronics, like “The Game” from the debut.

Then again, how can I not mention the massive Chorus.

“Avarice”

Avarice means extreme greed for wealth or material gain.

So we get a speed metal barrage to finish the album off just to show the anger.

Politics and evil
All one in the same
Satan hides behind a different name

There is a small demented chromatic like lead break I like which kicks in over an ascending chord progression.

In Australia, it was certified Platinum. In Canada, it was certified 2× Platinum. In New Zealand, it was certified Gold. In the United Kingdom, it was certified Gold and in the United States, its certified 2× Platinum.

It charted well in a lot of other European countries. It was everywhere.

P.S. All the solos on the record are excellent. Kudos to Dan Donegan for stepping up.

P.S.S. This is Disturbed at their best and itt’s a great addition to any Heavy Metal Collection.

P.S.S.S. The “wah-ha-ah-ah!” scream is still there.

Wah-ha-ah-ah to it. Crank It.

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

Dokken – Broken Bones

I was a streamer by the time this album came out, so it felt like I purchased it.

And it didn’t feel right not finishing off the Dokken series for three more albums.

“Broken Bones” came out in 2012 on Frontiers. Mick Brown didn’t play on the album as I think he was touring with Ted Nugent at that point in time, so the drumming was handled by Jimmy DeGrasso. Joining Don Dokken and Jon Levin was new bassist Sean McNabb.

And the star of the album is Jon Levin on guitar again. His solos are excellent, songs within songs moments and he can write a mean riff. Vocally, Don Dokken sings in his lower register while Mark Boals is doing the backing vocals.

“Empire”

Like most of the Dokken albums released, they start off with a fast rocker. This one is more like “Till The Living End”.

Check out the guitar leads from Jon Levin on this.

What Will You Rule In The End
A Burnin Empire

“Broken Bones”

“It’s Not Love” is instantly recognisable and it also reminds me of a cut from “Back For The Attack”.

An emotive lead break from Levin is a must hear.

All These Bones That Lie Within My Spirit
Broken Just Like Me

“Best of Me”

Very grungy (think “Even Flow” from Pearl Jam).

“Blind”

A slower groove doesn’t hide “The Hunter” influence.

“Waterfall”

At 2.48 long, it feels like an unfinished cut, a left over psychedelic track. A miss for me.

“The Victim of the Crime”

The intro is head banging material before it moves into an exotic sounding riff and groove, more Tool like. And I’m always interested when bands do these kinds of things.

The lead breaks from Levin are worthy, reminding me of a cross between Uli Jon Roth and Yngwie Malmsteen.

“Burning Tears”

A haunting melodic acoustic arpeggio similar to “Alone Again” starts the song, but it’s the distorted riff which kicks in after that gets the head banging.

And Jon Levin again shines on the lead guitar here.

“Today”

It started to become a trend, since “Dysfunctional” that a cover song would appear on a Dokken album. This one is from Jefferson Airplane cover, written by Marty Balin and Paul Kantner.

It feels like an inferior “From The Beginning” ELP cover they did on “Dysfunctional”. Better to be left off, but Frontier’s likes to put old songs under a new sound copyright which they control.

“For the Last Time”

Jon Levin again steals the light, with his movement from acoustic passages to full out rock and metal riffs.

“Fade Away”

It has a feel from “The Hunter” in the intro and “Dream Warriors” in the verses. Then it’s like “Stop Fighting Love” and “Will The Sun Rise”. Musically, it’s great to jam to, vocally, Don is in the lower register and its very monotonous.

But Levin shines again in the lead break.

“Tonight”

It’s another fast rocker, to close the album with, similar to the title track in speed, but very Euro sounding, more Scorpions like. Levin just keeps shining throughout the album with another guitar hero lead break.

And make sure you check out the guitar harmony lead break to close the song and album out.

“Can’t Fight This Love”

It’s a bonus track from the cloth of “Back For The Attack”.

If you’re a Dokken fan there is something here for ya. If you’re a guitar player, you’ll be impressed by Jon Levin.

P.S. Even though some of the songs are dull, Levin’s performances are anything but dull.

P.S.S. What happened to the drum sounds on some of the albums during the 2000’s? Is it because artists are recording at home or in cheaper studios than the studios before. Is the mixing bad?

P.S.S.S. Don Dokken’s voice on this album is very monotonous and same same on each song. But he does get the job done with the help of Mark Boals.

P.S.S.S.S. Did I mention that Jon Levin is a Guitar Hero? He is.

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A to Z of Making It, Copyright, Music, My Stories, Piracy

The Week In Destroyer Of Harmony History – August 16 to August 22

4 Years Ago (2017)

NEW JERSEY

“New Jersey” from Bon Jovi was doing the rounds.

“Slippery When Wet” was written while Jovi and Sambora still lived at home and had a million dollar debt to the record label. The start of the “New Jersey” song writing process began as soon as the band came off a gigantic 18 month world tour with millions to their name.

A double album was demoed and rejected.

Desmond Child was brought in again and a few more songs got written. Other outside songwriters like Dianne Warren and Holly Knight also contributed. The double album then became a single album and months after the conclusion of the “Slippery” tour, Bon Jovi had a new album ready to release and another 18 month world tour on the cards.

In between the tour, Jon escaped to Vegas and got married.

Once the tour ended, Jon the went on a road trip, released a solo album for a movie and achieved even more success. Richie Sambora was left in limbo, picked up the pieces and also released a solo album.

While “Jersey” didn’t have the same sales success as “Slippery”, it is a solid album and the band earned its keep as one of the best live shows.

THE LABELS

Customers of music showed the recording industry what they wanted via Napster. When other services stepped in, music customers showed the labels what choice brings to the conversation.

Choice for fans to decide and make their own decisions and the power to demonstrate what they believe something should be worth.

But the labels ignored it.

It wasn’t until a hardware company created iTunes and then techies created streaming services that customers started to get what they want, digitally.

So are the the record labels and the publishers doing their best for artists in the long term or are they just focused on the short term profits?

Instead of following a path that leads to better standards/outcomes for artists in the long term they seek a litigious path that only benefits them in the short term.

The labels and artists should understand that there are fans who don’t pay for recorded music because they don’t believe they should, however these same fans have no problem coughing up $200 plus dollars for a concert ticket for a larger act and these same fans have no problems coughing up $20 to $70 for independent acts. It’s their choice how they choose to interact with music.

And then there are the fans who have large LP and CD collections, who don’t pay for music anymore, but still pay for concert tickets and what not.

And then there are fans like me who have large LP and CD collections and decided that streaming is the way forward. So I pay for a family account and I have no problems forking out cash for a concert ticket. And I still add to my physical collection when I feel like it and when I see it as worthwhile for my collection.

And then there are fans who have large LP and CD collections who have decided that purchasing physical is what they want to do.
And these fans also have no problem paying for a concert ticket.

The recording industry has never been more powerful. There’s all this crap about piracy, streaming rates and the techies taking over. But the techies make tools, not stories or music.

Life is a struggle for everyone, not just creators.

THE WAY OF THE WORLD

If you risk, you could lose. There’s no safety net in life. And we don’t hear from those who risked everything and failed and now have nothing. Hell, we don’t even know their names. Only the winners get their story told.

It’s a “winner-take-all” economy and we plod on, trying to make it. But we don’t know where to start, so we take all the roads on offer, only to get back to the start.

Making music is great, but making connections is better. It’s the way of the world today.

MONEY FROM THE OLD

Did you know that Book publishers make more than 90% of their profit from books they published years ago. And yet they put 2% of their effort into promoting and selling those books.

Would it be fair to say that 90% of the income that the record labels get comes from music that came out years ago compared to what is new.

The majority of music consumers don’t normally purchase creative content all the time but when they do, they buy what is popular.

It’s the reason why the “Black” album from Metallica still sells. It’s the reason why “IV” from Led Zeppelin still sells. It’s the reason why “No More Tears” still sells. It’s the reason why “Slippery When Wet” still sells.

However we are living in a different era, one controlled by consumers. And the new stuff released by artists is originally purchased by a smaller hard-core super fan group. Much like the 70’s. Then in time as word spreads, people will check out the release and keep it in the conversation. Much like the 70’s.

Recognition doesn’t come on day one or week one or month one or year one. It percolates year after year after year until it boils to the surface. Will you be around to capitalise and monetise?

HOW THE LABELS ROB CREATORS

YouTube tells the world that the service pays more in the U.S for Ad-Supported Streaming than other services like Spotify and Pandora.
The record labels via their lobby group RIAA disagree with YouTube’s math. 

But the record labels and the publishing/licensing companies are the first to get paid. And nowhere in this debate have these organisations mentioned what they get.

But there are thousands of news articles showing what the artists or the song writers get from YouTube streams in their bank account, but the artists are the last ones to be paid, once the labels and publishing companies take their cuts.

But whose robbing who.

8 Years Ago (2013)

TRIAL OF TEARS

“Trial of Tears” is from the “Falling Into Infinity” album released in 1997.

The album is a controversial subject for Dream Theater fans. Some say it is incredible, others say that it was a sell out and others say it’s crap. Mike Portnoy said he hated it, and that by releasing the Official Bootleg of the album on a Double CD format, he felt that he has corrected that hate and given the album its due justice.

If the other members agree with that statement is an entirely different matter.

“Trial of Tears” is a three movement song. John Myung owns this song. His groovy bass lines are all over it and for any aspiring bass player, this is a song that should be in your bible of bass songs to learn.

This song is not the heaviest Dream Theater song however it is one song that has heaps of melody around it. Words can’t describe the emotions this song stirs, so let your ears do the listening and give it the time of day.

LIFEHOUSE

Lifehouse just seems to hang around in my life. Maybe it is because my wife played the “No Name Face” album to death at home and in the car when it came out in 2000. While the lead-off single “Hanging By A Moment” had the traction, it was cuts like “Cling and Clatter”, “Quasimodo” and “Everything” that hooked me in.

“No Name Face” was the pinnacle. “Stanley Climbfall” and the self titled album didn’t even come close. I was starting to lose interest.

“Who We Are” in 2007 got my attention with the sorrowful “Storm”, the soul searching rock of “Disarray” and the Johnny Cash vibe of “Broken” .

Then in 2010, came “Smoke and Mirrors”. Tracks 1 to 8 are top notch. They should have stopped the album right there. It would have been perfection. “Almeria” has the song “Moveonday”, which reminds me of “When The Levee Breaks” from Led Zeppelin.

The rest however pales compared to “No Name Face” and “Smoke and Mirrors”. Crank em.

ZARA

I wrote a little story about what artists could learn from Rosalia Mera the co-founder of fashion giant Zara.

REALITY

Piracy can never be handled with a one size fits all business model.

Piracy is hard to be stopped however it can be competed against. Piracy is a service issue. Pure and simple.

The internet is just another disruptive service to the entertainment industries; like the time the VCR was going to destroy Hollywood. Instead the VCR opened up a whole new ownership and rental income stream for Hollywood. With all new technologies, the entertainment power brokers try to destroy it at first. When they realize that they are going to fail, it then becomes part of the new market. In 2012, recorded music had its first year of small growth. Since then it’s been growing.

And music-streaming services will reduce piracy.

And that’s another wrap for another week.

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Australian Method Series: Wolfmother – Wolfmother

The Wolfmother debut.
 
Sometime in 2000, founding members Andrew Stockdale on guitar and vocals, Chris Ross on bass/keyboards and Myles Heskett on drums got together to jam.

But it was in 2004, when Wolfmother was born.

And suddenly things started to happen. After playing a gig in April 2004 in Sydney, they got a record deal with Aussie independent label Modular Recordings with whom they released their (EP) “Wolfmother” in September.

While touring on the EP, Universal Music came in and signed em to an international recording deal.

The self-titled debut produced by Dave Sardy was originally released in Australia via their independent deal on 31 October 2005.

The album was later released internationally by Universal in early 2006.

Like other Aussie artists who got a later international release, the album had an additional track and a rearranged track listing. Spotify carries the international release listing and release date.

As an owner of a book of Frank Frazetta paintings, seeing “The Sea Witch” on the album cover grabbed my attention immediately.

Prior to the release, the band had some serious momentum in Australia. They had the EP out on the charts, they toured and nationwide radio station Triple J, had the band in constant rotation.

Dimension

The bass and drum groove reminds me of an amalgamation of Sweet and Cream in the verses before a Chorus kicks in that sounds like a Sabbath cut.

And a new game is created here in which the listener has to guess which band or song influenced the next song.

And I like games like these.

White Unicorn

You know that section half way through in “Stairway To Heaven” when Jimmy Page starts to play major sounding triads over a droning D note.

Well that’s how “The White Unicorn” starts off. And I like it. Take something that came before and create something new from it.

Woman

Its basically a Sabbath cut with that driving galloping groove from “Children Of The Grave”.

Then again “Roadhouse Blues” comes to mind as well.

The addition of the keyboards makes it sound like a demented Doors cut.

And like other Aussie bands, (Airbourne comes to mind) they capitalized on the video game phenomenon that was happening. “Woman” was licensed to appear in over 12 video games which came out between 2006 and 2008.

Where Eagles Have Been

The beginning reminds of “Goin To California” from Led Zep or “Mother Nature’s Son” from The Beatles or “Brain Damage” from Pink Floyd.

This is the beauty of music. Familiarity is in every song which is created.

Check out the sound effect which increases in intensity at 3.42 and then the guitar solo. This is the best part of the song.

At 4.24 to 4.46 reminds of me of “Dazed and Confused” from Led Zep.

Apple Tree

It has a punk style “My Generation” feel from The Who in the Intro and first verse.

Joker & the Thief

This song has crossed over onto a higher astral plane. It’s everywhere. If you sit down to watch a movie or a TV show, there is a chance you’ll hear it. If you buy a video game, there is a chance you’ll hear it.

When I hear “Detroit Rock City” by Kiss, it reminds me of this song.

“The Hangover” and “Shrek” movies have scenes in the movie, which has this song playing.

Colossal

It feels like a Sabbath cut that hadn’t seen the light of day.

How good is the riff that comes in at the 3.30 mark?

It reminds me of “Ace Of Spades” from Motörhead.

Mind’s Eye

My favorite track.

The arpeggios to start it off are hypnotic. Metallica used a similar progression for “The Day That Never Comes”.

When the verses come in, simplicity at its best. It’s just a single strummed chord and a haunting vocal melody.

I like the simple ascending chord progression just before the Chorus. And it comes back again after the Chorus.

How good is the organ riff?

And they jam on it till the end.

Pyramid

Another song that became a favorite amongst people that didn’t even like this kind of music because it appeared in the “FlatOut 2” car racing game.

Witchcraft

A flute solo. Jethro Tull anyone.

Tales

It’s not a favorite.

Love Train

Listen to “Moby Dick” from Led Zep. Imitation is a form of flattery.

Vagabond

A simple drum metronome style click and an acoustic guitar playing a sort of Country Blues Delta riff start off the song.

Swampy it is and the album is done.

I’ve read reviews that they are copyists and unoriginal. But music is judged on the fun and enjoyment you get out of it. And this album is a whole lotta fun.

Going back to the originality question, the bands that influenced em where also copyists. Led Zeppelin’s first album is a great cover album rebranded as a Zep album.

After all was said and done, the album was certified 5× Platinum in Australia, Gold in Canada, Gold in Germany, Gold in the U.K and Gold in the U.S.

By the time the band started to record album number 2, it was just Andrew Stockdale who remained. But the sound and the songs still remained.

You can read my review on “Cosmic Egg” here.

And spend your weekend cranking Wolfmother.

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