Each Dream Theater album had touched on the sounds that I would class as Thrash Metal and Heavy Metal. But on “Train Of Thought” they decided to live in this metal/thrash world. And I liked it.
It begins with an album cover that has Black as its main colour screaming Metal. Then again, Pink Floyd did have a black cover for an album that sold multi millions and it had nothing to do with metal, more like dreamy acid rock.
“Train of Thought” was released on November 11, 2003 through Elektra Records before its parent company Warner Music Group decided to merge Elektra Records with Atlantic Records to become Atlantic Records Group in 2004, only to give the Elektra name a new lease of life in 2009 as an independent entity up until 2018, when WMG relaunched Elektra Music as a stand-alone, staffed music company, with labels like Roadrunner Records, Low Country Sound, Fuelled By Ramen and Black Cement under it.
As I Am
This song is a balls to the wall metal classic.
It starts off with the Black Sabbath riff to kick it off. Yes, it is that Black Sabbath riff.
Then it goes into an “Enter Sandman” like groove for the verses. It gets the foot tapping, and the head banging.
Dream Theater toured with Queensryche in 2003. At this point in time, Queensryche’s commercial zenith was in the past and Dream Theater’s star was still rising. Mike Stone was the guitarist in Queensryche, carrying out the Chris DeGarmo role. And Stone decided he should give John Petrucci tips on playing guitar.
Every time you hear the lyric line “Don’t tell me what’s in, tell me how to write”, just think of Mike Stone giving Petrucci tips.
I like the lead break. It is old school and it burns. There is no rhythm guitar track, just bass, keys and drums. Exactly what EVH did when he soloed on a lot of VH tracks.
Vocally, LaBrie is at his metal best. His voice might strain in the live arena, but in the studio, LaBrie is a master.
This Dying Soul
The feedback from “As I Am” segues into the fast groove metal of “This Dying Soul”.
Here, Mike Portnoy continues his “Twelve-Step Suite”, which started with “The Glass Prison” on “Six Degrees of Inner Turbulence”.
For those who don’t know, “The Glass Prison” has the following sections; “I. Reflection”, “II. Restoration” and “III. Revelation”. “This Dying Soul” has the following sections; “IV. Reflections of Reality (Revisited)” and “V: Release”. All of the sections are steps in the Alcohol Anonymous Recovery program.
After the thrash-a-thon in the intro, the song gives way to a Tool like groove and vocal melody in the verses. And I like it.
There is this “Blackened is the end” vocal melody in “V:Release”. Once you hear it, you will recognise it. I can’t say I am a huge fan of the loud speaker rap like verses, but I do give full marks for incorporating new elements into their music.
And since these songs are part of the same universe they do share some of the lyrics and melodies.
Endless Sacrifice
The acoustic intro.
It can remind you of Pink Floyd or Pantera depending on your listening history. They touched on these kind of melancholic riffs in “Peruvian Skies” from “Falling Into Infinity”.
But, it is the Chorus that brings the energy.
Then at 4.56, all hell breaks loose as they make their way into the solo section of the song. It’s got this “Creeping Death” meets “Disposable Heroes” palm-muted patterns.
For 8 seconds between 6.28 to 6.36 it sounds like it came from a “Tom and Jerry” cartoon.
Check out the harmony section from 8.58 which gets em out of the solo section and into the final part of the song.
Honor Thy Father
My favourite song for the riffs and melodies. It’s a metal tour-de-force.
The subject matter about Mike Portnoy’s stepfather didn’t resonate with me, but man, the riffs and melodies are fantastic.
After the heavy intro, press play to hear the first verse. And how good is the arena rock Chorus.
When the second verse rolls again, the original riff is played with distortion and man, it works so well. But at 3.51. instead of going into the Chorus again, they go into a verse with the riff tweaked a little bit more to make it sound different and unique.
And like all the songs on the album, from the 5 minute mark they go into a lengthy solo section.
Vacant
It’s the shortest song on the album, at 3 minutes long. It’s a haunting piano riff (which sounds like the bass riff to start of “Stream Of Consciousness”), with a little bit of an orchestra and LaBrie’s vocals.
The lyrics to “Vacant” were inspired by James LaBrie’s daughter, who fell into a short coma after suffering a sudden, unexplained seizure three days before her seventh birthday.
Stream of Consciousness
The DT instrumentals always have memorable sections via a lead or a riff. This song is no different especially the first two minutes. Essential listening.
The title had been around for a while in the DT world.
Of course, the solo from Petrucci is Guitar Hero stuff. Yes, there is flash and some fast picking, but it’s so melodic as well. If you like the playing of people like Steve Morse, Al DiMeola, Steve Vai, Paul Gilbert and Joe Satriani, then you will like what Petrucci does here.
And at 7.30 that fantastic intro music comes back in, more ferocious with a few little tweaks.
The whole is the longest instrumental on a Dream Theater studio album to date and was the intended title for Falling Into Infinity.
And one of the YouTube comments on the song still cracks me, “LaBrie never sounded better”.
In the Name of God
The closer at 14.15 about religion and how it indoctrinates people to kill in its name.
The acoustic intro sets the tone, before the distortion crashes in. It’s a slow groove by Portnoy before they pick it up and play it double time.
The verse riff is head banging and it reminds me of “As I Am”. Petrucci drops out and lets Myung roll with it on the bass, while Petrucci switches to decorating.
LaBrie is a monster on the vocals here. Listen to him between 4.46 and 5.30. Throat ripping stuff.
As is the theme of the album, they then go into a long solo section in the middle of the song.
Press play to hear Petrucci wail between from the 8.40 mark.
The album did exactly what it needed to do. It put them on tour again, it got them into large metal festivals, something which they couldn’t do before and it renewed their fan base with metal heads.
Megadeth – the riffs are there on a lot of the songs, but the vocal melodies are hit and miss.
Halestorm – I feel like Lzzy believes she needs to scream and throw her throat out all the time like Bon Scott or Brian Johnson to rock hard. She doesn’t. She is an unbelievable singer, guitarist and songwriter.
Papa Roach – Yeah, 10 out of 10 for incorporating different mainstream sounds into their music, but it’s too far departed from who they are.
Crashdiet – I needed more from the same creative juices that wrote “Together Whatever”, “Shine On”, “No Man’s Land”, “Dead Crusade” and “Darker Minds”.
Bullet For My Valentine – They are suffering an identity crises. I don’t know why artists believe that if they scream and growl they get more creds for being tough. Matt Tuck is one hell of a vocalist and when he gets the clean tone and the screamo correct in a song, it’s excellent.
Five Finger Death Punch – They have no identity crises here, but it’s the same as all the albums.
Stryper – with Michael Sweet doing a few different hard rock projects, it’s cool that he is keeping Stryper as metal as they can be. But. I still want the hooks.
Disturbed – the duet with Ann Wilson from Heart (“Don’ Tell Me”) is the best thing on this album. The rest is same same.
I’m Interested Again
Skid Row – If Motley Crue could find a way to work together, then I am pretty sure Skid Row could have done so as well. But whatever Sebastian Bach said to Rachel Bolan and Dave Sabo many years ago it has left a wound that would not heal, so in the last 25 years, the fans have had a few different versions of the band with different drummers and vocalists.
But this time, the dance is different. They have a hard rock vocalist, who grew up on the hard rock that Skid Row wrote and who used Sebastian Bach as an influence. I guess “The Gang’s All Here”.
Arch Enemy – The riffs. Super melodic and headbanging at the same time. Press play on “Deceivers”.
Evergrey (songs from their new album, “A Heartless Portrait (The Orphean Testament)” and last years “Escape Of The Phoenix), Machine Head (songs from their new album only) and The Butterfly Effect (songs from their new album and “Final Conversation” (2008)) took up a lot of space in my Top Songs 2022 Spotify List as each artist had new albums this year.
So did Free Spirits Rising, a one man band from Australia. It’s very diverse, ranging from old school thrash metal, heavy metal and hard rock, and its raw/demo sounding and I like it. A song is released every two months or something like that. Check out songs like “Midnight Train” (melodic hard rock), “Chasing Days” (80’s thrash), “Outside The Lines” (melodic metal), “It’s OK” (pop rock), “Time Trigger” (80’s thrash) and “It Starts With Me” (acoustic rock). There is a lot of variety there. Hell, chuck in “Prey” for its nod to AC/DC.
The Night Flight Orchestra – From Sweden, a side project from Extreme Metal musicians is 10 years deep into their career. Their songs, “Moonlight Skies” (2021), “White Jeans” (2021), “Burn For Me” (2021) and “Taurus” (2020) are still in my Top Songs lists.
Volbeat – From Sweden, “Shotgun Blues” (2021) and “The Passenger” (2021) are still in my Top Songs lists.
John Petrucci – From the U.S, “Happy Song” (2020) is still in my Top Songs lists.
De Mont – From Australia, the band broke up circa 1993/94, however their song “In My Dreams” (1989) is in my Top Songs list.
Daughtry – From the U.S, the song “September” (2009) and various tracks from his recent album “Dearly Beloved” (2021) are in my Top Songs list.
Birds Of Tokyo – From Australia, their song “Broken Bones” (2008) is in my 2022 list.
Dream Theater – From the U.S, “A Change Of Seasons” (1995) was a go to track this year.
Metallica – From the U.S “Master Of Puppets” (1986) is in my 2022 list. How can you not play it after “Stranger Things”.
Times Of Grace – From the U.S “To Carry The Weight” (2021) is in my 2022 list.
Disturbed – From the U.S “The Vengeful One” (2015) and “The Light” (2015) appeared in my 2022 list.
Ghost – From Sweden, the song “Griftwood” (2022) and “Kaisarion” are in my 2022 list.
Arch Enemy – From Sweden, the song “Poisoned Arrow” (2022) and “Handshake With Hell (2022) are in my 2022 list.
Vanishing Point – From Australia, songs like “The Fall” (2020) and “Count Your Days” (2020) are still doing the rounds.
Jorn – From Norway, his cover of “Running Up That Hill” was in my top songs playlists for the last three years, way before Kate Bush made a comeback on the back of “Stranger Things”.
Reckless Love – From Finland, their cover of “Bark At The Moon” (2022) is in my 2022 list.
Gun – From Scotland, reformed in a way and re-imagining some of their songs from their three big albums between 1989 and 1994. In this case “Better Days”, the 2022 version (the song originally came out in 1989) made it to my 2022 list.
Trivium – From the U.S, “The Defiant” (2020) is in my 2022 list.
Dio – Thank you God for giving us Ronnie James Dio (RIP). Classic songs like “Rainbow In The Dark” (1983) and “We Rock” (1984) are still sticking around.
Bad Wolves – From the U.S. their song “Lifeline” (2021) was in my Top 2022 list.
King King – From Scotland, their song “Fire In My Soul” (2020) was in my top songs.
Queensryche – From the U.S, the song “Walk In The Shadows” (1985) connected with me this year and it made it to my 2022 list.
Dee Snider – The voice of my youth, straight from the U.S, with “I Gotta Rock (Again)” is back in my Tip Songs list.
Black Label Society – From the U.S, “Angel Of Mercy” (2014) is still in my Top Songs lists. The guitar solo is one of my favourites ever.
Another side project from extreme metallers to pay homage to their classic rock and metal influences which has become their main project. Think of bands like Kiss, Deep Purple, Ozzy Osbourne, Thin Lizzy, Iron Maiden, Scorpions, Helloween, Judas Priest, Van Halen, Tool, Metallica, Cheap Trick.
“Devils Bell” follows the excellent “Blackout” album from 2018, which featured “This Is War” and “Audrevolution”, two of my favourites from the.
As soon as you press play to “Ashes to Ashes”, the harmony guitars assault your ear buds. It’s almost doom like and after 46 seconds, the song morphs into something different, but it’s at the 1.40 mark when the guitar hero riff kicks in.
“Animal” has a riff straight from the rule book of the NWOBHM. “Breakout” has a killer riff that is from the 80’s, very Jake E. Lee (Ozzy period) and George Lynch (Dokken period) like and it morphs into a Jimmy Page riff, something like he played on “Whisper A Prayer For The Dying” on Coverdale/Page.
“Return To Grave Valley” (an instrumental) has a Thin Lizzy and Iron Maiden influence, which they also used on the excellent “This Is War” from the previous album.
“Danse Macabre” (translates to Dance With Death) has nothing to do with Ghost except that both songs have great riffs and catchy vocal melodies.
“Devils Bell” continues the Iron Maiden/Helloween influences. Make sure you stick around for the interlude/harmony solo section. “All Is Lost” has another killer guitar intro and stick around for the killer middle section which features vocal ohhs and harmony guitars.
“Toxic Twins” has some excellent guitar work. The names Arve “Ice Dale” Isdal and Thomas Tofthagen don’t have the same recognition as other guitarist, but these dudes can play and wail with the best of em. Underneath it all are the mammoth sized bass lines from Espen Lien and the thunderous Bonham meets McBrian drums of Kjetil Grev.
Another key ingredient to Audrey Horne are the early Ozzy like vocals from Torkjell “Toschie” Rod. Its unique enough to be his own and it has enough elements to pay homage to Ozzy.
“From Darkness” channels Uli Jon Roth from his Scorpions days. Think “He’s A Woman, She’s A Man”. And that solo section again, brings back memories of their love for Iron Maiden.
Compared to the streaming numbers of other bands, Audrey Horne is way below those numbers with most of the songs under 100K in streams.
Alter Bridge
From the U.S.
I wasn’t sure I was going to spend time to listen to “Pawns And Kings”. I feel like Myles’s voice is everywhere these days with so many projects happening that I enjoy, like his work with Slash, his Alter Bridge work plus his solo career. But as a guitarist, I am always super keen to hear what Mark Tremonti is up to.
I try to not listen to the pre-release singles but on this case I did spend time with a few. How can you deny a track with the title “This Is War” or “Pawns And Kings”. In the words of Yoda, “impressed, I was”.
After a long three month lead in, the album finally dropped in October, 2022. Compared to the streaming numbers of say, Three Days Grace new album, this one feels like it’s forgotten, however Three Days Grace does have a four month heads start.
The very metal like “This Is War” gives way to the heavy rock riffage of “Dead Among The Living”, which could have come from the recent Tremonti album. “Metalilngus” from their debut album is one of their most streamed songs at 101 million streams on Spotify, so it’s no surprise they try and keep the metal going with “Silver Tongue” which is also their most streamed song from the new album at 3.1 million streams on Spotify.
The intro riff on “Sin After Sin”. Wow. Press play and enjoy the almost 7 minute long song that moves between heavy metal, groove metal and heavy rock. At 1.4 million Spotify streams, it’s one of the Top 5 songs from the album when it comes to streams.
The sequencing on the album is excellent, as it transitions to a major key pop rock song in “Stay”. It’s much welcomed after the groove metal behemoth “Sin After Sin” before it. And at 756,559 streams its more or less forgotten, but it shouldn’t be.
“Fable Of The Silent Son” is an 8 minute epic that kept me interested throughout. Because while it starts off all dreamy like at 2.50 an almost djent like riff kicks in and they make it sound accessible. At the 5 minute mark this Tool like section kicks in before it goes into a Randy Rhoads style like solo section. This is the Alter Bridge I like, when they go back to the 70’s Rock albums and experiment.
And the sequencing again is spot on, as they hit us with a major key song in “Season Of Promise”. Stick around for the section between 2.30 and 3.30, because when Myles is singing like that, how can you not like it.
“Last Man Standing” is the least streamed track on the album at 490K Spotify streams. But I am hooked from the digital delay riff in the intro and that riff that kicks in at the 57 second mark.
The title track. Wow. Especially the “One” like section from about the 2.50 mark. 6 minutes and 18 seconds later I needed to hear it again. When the solo kicks in, the riff under it is very Middle Eastern sounding, so Tremonti is operating in the Phrygian Dominant scale. If you are a Muse fan, then you will enjoy the outro.
Bush
From the U.K.
How good was “The Kingdom” (2020)?
Well Gavin Rossdale must have thought the same, because he is continuing to live in the music and style of said album with a few little tweaks here and there. As a side note, the song “Undone” from “The Kingdom” only has about 500K Spotify Streams, but wow, what a song that is.
I feel like I am drowning with “Heavy Is The Ocean”, its downtuned and depressive riffage sinking me.
“Slow Me” immediately hooks me, as it starts off with the vocal melody. “More Than Machines” is the most streamed song at 2.29 Spotify Streams. How good is the vocal melody during the Chorus?
“May Your Love Be Pure” and “Shark Bite” bring the groove rock, while “Human Sand” brings back the retro 70’s feel of Classic Fuzz Rock in the intro. “Kiss Me I’m Dead” also has an intro riff which reminds of 80’s metal. “Identity” has a head banging industrial metal riff ala Rammstein.
“Creatures Of The Fire” is as good as anything on the charts and at 127,815 Spotify streams, the song is forgotten. It reminds me of the excellent “Undone” from “The Kingdom” album.
The closer “1000 Years” is also a favourite, with its synth like guitar riff and Rossdale’s sad vocal delivery.
Shinedown
From the U.S.
It’s not their best work but probably their most angriest. A lot of living has happened between “Attention Attention” (2018) and “Planet Zero”. It’s no surprise that George Floyd, the Insurrection and Covid lockdowns get some attention on this album.
After a brief 22 second intro from “2184”, a punk metal burner called “No Sleep Tonight” kicks in. “Planet Zero” was one of the lead singles and its sitting at 16.2 million Spotify streams, but it’s not the best song by a long shot.
“Dysfunctional You” could have come from “The Sound Of Madness” while “Dead Don’t Die” would keep the fans from “Threat To Survival” happy.
“America Burning” is patchy.
But “A Symptom Of Being Human” is by far the best track on the album. An acoustic song, which could have been written during the Smith And Myers sessions, it arrives on this album, exactly when you need it.
“Hope” is a four letter word, is the hook for the song. It’s classic Shinedown doing rock ballads with balls.
“Clueless and Dramatic” is “The Sound Of Madness” part 2 and I like it. “Sure Is Fun” is anything but, while “Daylight” is showing to be a sleeper hit with 7.3 million Spotify streams and counting. It lives in the Shinedown meets The Script meets Imagine Dragons world.
“The Saints Of Violence And Innuendo” is a cross between Brit Pop and Aerosmith while “Army Of The Underappreciated” is a miss. “What You Wanted” could have come from Smith and Myers.
As a fan, the last two albums have been hit and miss. Three to five killer tracks and the rest loaded with filler.
Just missed out
Reckless Love
From Finland.
The album “Turborider” was moved out of 12th place because somewhere in my subconscious I couldn’t have an EOY list and not have Shinedown on it, especially when they have a new album out.
But check out songs like “Turborider”, “Outrun”, their cover of “Bark At The Moon”, “Like A Cobra”, “For The Love Of Good Times” and “89 Sparkle” sounds like a modern disco dance cut with a dash of hard rock. “Future Lover Boy” is another dance rock tune, with synths and a metronomic drum beat.
“Prodigal Sons” is the heaviest track, reminding me of early The Rasmus. And my favourite.
It’s nothing earth shattering, not really original, the lyrics are dumb, but Reckless Love do their homage to the 80’s really well. And I like it. On some occasions it almost comes across as parody. But never boring and a 35 minute blast from start to finish. And there is still plenty of shred on hand for the guitar purists.
So why didn’t it make my Top 12.
It’s the electronic dance beats and synths. These add ons on each track made the songs sound too computerized and in some stages the auto-tuned vocals robotic. But I think that was the style they were going for.
“Vaxis II: A Window Of The Waking Mind” continues their “Amory Wars” space opera. The “Vaxis” series takes place after “The Keywork” was destroyed and it follows a couple on the run, along with an “Eleven” like Child which came into they care, as they try and
The thing about CoCa that I like is the variety in the music. You get major key songs which sound like Pop Punk/Metal/Rock songs like “Comatose”, “Rise, Naianasha (Cut The Cord) and “The Liars Club” (My Chemical Romance comes to mind here).
“Shoulders” and “Love Murder One” are modern groove rock tracks.
“A Disappearing Act” could end up on dance floors with its pulsing synth riff and bouncing bass/drum groove, and yet it still rocks hard. Then again, “Love Murder One” has a lot of pop elements as well, which could fit this category as well. “Bad Love” pushes the limits of fusing what is contemporary pop/dance with hard rock. It’s catchy and I like it.
“Blood” is a slow rocker with auto-tuned vocals which serve the song well. It could be on a Post Malone album. “Our Love” is another slow rocker, more U2 and 80’s synth Rush.
“Ladders Of Supremacy” is written after George Floyd’s horrible death. Its heavy and it rocks. And they made it fit the story. Check out it’s Tool like section from the 5 minute mark.
“Window Of The Waking Mind” is progressive in its arrangement and moods.
Claudio Sanchez along with Travis Stever have kept my interest in Coheed and Cambria for the 20 years I have been a fan. During that time drummer Josh Eppard left and came back, while original bassist Michael Todd couldn’t shake off his addictions which put him onto a path of armed break-ins and jail time, who was then replaced by Zach Cooper and what a job Cooper has done the last 10 years he’s been with the band.
Ghost
From Sweden. Their streaming numbers are wow. Along with Volbeat, they are part of big metal acts these days based on their streaming numbers.
“Kaisarion” is a great way to kick into album after the 100 second “Imperium”.
“Spillways” feels like a 70’s Classic Rock track, with its metronomic piano riff. And how creative is the hook, “through the spillways of your soul”. Who comes up with this?
“Call Me Little Sunshine” has me ready to take up arms. It’s clean tone intro feels like the pyramids are getting built and when it cranks into the distortion, it’s time to break desks.
How good is that melodic riff in “Hunters Moon”?
And if the intro to “Watcher In The Sky” doesn’t get you moving, check for a pulse. And that hook, “search lights, looking for the watcher in the sky”. Brilliant.
But my favourite is the Van Halen-ish “Aint Talkin Bout Love” sounding “Griftwood”.
Out Of This World
From Sweden.
I was blown away by this album. Kee Marcello is on guitars and keys here, with Tommy Heart on vocals, Ken Sandin on bass, Darby Todd on drums with Don Airey performing guest keys. In case you are not aware, the name of the band is the same as the album that Kee Marcello played on with Europe. “Out Of This World” was the highly anticipated album after “The Final Countdown” however it only sold half of what the previous album did. Marcello would record the excellent and forgotten “Prisoners Of Paradise” (1992) and he more or less disappeared from the writings of the press.
The way Marcello plays the guitar, he is more of a cross between Steve Vai and Eddie Van Halen, then others, and you can hear this on the songs. His love of Styx, early Journey and Toto and their melodic rock songs is also evident here, as it feels like Steve Lukather played on the album.
Vocalist Tommy Heart is a pro here as well, delivering quality on each song. Because in the end, it doesn’t matter how great the music is, if the vocals are crap. And there are no crap vocals here. Hell, on some songs, I feel like Joey Tempest is singing.
The album clocks in at 45 minutes and the only thing I could after it finished is press play again. Tracks like “In A Million Years”, “Lighting Up My Dark”, “Staring At the Sun” and “The Warrior” (Van Halen’s “Hot For Teacher” comes to mind, then again, “The Winery Dogs” have taken this approach as well) are on par with the well-known tracks from the Melodic Rock and Melodic Metal mainstream era between 1984 and 1991.
Do your ears a favour and press play on it?
Three Days Grace
From Canada.
They became mainstream in the early 2000’s (circa 2003/04) and they rode that platinum success for over a decade. Then vocalist Adam Gontier left abruptly in 2013, replaced by Matt Walst from the band My Darkest Days. His brother Brad is the bassist of the band and one of its founders, along with drummer Neil Sanderson and ex-vocalist Gontier. Barry Stock rounds out the band as the second guitarist.
The last album they did with Gontier, “Transit Of Venus” is my least favourite and it’s taken a while for the band to recapture that fan base. “Human” was a good start (“Painkiller is sitting at 140 million streams) but the excellent “Outsider” released in 2018 got me back on board. On Spotify, songs like “Right Left Wrong” (44.1 million streams), “The Mountain” (74.6 million streams), “Infra-Red” (50.7 million streams), “I Am An Outsider” (25.3 million streams), “Strange Days (12.3 million streams) and “The Abyss” (10.1 million streams) need to be listened to.
So “Explosions” was highly anticipated.
The album immediately introduces the heaviness with “So Called Life”. At 34.2 million streams on Spotify since May 2022, it will surpass a 100 million by this time next year. Because we are looking for something to take the edge off this so called life.
“I Am The Weapon” is heavy and melodic and it could have come from the melodic metal streets of Sweden. “Neurotic” which features Lukas Rossi is a throwback to the Gontier fronted albums, which will satisfy the core. Along with songs like “No Tomorrow” and “Redemption”.
You can hear the heartache in “Lifetime”, its slow rock, but if you listen closely, you can hear those ballad like country licks being played.
Press play to hear the intro riffs to “A Scar Is Born”.
I love the way “Souvenirs” percolates and builds around Matt Walst’s vocal melody until it explodes. And the hooks in the Chorus, “We don’t know why we’re here, but we’re not here for long” and “Surrounded by souvenirs from days that are gone”. Truth right there. At 1.7 million streams the song is more or less forgotten, but it is one of my favourites.
“Champion” is Imagine Dragons and The Script with more grit. “Chain Of Abuse” could have come from Breaking Benjamin. “Someone To Talk To” features the cellos of Apocalyptica,
The closer is the title track.
At 37 minutes long, the album is concise, it rocks hard and the only thing you can do afterwards is press play again.
From Sweden, they hit onto a particular metal style with the “Hymns For The Broken” (2014) album and “The Storm Within” (2016) and they have been living in that world for over a decade now. “A Heartless Portrait (The Orphean Testament)” is their latest album, on the backs of “The Atlantic” (2019) and “Escape Of The Phoenix” (2021).
As a fan, I cannot complain at being exposed to 5 studio albums and 1 live album in an 8 year period.
This album has something for everyone.
It’s got heavy melodic rock, with “Call Out The Dark” and “Heartless”, moody atmospheric with “Wildfires”, groove metal with “Save Us” and “Midwinter Calls”, progressive metal with “The Orphean Testament” and “ “, doom metal with “Ominous”, melodic Metal with “Reawakening” and “Blindfolded” and their special brand of metal with atmospheric vibes with “The Great Unwashed”
P.S. As a guitar player, the album is full of guitar hero moments from vocalist/guitarist Tom Englund and guitarist Henrik Danhage.
Machine Head
From the United States.
After the departure of drummer Dave McClain and guitarist Phil Demmell in 2018, Robb Flynn kept the Machine Head brand going with stand-alone releases with “Do or Die” (2019), “Circle the Drain” (2020), The “Civil Unrest” EP from 2020 which featured “Stop the Bleeding (feat. Killswitch Engage’s Jesse Leach)” and “Bulletproof”.
Robb Flynn got hooked on the anime show “Attack On Titan” and wrote a concept story called “Of Kingdom And Crown” set in a futuristic wasteland which revolves around two characters, Ares and Eros, who both go on their own respective killing sprees following the death of their loved ones.
What an album.
The first 3 minutes of “Slaughter The Martyr” is essential listening as they build it up with great melodic vocals from Robb and bassist Jared MacEachern.
When the fast riff kicks in at 3.10, it’s time to break some desks. And that intro section comes back in at the 8.20 mark where it smacks me in the face with its sadness.
My favourite songs are “Unhallowed” (that head banging riff, plus it is the first song in the album sequence that has a co-write from new lead guitarist Waclaw Kiełtyka), “Arrows In Words From The Sky” (a masterpiece), “My Hands Are Empty” (the vocal melody) plus additional song writing by original MH lead guitarist, Logan Mader “Kill Thy Enemies” (the main Chorus riff plus check out that bridge section at 2.40) and “No Gods, No Masters” (the whole song is a masterpiece).
Long Distance Calling
The names of Dave Jordan and Florian Funtmann on guitar, Janosch Rathmer on drums and Jan Hoffman on bass are virtually unknown.
From Germany, it’s all instrumental and I was tuned in the whole time. This isn’t instrumental like Steve Vai or Joe Satriani. It’s different. There is always a groove and a riff which form the foundation. Then they decorate. But it’s not a 1000 notes per second decorating. It’s melodic, sometimes it’s just a single note droning across the different bars of the riff. And the drummer by Janosch Rathmer is superb.
After a haunting music box minute intro they kick into the riff heavy “Blades”. But it’s the moody songs like “Kamilah”, “Sloth”, “Blood Honey” and “Eraser” (that section from 4.50 to the end, a masterpiece) that really connect with me. Also check out the riff at 4.30 in “500 Years”, the intro section to “Giants Leaving”, and that melodic riff in “Landless King” at 1.30 or that clean tone section from 3.30.
I don’t like to label them with other bands names because their soundscapes are unique to their own but people like to have that association. Pink Floyd were classified as progressive rock, so is King Crimson, so is Tool, so I
And I want to make mention of the title track “Eraser”. There is a video done in conjunction with Greenpeace which shows how much of the world humanity has erased. Check it out on YouTube. And if you are a fan of the band, you will note how the last track on the previous album “How Do We Want To Live?” had the spoken words of “Humanity is the virus”. In this case, there are no words spoken, but the YT video makes it clear that that “Humanity erases nature instead of living in equilibrium with it”.
The Butterfly Effect
From Australia, “IV” is their fourth album (“duh”) however it is their first piece of new music in over 14 years and what a triumphant return it is.
This album was also anticipated highly by me. You see “TBE” are part of a group of Australian artists like Cog, Karnivool, Birds Of Tokyo, Dead Letter Circus, Superheist and The Superjesus that I really got into between 2001 and 2012. One of the bands I was in opened up for Cog quite a few times.
Every song is strong.
“IV” is a raw, sad instrumental which leads into “Dark Light” and that pseudo melodic metal Chorus. I feel like I hear “Come Undone” in “The Other Side” and I like it.
“So Tired” sounds like a demented Guns N Roses in the verses and a section which reminds me of Aussie rockers “Powderfinger”. But make sure you stick around for the interlude section of the song (which also sees the song to the end). The music and the vocals of Boge as he sings “It’s not over now”. It’s unbelievable.
“Unbroken” is the most streamed song from the album at 458K streams. Its melodicism immediately infects me.
But closing track, “Visiting Hours” is a masterpiece to me. It is an accumulation of their first three albums into an atmospheric, progressive ballad.
Vocalist Clint Boge is one of the best in the business. Guitarist Kurt Goedhart is a riff-meister and he decorates each track expertly while bassist Glenn Esmond and drummer Ben Hall showcase why they are one of the tightest rhythm sections around.
Or in the case of the metal-esque song “Great Heights” one of the most expressive rhythm sections.
And in keeping with the Aussie spirit of sinking a few cold ones before a show, The Butterfly Effect teamed up with their favourite brewery, Green Beacon Brewing Co, to create an ‘Amplified Ale’, which was available to enjoy on their recent sold out tour.
Dream Theater was redeemed. Their previous album “Scenes From A Memory” renewed their fan base while also satisfying the existing fan base.
I was interested at what was next.
A double album. This is something the band tried to do with “Images And Words” and “Falling Into Infinity” however the label both times said “no”. But this time around, they said yes.
With the same personnel of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Portnoy locked in, the band released “Six Degrees of Inner Turbulence” on January 29. 2002. The first disc is made up of 5 songs that total 54 minutes and 18 seconds. The second disc is one song, which clocks in at 42 minutes, however that one song has 8 sections in it, which are sequenced as individual songs.
On the Wikipedia page for the album, it tells me that the influences for the album’s writing and recording, according to the authors, include Metallica’s “Master of Puppets”, Radiohead’s “OK Computer” (and also a Radiohead bootleg Portnoy brought in), Pantera’s “Far Beyond Driven” and the song “Mouth for War”, Megadeth’s “Rust in Peace”, U2’s “Achtung Baby”, Tool’s “Ænima”, Nine Inch Nails’ “The Downward Spiral”, Soundgarden’s “Superunknown”, Alice in Chains’ “Dirt”, Kevin Gilbert’s “Thud”, King’s X’s “Faith Hope Love” and Galactic Cowboys’ “Space in Your Face”, Béla Bartók, Rage Against the Machine’s “The Battle of Los Angeles”, and Maria Tipo’s “Chopin Nocturnes”.
As a fan of the influences mentioned, I can definitely hear their sounds and textures.
The Glass Prison
The opening track.
It’s 14 minutes long, consisting of three parts called “I. Reflection”, “II. Restoration” and “III. Revelation”. The lyrics are written by Mike Portnoy and it’s the beginning of his “Twelve-Step Suite”. This song covers the first three steps of the AA program. The other steps would appear on subsequent albums.
The static phonograph noise that ends “Finally Free” on “Metropolis Pt. 2: Scenes from a Memory” (1999) begins this song. Then the arpeggiated bass riff starts the song. Press play to hear it. It’s essential listening, especially when the band starts to crash in and build it up.
At 5.487 million Spotify streams, the track is forgotten. But there are so many good bits in the song, like the thrash metal riff in the Verses which reminds me of “Disposable Heroes” by Metallica, or the Groove Metal riff at 5.55 which reminds me of Pantera or the riff at 11.10 which reminds me of King Crimson.
Blind Faith
Lyrics are written by James LaBrie. For a vocalist, he doesn’t get a chance to write the words he sings for the band. John Petrucci does most of em these days. Previously he shared this duty with Kevin Moore and then Mike Portnoy.
1.802 million streams on Spotify. Another forgotten track, however its dreamy Pink Floydish meets Marillion vibe gets me interested. The verses are a cross between Pink Floyd, U2 and Marillion.
Pink Floyd is a band that people either get or don’t get, hence why they come up in a lot of overrated lists.
For a song that’s almost 11 minutes long, the riff at 5.45 is to be heard.
Misunderstood
Lyrics are written by John Petrucci.
It percolates slowly until it explodes. Just over 9 minutes long, check out the acoustic guitar intro, which again reminds me of Pink Floyd and you need to stick around for the Chorus distorted riff at 4.08.
As part of the solo, Petrucci played the guitar solo, and then reversed it with the DAW software. He then learned how to play this reversed version, and recorded it that way. The listener gets a very unsettling effect.
The Great Debate
Tool immediately comes to mind. Lyrics are by Petrucci and at almost 14 minutes long, the song has a lot of great movements.
A bass guitar riff starts the song off, with Portnoy building it up to a crescendo while voices from various news reports talk about stem cell research while the keys/guitars decorate.
Then it cranks into the Tool riff and for about 5 minutes it follows a Verse/Pre/Chorus structure. Make sure you stick around for the riffs when Labrie is singing “Are you justified” and “Life to save life”. It’s basically Tool without Maynard, then again, Fates Warning released a Tool meets Porcupine Tree sounding album in 2000 with “Disconnect”. Jim Matheos showcased then that he can groove and decorate with the best of em.
Disappear
It’s rare that LaBrie gets two song writing credits. But here it is. The original title was “Move On”. The piano riff in the Intro hooks me, but man, that section from 4.37, it’s so heavy with depression and sadness, which I suppose goes with the “death” theme lyrics.
Disc two is the entire song “Six Degrees of Inner Turbulence”. Thank god Portnoy decided to sequence the CD so you can skip to the desired part.
The song explores the stories of six individuals suffering from various mental illnesses. Particularly represented are bipolar disorder, post-traumatic stress disorder, schizophrenia, post-partum depression, autism, and dissociative identity disorder. The “Unbreakable” trilogy from M. Night Shyamalan comes to mind here.
Overture
It all starts here, the Jorden Rudess composed instrumental, clocking in at 6.50.
While listening to these orchestral piece I find it boring, however when the band heard it, they took various melodies and ideas contained within this version and expanded them into segments of the complete piece. So what you hear here end up in the songs to come. But I still don’t like it.
For “Overtures”, I will take “The Titanic Overture” any day.
About to Crash
Lyrics written by Petrucci. This section clocks in at 5:50 and it’s very Genesis like.
“War Inside My Head” and “The Test That Stumped Them All “
They go together as the heavy/thrash metal pieces of the song with lyrics written by Portnoy.
Together the songs clock in at 7:11 in length. It has to be a special Portnoy nugget to have these two songs come in at 7/11. Press play to hear the Main Riff of “The Test That Stumped Them All”.
Goodnight Kiss
It’s a skip for me.
Solitary Shell
How good is the major key strummed intro from Petrucci who also wrote the lyrics.
About to Crash (Reprise)
The intro riff is a favourite. The first words I said were “fuck yeah”.
Lyrics are written by Petrucci and the song also has this Celtic section at 2.20 that I like along with the piano riff after it.
Losing Time/Grand Finale
A forgettable ending.
It’s never forgotten to me how Dream Theater carved out a career in a musical hostile label and promoters environment between 1992 and 2003.
When they broke big with “Images And Words”, Seattle was the scene. 10 years later, “Nu-Metal” and its various offspring’s like “Post Grunge” and “Alternative Rock” were a thing and acts like Creed, Limp Bizkit, Slipknot, Offspring, Disturbed and Nickelback were getting platinum albums thrown at em from every corner of the world. And yet they never abandoned their style. While they would incorporate some of the mainstream sounds into their music, they still kept their Dream Theater identity.
And this album was the springboard for bigger and more metallic things to come.
I like doing these review posts as it gives me the opportunity to read my earlier writing. Some of it is okay, some of it is crap and some of it is good. But the life Reno’s I went through recently put a stop to these weekly posts.
You can read my review of Redemption’s new album at the time, “Long Night’s Journey Into Day”. Vocals on this album were provided by Tom Englund from Evergrey, while previous efforts had Ray Adler from Fates Warning fronting them.
Being a fan of Redemption before Englund joined, I was always keen to hear a new Redemption record, however I was even more keen to hear it when I knew Englund would be singing.
Back in 2018, we had gas poisoning and acid attacks in the UK, Russia meddling in politics (and still meddling via a pointless war in Ukraine) and mother nature taking back her lands via fires, volcanoes, hurricanes/twisters and earthquakes. We have a problem with pollution in the air and plastics in our waters. We have people carrying out mass shootings or driving vehicles into crowds of people. We have wars over religion and poverty/famine in Africa is still happening and as much as big business want to deny it, climate change is real.
And then of course we got lockdowns due to COVID-19.
The past is littered with bands and music in general taking a stand against a problem, a situation, injustice and war. But what about now. What is upsetting musicians enough that they feel compelled to write about it?
“Dr Feelgood” came out on the first of September, 1989. 33 years ago. The album cost me $19.99. I pay just a little bit more than that a month now for my whole family to listen to almost the history of music on Spotify.
The drug overdoses, the death and subsequent return from death for Nikki Sixx, the drugs, the crashed cars, the lawsuits, the drugs again, the imposter, Vince escaping jail, the women, the drugs again times two, the partying, the clashes with the law and the eventual “sobriety”.
“Dr Feelgood” had to be number 1. If the music didn’t do it, the stories would have. Apart from the big songs, the other songs on the album were not mere filler.
“Sticky Sweet” has a wicked solo section, “She Goes Down” has a great bass and drums verse section after the solo section, which ends with the sound of a zipper going down, “Slice Of Your Pie” is so Aerosmith, but it’s the Beatles “She’s So Heavy” outro that hooks me, while “Rattlesnake Shake” has a riff reminiscent to the 60’s blues guitarists that influenced Mick.
“Live After Death” on cassette was my first Maiden. I even high speed dubbed the album, just in case the cassette deck chewed up the original tape. “Powerslave” was released a year before “Life After Death” but it came into my collection a few years after because if you had “Live After Death” you didn’t really need the earlier albums.
The thing with “Powerslave” which makes it great is that it has the power and energy of a live album and the line-up is finally stable. When you don’t have to look for new musicians to fill the void, you can focus on writing great songs as they did with the “Peace Of Mind”, “Powerslave”, “Somewhere In Time”, “Seventh Son of A Seventh Son”.
For an album which is 38 years old, it’s still so relevant today as it was back then. That is the power of music and great song writing.
1979 was a year of transition. While some bands were on their last legs, some were just starting to find their own.
Led Zeppelin were coming to an end while Thin Lizzy was on the ascendancy. The Scorpions had bigger things waiting with “Rock You Like A Hurricane” and “Winds Of Change” while Fleetwood Mac and Bad Company delivered stellar albums that unfortunately got compared to their previous mega gazillion selling albums.
Aerosmith became a shell of the band they were with “Night In The Ruts”, while Motorhead after a few up’s and downs with record label crap, got lumped in with the NWOBHM movement starting off and started their brief commercial rise.
Uli John Roth left Scorpions and created Electric Sun, but in all honesty he should of stayed with Scorpions, while a supergroup of “musicians who all had small record deals” got together and called themselves Survivor. “Eye Of The Tiger” was a few years away, but you get to hear a band allowing their influences to shape their sound.
Basically, all the bands on this list just kept on creating, regardless of their status on the record label commercial tree. Because that’s why people get into music, to create. Not because copyright terms are forever or because some label said I will give you money to create.
Led Zeppelin – In Through the Out Door Scorpions – Lovedrive Thin Lizzy – Black Rose: A Rock Legend Fleetwood Mac – Tusk Bad Company – Desolation Angels Aerosmith – Night in the Ruts Motorhead – On Parole Motorhead – Bomber Motorhead – Overkill Electric Sun – Earthquake Survivor – Survivor Susan – Falling In Love Again
“Generation Swine” and “Saints Of Los Angeles” both came out on June 24, 11 years apart.
How fortunes change for a band in a decade?
Before 1997, Motely Crue was riding high after “Dr Feelgood”. They renegotiated their Elektra contract for a lot of money and dropped “Decade Of Decadence” with 3 new studio recordings. Life was good.
Then Vince left or was fired (depending on whose story you believe). Regardless, the Crue got Corabi and delivered a stellar self-titled album in 94. But it didn’t sell the way Elektra wanted it too, and since they were footing the bills, they wanted the blond guy back in. Yep, Elektra Records A&R Reps in 1995, referred to Vince Neil as the blond guy.
The Crue camp remained defiant and went ahead writing songs for an album to be called “Personality #9” with Corabi. But money wins in the end and Corabi was out and Vince was back in.
It’s never been confirmed, but the Chinese whispers were in full voice, and the story doing the rounds mentioned how Corabi’s wage was coming from the other guys. Basically, Elektra paid Nikki, Tommy and Mick. Management took their cut, legal took their cut, Corabi got paid a wage and the rest was shared between the other three based on the band agreement.
“Generation Swine” came out, you heard it was a confused album. During the tour, Tommy Lee and Vince Neil punched on and Tommy leaves, then comes back and leaves again. Nikki gets into a slanging match with Elektra and eventually the contract was terminated and somehow Nikki managed to get the copyrights of the Crue songs back in the hands of the band. They form their own label and away they go.
Randy Castillo comes in, “New Tattoo” comes out, Randy dies, Samantha fills in on drums, Nikki gets it going with Samantha and his marriage goes to pieces while the Crue play theatres and cancel shows all over the world. I know, their Australian tour got canned. And after “New Tattoo”, the Crue went on hiatus.
In between, they got some stories together and a book called “The Dirt” came out. The band got back together for a few select shows and demand was so huge, those few shows turned into a huge world tour which was encapsulated in the “Carnival of Sins” DVD release.
If you want to have a career as an artist, you need to be a lifer, and be ready to ride the journey. It’s not always bright lights and success after success. There are hard times and good times. Doors shut and other doors are opened. And when everyone wrote them off, they came back stronger than ever.
For a band who were just average musicians at best, they built a career 40 plus years long. And that period between 1997 and 2008 could have been the end, but it wasn’t.
I came across an interview from Vince Neil in Faces USA 1993. Post Crue departure, Vince was the man, the centre of attention. Here are some sections in italics.
Faces: What surprised you the most about the reception you received upon your departure from Motley Crue?
Vince: How quickly I was accepted. A lot of the labels had faith in me. I had a lot of different labels that were interested. It was a really exciting process, walking in there and talking with the different companies, like the heads of Geffen and Giant and Epic.
All these corporate presidents were like “Come on, come and be with us.”
I sat in with Mo Ostin at Warner Brothers and all these dudes and I felt so much power in the room. When I made the deal, went “Okay, give me the money I want and a Warner Bros jacket with Bugs Bunny on it and I will sign the deal.”
I went with a Warner Brothers basically because they gave me the money I wanted and the security of being on the Warner’s label.
Faces: Can you tell us what the deal was?
Vince: Eighteen million dollars for 5 records.
Think about it. Motley Crue signed a 5 album deal with Elektra worth $35 million and the singer who wasn’t even the main songwriter of the band, then goes and signs a solo deal with Warner Bros for $18 million and 5 albums. And the “Exposed” album is a great slab of hard rock during a time when hard rock albums started to disappear from the record store shelves. But in music, these long term deals very rarely are seen to the end. Two years later in 1995, Vince was no longer accepted, and he had no record deal and no management after “Carved In Stone” disappointed commercially.
The person who signed him, Mo Ostin left Warner Bros in 1994, so it’s safe to say the new team, didn’t really like some of the signings that the old team did.
Even Motley Crue didn’t see the end of their Elektra deal. The people who negotiated the Motley deal in 1992, were no longer at Elektra by 1995 and the new Elektra management team didn’t really care for Motley. All they cared about was the bottom line and Nikki Sixx constantly called out current Elektra boss, Sylvia Rhodes at the groups concerts, even calling her from the stage, so the crowd could tell her to fuck off.
So what’s a few million when bands make the labels multi-millions.
SOLO
I expressed my disappointment at the SOLO movie, which basically put into images the words that Han Solo said in the original Star Wars movies.
The problem these days is movies have a lot of action scenes and hardly any good dialogue scenes. Meanwhile TV shows are winning the story script war hands down.
And do movies need to cost $300 million plus to make. In my view the higher the cost of the movie, the less story it has. And people are attached to a story.
It’s sad reading stories about how far removed Copyright Law is from what it was intended to be.
Copyright battles are happening everywhere. Most of the news is on how the record labels and movie studios are calling on governments to pass stronger dictatorship style copyright laws which would give these organisations police like powers.
But Copyright was originally designed to help the creator of the art. However, it’s assisting the corporations to make billions of dollars while the creators make a lot less.
Remember the movie, “This Is Spinal Tap”. Well, the movie has made over $400 million in profits, however the co-creators have received $81 from merchandise sales and $98 from record sales. If you think those amounts are pretty low, well the co-creators thought so as well, and off they went to court, for fraudulent accounting and to get the copyright back in the hands of the creators. And lucky for them they got a judge that saw their side, so the case is going to get interesting. Unfortunately for UMG/Vivendi, the co-creators in this case, also found fame with “The Simpsons” and they have a voice in the market as powerful as the corporation.
8 Years Ago (2014)
EASTERN EUROPE
I was in the middle of our holiday around Eastern Europe and you know what, piracy is king in these countries. CD and DVD shops exist with forgeries. Clothing shops exist with forgeries.
But in all of this piracy, thousands of people turn up to watch artists perform live. Every artist tours Eastern Europe and I am pretty sure that sales of recorded music now and in the past didn’t correlate to the thousands who attended the shows.
I got back from Eastern Europe on a Thursday morning and by Friday night I was at the Manning Bar at the Sydney Uni watching Protest The Hero. The ticket for the night was $45 Australian plus booking fee of about $6. Compared to some of the prices I have paid for tickets, this was a good deal.
And that’s a wrap of about a months’ worth of posts from the past.
They play the whole concept album in its entirety (with some improvisation) and cast extras join the band to do the voiceovers of the characters.
They are very precise in their playing, but they also leave room for jamming and improvisation, which is something a lot of acts don’t do. Go watch a Metallica or Iron Maiden concert and you don’t get a lot of improvisation during the songs. The songs are more or less played the same way they are recorded. But if you watch Dream Theater, you will get a lot of jamming.
Some of Petrucci’s best solo moments are from live recordings. Like the solo on “Hollow Years” from the “Live In Budokan” release. He takes the normal solo with a bit of improvisation and then they extend it, to go into a hard rock “guitar hero” solo for about two minutes as part of the song. If you like guitar playing at its finest, then you will need to check this moment out.
On this album, his improvised solo on “Through Her Eyes” is exceptional.
James LaBrie cops a lot of hate for his vocals.
One thing about live performances and when I say live, I mean live, (not a live album sold as a live album with the instruments and vocals recut in a studio) is that it is really difficult to be consistent vocally.
A vocalist will always be pitchy live due to the volumes and how the noise of the other instruments and the crowd bleed into the ear pieces, making it hard to hear if they are hitting the right pitch all the time.
There are a few “what the” moments here.
One that comes it mind is when Mike Portnoy screams out “who wants to cum” at the climax of some love making samples which segues into the solo section of “Home”.
“The Dance Of Eternity” is seen as the definitive Dream Theater instrumental. It has all the trademarks of what makes Dream Theater unique and that whole “swinging 20’s show tunes” section from 2.30 minutes shows growth and diversity. Hearing it back today, it amazes me how effortlessly they just fused different eras and genres.
A highlight for me is the ballad “The Spirit Carries On”. The solo on the recording was a “Guitar Hero” moment and Petrucci delivers a masterclass here.
“Finally Free” is more or less a forgotten track when it comes to Dream Theater lore, but musically it is one of their best. Most of it is in 4/4 timing and very easy to digest. Plus it has an ending where Portnoy unleashes some unique and technical fills in the studio recording. Hearing him do that live and also improvising a little bit, without missing the beat is what live music is all about. And at 9.30, they go into a familiar section that wasn’t part of the studio recording, but is part of the live show at this point in time. Again, this is what live music is all about.
After the “Metropolis Part 2: Scenes From A Memory” album is played, they begin the other songs.
And is starts with “Metropolis – Part 1: The Miracle And The Sleeper”. The audience knows it and they cheer it. The guitars from Petrucci sound so much more heavier than the studio recording of a decade before. Rudess was not even part of the band then, but the keyboard parts sound like they are his. The Led Zeppelin, “Kashmir” first verse is still my favourite part of the song.
They go into “The Mirror” and I am a fan of how Petrucci employs the 7 string here, more Tool like in its rhythms. “Just Let Me Breathe” is my least favourite from the “Falling Into Infinity” album so I don’t really care for it here. “Acid Rain” from The Liquid Tension Experiment appears. This is from the side project that Portnoy put together after the “Falling Into Infinity” album, which involved, Petrucci, Rudess and Tony Levin on bass. From this side project, Rudess ended up joining Dream Theater.
While Petrucci and Portnoy did “LTE”, bassist John Myung did Platypus with ex Dream Theater keyboardist Derek Sherinian and guitarist Ty Tabor of King’s X (who also sang lead vocals) and drummer Rod Morgenstein of Dixie Dregs/Winger fame.
Singer James Labrie also did Mullmuzzler. The record company would not allow LaBrie to use his own name, so he created the name of MullMuzzler and defined it as: “to gag or silence an individual’s thought before it can be expressed in any manner”. Joining Labrie in this project was future Dream Theater drummer Mike Mangini, guitarist Mike Keneally who did time with Frank Zappa, Dweezil Zappa and Steve Vai. Bryan Beller was on bass and his background includes Dweezil Zappa. Matt Guillory played the keys and wrote a lot of the songs with Labrie.
“Caught In A New Millennium”, “Another Day” and a 6 minute Jordan Rudess keyboard solo (which the show didn’t really need) closes out disc 2. “Another Day” is such a good song and it should have been a massive hit. They probably should have shopped the song around to other artists to redo. For the live version, they even bring out a saxophone player.
Disc 3 is like the encore of the show.
It begins with “Erotomania”, “Voices” and “The Silent Man”. This trilogy of songs is known as the “A Mind Beside Itself” a three-part song cycle first released on their 1994 album “Awake”. When the separate songs are combined, the Trilogy clocks in at 22 minutes.
“Erotomania” is an instrumental. There is a section in the song which was originally written for “Pull Me Under” but removed before recording took place. So it got added to this instrumental. It’s a guitar hero moment with a lot of string skipping and fast alternate picking. Petrucci has no issue doing this live. Another masterclass.
The lead break in “Voices” is so bluesy in origin and of course Petrucci spices it up with some fast alternate picked runs between soulful bends.
“The Silent Man” starts off a bit different and I like it. If you want to hear Dream Theater Unplugged then press play on this. The solo section is extended and the whole band is in. It moves between ragtime and country leads.
I’ve said it before and I’ll say it again. This is why I go to the live show.
“Learning To Live” which clocks in at 14 minutes is next. It’s my favourite track from the “Images And Words” album. The song originally is about 11 minutes long, so they improvise for an additional 3 minutes. There is a reggae like section in the solo section that is added. And the outro is extended. You should actually press play on this outro. Myung lays down the groove on the bass and the rest of the band builds on that, decorating it to a crescendo.
Their encore so far, is at 36 minutes.
They close the show with “A Change Of Seasons”, which at that point in time was their longest song at 24 minutes. Bringing the total encore to 60 minutes. A lot of metal and rock bands just do a 90 minute show (80 minutes and a 10 minute encore), or a 120 minute show (100 minutes and a 20 minute encore). Dream Theater delivered a 180 minute show.
In a case of Nostradamus clairvoyance, the original album cover had the Dream Theater logo over a burning New York skyline with the World Trade Towers on fire. It was all printed and packaged for its release date of September 11, 2001.
Dee Snider released “For The Love Of Metal” and it’s basically metal music the way I knew it. Which is very different to how metal music is known these days with hard-core growls and scream vocals added to the mix. I even remember when AC/DC was found in the Heavy Metal section of the record shop, whereas now if you do find a record shop, AC/DC is in the rock section. Even Bon Jovi was classed as “heavy metal” once upon a time. It was a broad classification, that’s for sure.
Dee’s message of the outcasts standing together against oppression and censorship and authority resonated big time with me in the 80’s. I didn’t care about the look. I never got into a band because they looked cool. The music is always the entry point.
The area I grew up in had a lot of migration from Europe. And the residents didn’t like it. Nor did they like the different languages the new migrants spoke. But somehow, we found ways to get along in suburbia. But in the schools’ it was a different story. There was no “cool” teacher like there is nowadays.
Actually, all of the teachers I had were oppressive and they hated rock music. It’s probably why songs like “We’re Not Gonna Take It”, “You Can’t Stop Rock N Roll”, “Bad Boys (Of Rock N Roll”, “Come Out And Play” and “Wake Up (The Sleeping Giant)” resonate.
When Twisted disbanded in 87, Dee wasn’t in the news a lot, except for a few little paragraphs here and there in a magazine about his upcoming Desperado project. Then that project got killed by record label bosses, then Widowmaker got up and running, however Grunge came and suddenly it felt like the biggest voice in my life was missing during the “golden commercial years” of metal and rock music.
But Dee is a lifer. He battled tooth and nail to make it, so there was no way he was going to lay dormant. And like it was written in some holy book, Dee came back, more diverse than ever. He became a movie maker, a radio show host, a solo artist, an author and when TS reformed, he led them up front all the way to the last show.
And his solo music probably doesn’t have the same public acceptance as the Twisted music, but it doesn’t mean it’s not important or influential. As I’ve said before, a million sales of an album doesn’t mean you have 1 million fans. You just have a million people who purchased the album. Some would have liked it and played it over and over again, some would have heard it once and never played it again.
With hundreds of releases coming out each day, compared to the 50 odd each month in 1984, each artist is fighting against the same tide. Fans can spread the word and make the new release rise above the waters.
In saying all that, “For The Love Of Metal” deserves to be in the public conversation and credit Jamey Jasta in challenging Dee to make this record, as well as produce it with Nick Bellmore and write music/lyrics for it.
The 90’s didn’t feel that far away, but man the Candlebox debut album dropped in 1993, which makes it 29 years old. The truth is, Candlebox is so good on the debut album, I decided to give other 90’s bands a listen.
The “Purple Rain” sounding “Far Behind” is the star of the debut album. Then you had “Don’t You” and “Change” that rock as hard as any 80’s band and I used to cover “You” in bands I played in. I love the B minor key for songs and to be honest, a lot of punters thought it was an original.
And “Cover Me”, is hidden all the way at the back end of the album at number 10. Brilliant track and a great solo section.
I didn’t get the “Lucy” album until a few years after its release. And something was missing. You know the whole saying, you have a lifetime to write your first album and you just write music that suits your tastes when you start out. Then your music breaks through into the mainstream and suddenly you feel like you need to write hits. I’m not sure if this was on their minds, but something definitely was. Because it was different. Maybe I just moved on. Who knows.
Anyway, “Happy Pills” came out and like “Lucy” I didn’t lay out money on it for a few years after it was released. Actually, by the time I got it, the band was already broken up. I was listening to the album, while I was working, not really paying attention, like it was background music and then “Sometimes” came on.
I stopped and listened. And just like that, Candlebox was back in my headspace.
2014 (8 Years Ago)
Nothing…… No posts. Zero. Zilch.
The European trip I was on, was for a total of 10 weeks all up. The way I see it is easy. The distance from Australia to Europe is massive. So if I am going to pack up my family and go, it needed to be worth it.
To get to any part of Europe from Sydney, will take about 22 hours of flying, plus waiting times at stop overs. For this trip we used Austrian Air, so the path was Sydney to Bangkok (with 8 hour wait at Bangkok), Bangkok to Vienna (with a 4 hour wait at Vienna) and from Vienna you can go to any part of Europe.
destroyerofharmony 