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80’s Forgotten Playlist

Spotify Playlist

A lot of good music came out in the 80’s that is more or less lost or forgotten or known as semi-obscure. Hell, there is no way the Spotify algorithm will be able to find it and pick it up.

Blame MTV. The show became popular because it had “hit video clips”. In order to get onto the show, bands needed a hit single. So even though bands went away and recorded a very solid album without any hit singles, the most commercial sounding song and sometimes with the most clichéd lyrics would end up as the single. And if the song resonated, people would highly likely go and check out the album or the back catalogue. This was good for sales and the record labels made a lot of money.

However, the MTV rules still apply today. We’ve come full circle. If you have a hit single today, you will rack up a billion streams on Spotify, which might get people interested into checking out the whole album or the back catalogue. But in most cases, people will be happy with the “hit” single and a lot of music is not heard. Remember a few years ago when Spotify did a check on their data and found over 20 million songs that haven’t even been heard. Think about the number. 20 million songs not even heard. That’s the competition for any new band. With so many bands/artists creating music, how do you rise above the 20 plus million songs that no one has even heard?

Does your latest release just add to the 20 million never heard pile or does it rise above?

And you need people to push it, talk about it and promote it.

Secret Loser
Killer Of Giants

Both tracks are from Ozzy Osbourne’s forgotten “Ultimate Sin” album released in 1986.

“Shot In the Dark” got the glory as the lead single and is probably the reason why the album is not available on CD anymore depending on who you believe. Overland brothers vs Osbourne, or Soussan vs Osbourne, or Overland vs Soussan.

At one stage in the late 90’s, this album was deleted and you couldn’t get any new copies. One of the Australian mags mentioned it’s because of Sharon Osbourne’s contract disputes with Bob Daisley and Jake E.Lee. Maybe it was the authorship issue of “Shot In The Dark”.

Who remembers the movie “The Wraith”?

Charlie Sheen stars in it, as a person who comes back to life to avenge his death at the hands of a car gang (who got away with the murder). He kills his murderers by racing each gang member to death. Well, “Secret Loser” appears during one such car race and it connected right away with me.

How good is the riff?

Trapped in a lonely body
I’m losing control
Can’t show my emotions
And I’m losing my soul
Could it be that I’m obsessed with feeding my disease
I couldn’t make it known the hidden things no one sees

Daisley was pretty good at writing autobiographical stories of Ozzy. I think this one is no different, especially the line about how Ozzy is obsessed with feeding the disease and in this case, the disease is the persona of Ozzy being constantly intoxicated, drugged out and doing something publicly embarrassing.

I can understand that what you see
You think is real
But underneath the surface is a wound
That cannot heal

It’s almost like being a fly on a wall in a shrink therapy session. Just imagine the big bad rock star with an image of decadence and debauchery breaking down within the confines of four walls and a chair.

“Killer Of Giants” is as good and as classic as “Diary of A Madman” in my view. Musically, it’s excellent. It’s got that acoustic introduction, social and political lyrics courtesy of Bob Daisley, a great chorus and excellent guitar playing from Jake E. Lee

If none of us believe in war
The can you tell me what the weapon’s for
Listen to me everyone
If the button is pushed
There’ll be nowhere left to run

Daisley, grew up with the threat of the button being pushed. For the generation of today, the threat of nuclear war is in the past, forgotten. Then again, my kids asked me recently, what would happen if we go to war with North Korea?

Killer of giants threatens us all
Mountains of madness standing so tall
Rising so proudly it has nowhere to fall
This killer of giants

At the moment our leaders are having a war of words with “rogue nations”. While sticks and stones hurt, a barrage of words can undo all truth. Especially words tainted with lies. Sometimes, people never recover. Say the right words, make a difference and doors can open. Say the wrong words and watch doors shut and a very darker difference will be seen.

Jake E. Lee got really shafted with his time in Ozzy. He has no song writing credits for the “Bark At The Moon” album, which he should. And for “The Ultimate Sin” he has the credits, however the Osbourne camp are doing their best to kill off the album and hide it.

Little Fighter
Cry For Freedom

What can I say about White Lion that I haven’t said before?

With Vito Bratta, the band had one of the best guitarists ever. He knew how to decorate a song and his leads are little masterpieces themselves. The other key ingredient to me was when Mike Tramp wrote lyrics about society, the injustices in society and how if we don’t do something right now to protect our world, there will not be a world to protect.

And maybe these serious themes proved to be the downfall of White Lion. I remember Vito Bratta saying in an interview when White Lion played Castle Donnington. They came on after Skid Row and before AC/DC and while the crowd got into the party lifestyle lyrics of Skid Row and Acca, they just didn’t resonate when White Lion sang about Greenpeace or apartheid in South Africa.

Rise again little fighter
And let the world know the reason why
Shine again little fighter
And don’t let ’em end the things you do

The lyrics are written in a way that it can be about many different situations. It could be an inspirational message to a person who is down on their luck. It could be the words in the head of a boxer after he/she have been knocked to the canvas or words to a child who didn’t make the elite team.

The fire is burning
We lay our weapons down to rest
This war ain’t over
‘Till all the people will be free

“Cry For Freedom” is very Dylan’esque in it’s lyrics. South Africa and it’s apartheid policies always made the news in Australia. And when people have nothing else left except to fight for freedom and equality, then there is a high chance they would do so. The truth is, we are never free. Speak to anyone in debt and ask them if they feel free. Our lives are at the mercy of the banking system. In South Africa, racism was used to imprison people.

Our brothers in prison
But no crime was ever done
I call it racism
Ashamed I face my fellow man

Even in our democratic countries people are jailed for no crimes and unfortunately racism will not go away.

Musically, Vito Bratta kills it. All of those people calling him an EVH clone got no idea. It’s like calling LeBron James the next Jordan. Both can shoot threes, slam dunks and do all of the wonderful things players do. But both are different. Same deal with EVH and Bratta. EVH was technical but more aggressive in his style. Hearing EVH play sometimes, I used to get an image of him punching his guitar. The sense of melody that Bratta exhibits is fluent and theoretical. He worked within the modes most of the time, like Rhoads did which made it very melodic.

Bang Go The Bells
Desperate

Babylon A.D is one of those bands that fall into the “should have made it” category. They even caught the attention of Arista Records president and industry music mogul Clive Davis, who signed them at a live showcase in Los Angeles. Hell, their lyrics suited the era to a tee and the musicianship was/is top-notch. The problem (and not really their fault) is too many bands sounded the same and the music consumers/the fans started to get burned on the scene. “Bang Go The Bells” and “Desperate” are from the debut album, released in 1989.

Here we sit in this smoky bar
Two souls drifting through the world alone
Here we talk about life and love

Loneliness is humanities greatest disease. If someone is there, we wouldn’t be lost in the dangers of our own thoughts.

When your dreams seem far away
Take a moment to look over your shoulder
‘Cause, honey, you know I’m desperate too
Everybody’s desperate just like you

It’s not a sign of weakness to say we don’t want to be alone.

“Bang Go the Bells” is written by vocalist Derek Davis, guitarist Ron Freschi and bassist Robb Reid. “Desperate” is written by Derek Davis and songwriter Jack Ponti. Yes, the same Jack Ponti who co-wrote “Shot Through The Heart” with Jon Bon Jovi and went on to co-write the majority of the “Hey Stoopid” album with Alice Cooper and Vic Pepe.

From a guitar point of view, Dan De La Rosa and Ron Freschi bring all of the hard rock flavourings to both songs.

Speak For Yourself
Blood Of Emeralds

From Gary Moore. The songs are from “After The War” released in 1989. “Speak For Yourself” is written by Neil Carter and Gary Moore.

How good is the riff?

It’s a speed rock song and it’s lyrics are still relevant today.

Look around across the nation
Another league of morons marching,
Banners in hand.
Looking for another scapegoat,
Try to take away the things they don’t understand.

The older I get, the more I realize, I’ve got no idea where it’s all going and neither do the people we vote in, who are all beholden to the corporation which pays the most.

Somewhere in the darkness,
There’s a voice that’s crying to be heard.
You feel it deep inside you,
A voice that just won’t be denied.

Speak for yourself.
Someone will hear you,
Someone will listen.
Speak for yourself.
Who knows, you might change your world.

So true and so relevant today. People have exercised their voices with votes, but our leaders are not the problem. It’s the rich corporations in the background that are the problem. Then again when you get leaders who came from rich corporations, mmm, what does that say about the state of the world?

But in all seriousness, people power stopped bad legislation in SOPA and PIPA. People power started to ramp up to stop the Trans Pacific Agreement legislation because it was negotiated in secret and with the corporations present and then Trumpy came into power and killed it dead. Only to replace it with something worse, which we don’t know about yet.

They try to take away your freedom.
They try to tell you what you can
Or what you can’t hear.
Don’t let this moral suffocation
Make you turn out just like them,
Is that what they fear?

The internet has given people a voice. In the process a new on-demand culture was created. People are connected socially over vast distances instantly. And we love it. But corporations who have business models based on control don’t like it and they go straight to their lobby groups to get laws written to benefit their business models. They use laws promoted to benefit the people to take away the freedoms of the people.

For example, in Australia, the large retailers lobby group didn’t like Australians purchasing products from overseas at a cheaper price, so they lobbied hard to get a tax added to overseas purchases. In the end, this tax just made the overseas companies set up a presence in Australia as a big FU.

Copyright is morphing into a censorship law. Videos and posts get taken down due to copyright complaints, however when it’s investigated why the video or the post got taken down, it’s found that the person complaining didn’t like what was being said so they used copyright as a censorship tool.

“Blood Of Emeralds” is written by Carter and Moore again and its more or less an autobiographical song about his time with Phil Lynott.

I was down and out on Skid Row,
But I held on to my pride.
The darkest son of Ireland,
He was standin’ by my side.
We would sail the stormy seas.
Never looking back,
We were afraid of what we’d see.
Through the thunder and the rain,
The deepest blood of emeralds
Was running through our veins.

He covers his time in “Skid Row” (not the U.S band), moving on to Thin Lizzy with Phil Lynott, the darkest son of Ireland and how they would cross into the U.S.

I was angry, I was sad,
Just thinking about the times we had.
I felt so lost and lonely too,
What could I say, what could I do?
And after all, the time goes by.
No one knows the reasons why.
You lived each day like there was no tomorrow.
You spent those years living on time you borrowed.
And in your eyes, all I could see was sorrow.

Phil’s passing and how it affected him.

Gary Moore in the 90’s went all blues and in interviews after the success of “Still Got The Blues”, he was very hateful to his original (he spoke highly of his covers) 80’s hard rock output. Regardless, Gary Moore (along with John Sykes, Randy Rhoads, George Lynch and Vito Bratta) are big influences to me. My guitar style is basically an amalgamation of those 5 guitarists.

With Spotify these days, I have no idea who plays on the songs, like I did in the past. On this album, Gary Moore had Neil Carter on keyboards, Bob Daisley on bass, Cozy Powell on drums, but Cozy didn’t drum on the two songs mentioned above. That was Simon Phillips, who would do also do work with AC/DC during the “Blow Up Your Video” era and Dio during the “Lock Up The Wolves era plus a tonne of sessions for other artists. Don Airey is also on keys for three songs. Hell, what a supergroup.

I Walk Alone
Badboy Breakout

I must admit I am a sucker for polished hair metal as it became known. “Tear the House Down” was the debut and only release from Hericane Alice and released in 1990 I believe, so I cheated on putting this one in this list. Anyway the band is one of many that got a major label deal late in the 80’s and were largely ignored by the record buying public.

The band was formed in Minneapolis in 1984 and after relocating to LA in 88, they got a deal with Atlantic Records in 1989. After the debut, the band recorded some demos with producer Neal Kernon for album number 2, however the shift in music happened and Atlantic passed on the option.

Sometimes your dreams can come true
You’re in heaven, for so long
Nightmares could happen to you
Just remember, life is long

The above is from “I Walk Alone”.

The career trajectory of Hericane Alice was like a dream come true, getting signed and recording an album with major label backing. However, the heaven of a major label turned into a nightmare.

No one can make it alone. We all need someone to listen to us, someone to speak to when we are down and out. Life is scary. Just google all the studies after studies that talk about suicides. People are killing themselves because they’ve lost all hope.

Meanwhile “Badboy Breakout” while great musically has lyrics about a load that’s ready to explode. Still, I am a fan of hair metal. (what a stupid name for music that’s more or less rock).

Ready Or Not
Sign Of The Times

“Out Of This World” was the follow-up to “The Final Countdown” and Europe needed hits to keep the momentum going.

Released in 1988, “Superstitious” took all the glory right off the bat, while a re-recording of “Open Your heart” failed to inspire the record buying public, except me, who has a 7 inch single of it, along with “Superstitious”. Other singles, “Let The Good Times Rock” and “More Than Meets The Eye” also failed to connect and the album didn’t do as well commercially as the previous album.

But to me, “Ready Or Not” and “Sign Of The Times” are the stand out tracks. But you had to be a fan to hear them as they only appeared on the album.

Rock me till I hit that floor
Rock me till I take no more
Rock this hungry heart of mine
Rock me down right to the ground
Rock me like you never done before
Then rock me just a little more

It more or less sums up the rock and roll show.

“Sign Of The Times” also has a signature keyboard lick that should have been as popular as “The Final Countdown” riff.

It’s the way that we make things right
It’s the way that we hold on tight
I know, it’s the sign of the times
It’s the way that we make things turn
It’s the way that we live and learn
I know, it’s the sign of the times

The sign of the times to me is when all our hope’s run out we just need to love one another to get through the day. It’s the way we live and learn. I guess we need a lot more of it these days.

The World Of You and I

It’s from “In God We Trust” released in 1988. The title track, “Always There For You” and “I Believe In You” might have had the attention and the MTV dial a song codes, but this song is a little melodic rock gem hidden on Side 2. And Stryper didn’t need auto tune to sound so in tune. It was all natural and kudos to Michael Sweet for penning such a gem.

You’re out there all alone
Searching endlessly for a home

There’s nothing like been away from home to actually miss what you have.

We Are Strong

Hurricane had some big name pedigree in it’s ranks. The brothers of Rudy Sarzo (Robert Sarzo) and Carlos Cavazo (Tony Cavazo) took the guitar and bass positions in a role reversal to what their older brothers played. If Rudy played bass, Robert played guitar and if Carlos played guitar, Tony played bass.

“We Are Strong” has got that “You Give Love A Bad Name” vibe and it’s a great piece of melodic arena rock.

Facing hard times
Hold on
Time’s still on our side

It’s easy to walk away and destroy what’s been built. So many walk away for reasons that are important to them and some need to do it to escape a hostile situation.

We’ve got to stick it out

Some might be saying for what. Sometimes people are stronger when they go their own ways, reset and restart.

Cry In Shame

It’s from Johnny Diesel And The Injectors, an Australian guitarist/singer who has this bluesy soul rock vibe that just works. And the problem with Australian artists breaking big in the U.S is the deals they sign with Australian labels, who then make it hard for the U.S labels to get a bigger piece of the contract.

Pickin’ up the pieces
Up off the floor
How was I to know
There was gonna be a war
Words of sorrow
Words of spite
Ringin’ in my head
Right through the night

Who hasn’t been in this situation? For me, it was more in the earlier days. As I get older, certain things that used to bother me don’t even get a blip on my radar.

Up all night
With a conscience fight
Just can’t sleep
So I put on the light

It’s so true after an argument. You can’t sleep as you replay it in your head and you get angry at the missed opportunity to say your piece properly when it mattered.

Time To Surrender

Poor, Kip Winger. His face was on a dart board as Lars Ulrich threw darts at him while Beavis and Butthead created a whole show around him. But man, the dude could sing and along with Reb Beach, they became a pretty good songwriting team, crafting some brilliant AOR/Rock gems. But this song is more in the vein of the hair metal vibe and it works.

The lyrics deal with leaving and someone needing to surrender to keep the relationship going, which at the start it looks like Kip is asking the woman to surrender, but by the end of the song, it’s Kip who has surrendered.

Regardless of the lyrics, the melodies and the music work and it’s a good hidden Winger gem from a pretty excellent debut album.

Rock Me

From Great White’s 1987 album “Once Bitten”.

We’d be so good together if we had the time
‘Cause being alone is a nowhere state of mind

Relationships need time investment. If you are not committed to invest, it normally ends.

I search the world for someone I’ll never find
Someone who ain’t the hurting kind

People get hurt all the time. Physical injuries heal, but our thoughts and feelings also get injured. These hidden injuries never really heal. The anxiety and doubt our thoughts and feelings put forth, amplify if they are not checked.

Rock me, rock me, roll me through the night

When the big chorus comes in, it works to a tee.

Great White in the 80’s and 90’s produced some good output even when the musical climate shifted to Seattle.

Today two versions exist, Jack Russell’s Great White and Mark Kendall’s version of Great White. And unfortunately, they are more remembered recently for the Station nightclub fire in 2003 that killed a lot of their fans when pyrotechnics set off by the tour manager ignited plastic foam used as sound insulation in the walls and ceilings surrounding the stage.

Run To Paradise

Choirboys are from Australia. This is from their 1987 album “Big Bad Noise”. The song is a classic in Australia, however in other parts of the world it’s unknown or it doesn’t exist. But it should. The song more or less sums up life for a lot of people. It has the partner you liked and how they sort of liked you, the friend who has an addiction problem, the parent who is losing control of their child as they get older and the other friend who drifts away as they get older.

And Paradise can be a city, a town or a place in time in the past that was just perfect, before the big bad world got in the way.

Baby, you were always gonna be the one
You only ever did it just for fun
But you run to paradise

The immortal opening lines of the song. The chord progression is similar to “Crazy Train” moving from the A to the E to the D.

Jenny, I’ll meet you at the grocery store
You don’t need a friend when you can score
You run to paradise

About the friend who isn’t a friend when they are high.

Jesus say’s it’s gonna be all right
He’s gonna pat my back so I can walk in the light
But it’s not alright sometimes.

The Morning After
Closer To My Heart
Looking For Love

“The Morning After” is from the 3x U.S platinum “Out Of The Cellar” released in 1984. “Closer To My Heart” is from the 2x U.S platinum “Invasion Of Your Privacy” album released in 1985 and “Looking For Love” is from the 1x U.S platinum “Dancing Undercover”.

Let’s start off with “The Morning After”.

How good is that intro riff?

The song is credited to Crosby, DeMartini and Pearcy so I have no idea who wrote the intro riff but as a betting man and after reading Pearcy’s biography, I’ll put money on Crosby as Pearcy described him as the Ratt and Roller Riff Meister.

Also that little harmony lead at the end of the solo is brilliant.

Lyrically, Pearcy talks about going home with someone, lifting skirts and then leaving the morning after, when it’s time.

“Closer To My Heart” is written by Crosby and Pearcy and while it may be classed as a ballad today, it was never viewed as a ballad back in the day.

I listen to you, are you listening to me
The way that you are, it’s easy to see
Feelings for you, now I feel free
I’m lost in time

Love is a two-way street. Both sides have a chance to speak and both sides are meant to listen. In the Ballad of Stephen Pearcy, his partner is not listening to him anymore and he’s fallen out of love.

Indecision, it’s all been heard
No more confusion, the page has turned

Moving on is the hardest thing to do in relationships. Friends pick sides and a sense of familiarity is replaced with the unfamiliar.

“Looking For Love” is written by Crosby, Pearcy and bassist Juan Croucier.

I’m lookin’ for you
You’re lookin’ for me
It’s nothing new
You’re only looking for love
I know it’s true
You know it’s me
I know it’s you
You’re only looking for love

It’s a pop chorus full of clichés and overused rhymes and as good as any pop chorus today. Croucier was also an underrated songwriter within the band, producing a lot of songs and due to whatever politics those songs wouldn’t get considered. So while the singles from the album took all the thunder, the above three tracks should not be seen as poor cousins.

Makin Magic
Flight To Nowhere

Tesla. A massive favourite of mine. Their hard rock vibe mixed with southern rock mixed with Randy Rhoads/Michael Schenker/Angus Young/Eric Clapton guitar playing was huge on my song writing. Hell, I even re-wrote “The Great Radio Controversy” in my own way, meaning I wrote songs similar to all of the songs on this album. And man didn’t this album have some big tunes in “Love Song”, “The Way It Is”, “Heavens Trail”, “Paradise” and “Hang Tough”. But these two songs “Makin Magic” and “Flight To Nowhere” have enough metal in em, to break some teeth and they need more love.

Musically, “Makin Magic” and “Flight To Nowhere” have no filler and are chock full of riffs and great leads and great harmonies. Especially the arpeggiated pull off lick in the “Making Magic” chorus.

Now, I don’t wanna waste your time
I only want to satisfy
So wind me up and watch me go
I’m gettin’ crazy as the night unfolds

Men don’t need much winding up to get going.

I got you, now you got me
Feels so good to be
Makin’ magic, makin’ magic
It ain’t no mystery, come on

Bring on the clichés with heaps of melody. Love it. Moving on to “Flight To Nowhere” .

Look at me, I’m young and bold
Even though I may be growin’ old
I’m never slowin’ down

Life is fleeting. Enjoy it, as you are a long time gone.

Opinion is a piece of mind
Some are good, some are just like
Where the sun don’t shine

So true. Unfortunately, people allow opinions to get the better of them. Treat opinions as just that, opinions, not truth.

Now there’s one more thing I would like to say
This is everybody’s world
And everybody’s gonna live it their own way
No matter what we say, yeah

Be tolerant of all, it’s much better. The sad part is money rules the day and as long as people care more about money, hate will thrive and indifference will not be tolerated.

Troubled minds are full of hate
Willin’ to destroy the human race

The world has vehicles being driven into crowds and bombs going off in crowded market places. What’s next, back to public executions?

(Goin’ down) On a flight to nowhere

Are we too far gone to save ourselves? I don’t believe so.

Midnight/Tornado

From Skid Row’s debut album. After a lot of false starts trying to find the right lead singer that was MTV friendly, Skid Row finally got it going with Sebastian Bach and the recording contract was enacted. But to be honest, I prefer the Brain Fallon demo version found on YouTube. The rawness in Fallon’s voice gave the song what it needed.

Musically and melodically the song is brilliant. Lyrically it talks about a person prowling the streets and coming alive after midnight. Can’t say I am a fan of the words and I would love to hear this song with better lyrics.

Hard As Iron

From the much maligned “Ram It Down” album released in 1988.

I’m blazing on to glory
There’s thunder in my veins
And nothing stands before me
Forever I’ll remain
Hard as iron
Sharp as steel
Stop for no man
You better beg and kneel

Is Halford singing about the metal movement or some mysterious being that’s hard as iron and sharp as steel?

Who cares right?

The song is a five-star speed metal ditty that has all the things in it, people in the 90’s came to hate.

Set The World Afire

From Megadeth’s “So Far, So Good, So What” album released in 1988.

Red flesh cloud’s choking out the morning sky
They said it’d never come, we knew it was a lie

Once upon a time nuclear war was the threat in people’s minds. That 80’s TV movie about a nuclear bomb being dropped on a normal U.S town didn’t help either. Today, global warming is a threat. People either don’t care about it or they do, but they shouldn’t ignore it.

Distorted figures walk the street, it’s 1989
Weeds once underneath your feet have grown to vines

It makes me think of the Will Smith movie “I Am Legend”.

Dig deep piles of rubble and ruins
Towering overhead both far and wide
Einstein said ‘ We’ll use rocks on the other side ‘
No survivors set the world afire

For all of the drugs and alcohol Mustaine consumed, you would think he would be a vegetable. But he isn’t and his lyrics are evidence of a person who has read far and wide and digested information.

The Transformers Theme

From the 1986 “Transformers” cartoon movie. The movie started off with all of the Autobots fans knew getting killed off in the first 15 minutes. And it’s got a wicked soundtrack, along with Stan Bush’s “The Touch”, this remake of the cartoon theme into a hair metal track also works.

Lion was formed when two UK artists, vocalist Kal Swann and guitarist Tony Smith located to the U.S and teamed up with bassist Alex Campbell and drummer Mark Edwards from Steeler. After the demo was recorded, Doug Aldrich (yes the same Doug Aldrich that went on to join Dio, Whitesnake and now plays with Revolution Saints) was recruited to replace Smith on guitar and basses Jerry Best replaced Campbell.

Now check out the connections between Lion and some of the bands above.

Aldrich would replace Robert Sarzo in Hurricane for one album, “Slave To The Thrill”. Swan and Aldrich would get together with former Hericane Alice members Jackie Ramos and Ian Mayo to form Bad Moon Rising. Jerry Best would later re-appear in Freak of Nature, featuring former White Lion vocalist Mike Tramp.

Lioooooon, more than meets the eye…

Hearts On Fire – John Cafferty
No Easy Way Out – Robert Tepper
The Sweetest Victory – Touch

The above three tracks are from the unbelievable and super melodic rock “Rocky IV” soundtrack. Stallone sure knew how to pick a song for his movies. From memory, I believe the movie and soundtrack came out in 1985. I still have the cassette to it and in the 90’s I found the LP in a second-hand record shop. Hell, the Rocky IV soundtrack kick started the melodic rock revolution, especially in Europe.

John Cafferty is the cheaper version of Bruce Springsteen and Bryan Adams. If a movie needed a song that sounded like a Springsteen or Adams song, Cafferty was your man. I first came across his music with the “Eddie and The Cruisers” movie and what a soundtrack he wrote for it. “On The Dark Side”, “Season In Hell” and “Tender Years” are as good as all of the hits from the 80’s.

“Hearts On Fire” is not written by Cafferty. In this case he’s just the performer. Actual songwriters are Vince DiCola, Ed Fruge and Joe Esposito. Vince DiCola is the person responsible for the excellent training montage and the end fight music between Rocky and Drago.

Silent darkness creeps into your soul
And removes the light of self-control
The cave that holds you captive has no doors
Burnin’ with determination to even up the score

Doubt leads us to the cave with no doors and even though the cave has no doors, we still cannot escape the darkness of it. Because of doubt and how we let our thoughts control our actions.

How many of our heroes took their own lives?

How many of our friends have taken their own lives?

How many people turn to narcotics to deals with situations?

Dealing with doubt, fear, loneliness, anger and shame is part of life. Those same emotions drive us and they separate us.

And things that give deep passions are your sword
Rules and regulations have no meaning anymore
Let the disappointment lead to inspiration.

Another find from Stallone was Robert Tepper who ended up contributing “No Easy Way Out” to “Rocky IV” and “Angel Of The City” to the “Cobra” movie.

There’s no easy way out there’s no shortcut home
There’s no easy way out givin’ in can’t be wrong

I know the song is about a relationship, however the way Stallone used it in Rocky IV is brilliant. This is the part as he is driving his car. Apollo was killed in the ring by Ivan Drago and Rocky just agreed to fight him in Russia. He gets home and Adrianne confronts him, not happy about that he decided to fight Ivan Drago. So he jumps in his car to clear his head, the music comes on and all these flashbacks start coming back.

And the message the song conveys is that to avenge Apollo’s death, there is no easy way out. Rocky must fight and beat Ivan Drago, which at the point in time in the film looked super impossible.

“The Sweetest Victory” from Touch is another melodic rock gem. I have no other music from this band, except for this one song on the soundtrack. The song has an iconic keyboard riff and a vocal melody that hits the mark.

What Does It Take

By Honeymoon Suite and their “Big Prize” album released in 1986.

If I could grow wings I would do anything
Just to keep you with me
Can’t you see
If I could fly high I would give you the sky
Don’t you make that mistake
It’s your love that I need
What does it take

What a Chorus. Big. Anthemic. Melodic. Tick x 3.

And I just realised that each song I have selected above has some very good guitar playing. Guess I’m a biased listener.

Enjoy.

More parts will follow.

I’m having a shitload of fun living in the 80’s.

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Stupidity, Treating Fans Like Shit

Thank God For The Truth

“The Ultimate Sin” is a misunderstood album. It is loved by many as much as it is hated.

By 1986, the legend of Ozzy Osbourne was growing. After writing the “Bark At The Moon” album with one finger on the piano (I mean this is a sarcastic way), the heavy metal community waited with anticipation as to what he would do next.

Amongst the fans, Randy Rhoads and his tragic death was still getting all the attention. Magazines focused more on Randy Rhoads than Jake E.Lee. Ozzy was in rehab once again after going off the rails once again. The person that held it all together during this period was Bob Daisley. He was the glue. Sharon Osbourne managed Ozzy; however, if it wasn’t for Bob Daisley coming back over and over again, Ozzy’s solo career in the Eighties would have been a different story.

Daisley brought back the Ozzy legend from obscurity. Ozzy had the controversial headlines, but it was Daisley with his uncredited lyrics that connected with us. And it was a Daisley track called “Flying High Again” that broke Ozzy to the U.S market. When people see a song written by a singer, a guitarist and the bassist, 99.9% of the people will believe that the musical players wrote the music and that the singer wrote the lyrics. However that was not the case with Ozzy.

“Flying High Again” paved the way for what was to come. It was a radio staple and it is Bob Daisley’s title and lyrics. As is often the case, Ozzy became a brand name and the individuals around him became forgotten.

Yet all of Bob Daisley’s Blizzard Of Ozz tunes stay in rotation. And we loved them back then; however we didn’t know the truth. We assumed that what was written on the album sleeve was correct and what was said in an interview was the truth. Seriously, why would our heroes lie?

And none of the tracks were hits like the hits that Billboard and the mainstream press trump up as hits.

So coming into “The Ultimate Sin” album process, the Osbourne camp needed ideas. Jake E. Lee got burned on the song writing credits for the “Bark At The Moon” album, so he demanded a contract up front before he even started writing. It’s not an ideal way to commence the album development cycle however this litigious house is the house that Sharon built.

Ozzy of course was in a bad shape and had a stint in rehab. When he came out of rehab, Jake had already compiled 12 songs ready. This is what Jake E. Lee said in a Guitar World interview from November 1986;

“On the Ultimate Sin, while Ozzy was in the Betty Ford clinic, I got a drum machine, one of those mini-studios, a bass from Charvel-a really shitty one-and I more or less wrote entire songs. I didn’t write melodies or lyrics because Ozzy is bound to do a lot of changing if I was to do that, I just write the music. I write the riff and I’ll come up with a chorus, verse, bridge and solo section, and I’ll write the drum and bass parts I had in mind. I put about 12 songs like that down on tape and when he got out of the Betty Ford clinic it was, “Here ya go, here’s what I’ve got so far.” And I’d say half of it ended up on the album.”

The other piece in the puzzle was Bob Daisley. Apart from “Shot In The Dark” (which is credited to Phil Soussan and Ozzy Osbourne) all of the lyrics on “The Ultimate Sin” are written by Bob Daisley. This is what Bob Daisley said on the album in an interview on the BraveWords website;

“I did write the album with Jake and then Ozzy and I had a falling out and he fired me and he was going to fire Jake as well. I’ve never been a ‘yes’ man. So a few weeks later, he called me and he had Phil Soussan on bass but I’d already written a lot of the music with Jake so they knew they had to credit me on the songs anyway so I guess he thought he may as well get his money’s worth and asked me to come back and write the lyrics also. I did that as sort of a paid job. I write it, you pay me and take it and go. So I spent a few weeks writing the lyrics for the whole album. Then they recorded it. In a way, I am glad I am not on that album. It’s the one album I didn’t really like”

Of course, the Osbourne’s didn’t credit Daisley for his song writing contributions on the initial 1986 pressing of the album, though this was corrected on subsequent pressings. So there are 500,000 albums out there that doesn’t credit Bob Daisley.

Another form of controversy centered around “Shot In The Dark”.

“Shot in the Dark”

This is what Phil Soussan said about the song on the Songfacts website;

“It is metaphorical for someone who wants to change. He wants to end what has been and start from new but only has so much control! Literally, he turns his back on what has been his life!”

In a Noiscreep interview, Phil Soussan stated the following;

“The original song version and lyrics was what I presented to Ozzy at that time. I have always been a huge Pink Panther fanatic and the title and song subject were written as such. The idea was originally a fast tempo track and Ozzy loved the lyrics. He made some changes to it; added some melody and the part just before the solo. He wanted me to come up with some lyric changes here and there to make it “darker” while keeping the original premise.”

This is what Jake E Lee said in a Guitar World interview from November 1986;

“I write a lot of songs like that-most of the songs I’ve kept have been really commercial or really weird-and I wasn’t so sure of that when Phil (Soussan-bassist and writer of “Shot In The Dark”) first presented it. It was getting kind of commercial and Ozzy wasn’t too sure of it either. But Ron Nevison (producer) gunned for that one and it worked out alright.”

The Great Song Writing Controversy Revisited

This is what Jake E Lee had to say in an interview on Ultimate Classic Rock on the song writing credits controversy that seemed to plague the Osbourne camp in the Eighties;

“On ‘The Ultimate Sin,’ I did get credit because I got screwed out of the first one. I was promised that I would get [credit]. Because I was young and I was in the middle of Scotland recording, I didn’t have a manager or a lawyer — it was just me. From the beginning, every musician, it’s always hammered into them, “Keep your publishing” and “Keep your writing.” So those were the only conditions that I had was “OK, I’m getting song writing credit, right?” I was always assured that “Yes, I’m getting publishing — of course you are!” When I didn’t on the first record, it was upsetting. But I figured OK, what am I going to do? I got screwed — what am I going to quit? We’re about to tour on a record that I finally got to make. There’s no problem for Ozzy to find another guitar player — am I just going to be that guy that played on that record, didn’t even get credit on the record and then refused to tour because I had a problem with Ozzy? No. I had to go out and tour. It would have been stupid not to. So I was only able to put my foot down at the end of the tour. “Let’s make another record” and I was like, “OK, but this time, you know what? I want the contract first before we start recording. I don’t want to be a dick, but I don’t want to get screwed again either.”

In relation to the screwed part, this is what Jake told Steven Rosen in a Guitar World interview from November 1986, when he was asked the question, how much input did you have on “Bark At The Moon”;

“Most of the music was mine. “Rock N’ Roll Rebel”, “Bark At The Moon”, “Now You See It, (Now You Don’t)”, “Waiting For Darkness” and “Slow Down” were mine.”

Ron Nevison

This is what Jake E Lee had to say about working with Ron Nevison in a Guitar World interview from November 1986;

“….he was hard to work with. He doesn’t have a very open mind; he hears things his way and he thinks that’s the way it should be done. And I heard things my way and I think that’s the way it should be done. And there wasn’t a whole lot of compromise. It was mostly who felt the strongest about something and argued the longest won out.”
“I didn’t go into the studio with the attitude of, “Oh boy, I get to play today, let’s see what I can put down!” I went in there thinking, “Oh sh*t, what are we going to argue about today?”

In an interview on the Crappy Indie Music Blog, Ron Nevison answered in the following manner, when he was asked about his thoughts on Jake’s comments;

“(laughs) Well, he would like to be his own producer. But what you don’t know is that he wanted to come in at midnight. He wanted to work midnight to 8am. There’s more than one person in a band, though. What about all the people at the front desk… and the second engineers, and maintenance people. So I said no. I’m all for working with people when they want to work, so we compromised and started at like 6 at night. I said that I can’t do it… not even speaking for the rest of the band, but if I work for you at midnight to 8am, I have to take a couple of days off to turn my life around be able to work with someone else again. But he was a strange guy. He was… no drugs; he was into Zen stuff, martial arts… I don’t know what he was into. But he was a fantastic guitar player; I never had a problem with him. If he had a problem with me he never told me. Doesn’t surprise me.”

The Jake E Lee Origin Story Revisited

Doing time with Ratt and then Rough Cutt he was contacted to audition for Ozzy’s band. This is how Jake E Lee summed it up in the November 86, Guitar World interview;

“I went down there anyway and I think there was a list of 25 guitar players and we all spent 15 minutes in the studio, each doing whatever we wanted to do. We had our pictures taken and they were given to Ozzy and he picked three of us: George (Lynch-Dokken) was one of them and he was flown to England and given first crack at it. And there was me and Mitch Perry left in L.A. Ozzy came down and we auditioned at S.I.R. and I got it. And I was 45 minutes late! The guy who found the guitar players (Dana Strum) said that Ozzy almost walked out the door; he said, “”f**k it, if this guy doesn’t care enough to show up on time and he’s going to be this kind of problem, forget it. I don’t care how good he is.” But the guy kept him there.”

The Phil Soussan Origin Story

Phil got his first big break playing with Simon Kirke’s Wildlife project that was signed to Led Zeppelin’s boutique record label. Record Label politics and members moving on more or less put an end to this project; however “Shot In The Dark” was born during this process. YouTube has a demo version up and various forums put up arguments for Steve Overland to be given a song writing credit.

In a 2006 interview with the dmme.net website, this is what Soussan had to say about working with Simon Kirke;

“Simon was great to play with. He really educated me in the style of “back-beat” playing. Knowing how to place your bass notes just behind the beats separates “feel” players from the masses and I credit Simon for that. Sure we felt as though we were going to be part of the big time but it was not meant to be. After the politics between our label, Swan Song and Atlantic, caused the fall apart of our deal, Simon left and we continued for a while. I suggested that we take our brand of American AOR rock to the USA and try to finance our own visit and tour, but the rest of the band disagreed. We eventually split up and went our separate ways.”

After Wildlife, Soussan began working with Jimmy Page. This is how Soussan explained this part of his career in an interview with Noisecreep;

“From the get go, and from when Jimmy started playing again after his long hiatus (following the sad passing of John Bonham, RIP), the plan was always to start playing and to put a band together that would feature Paul Rodgers as the singer. We formed a band that we initially called The McGregors around Jimmy, Chris Slade and myself. When Chris went out to tour with David Gilmour we brought in Rat Scabies to fill in. Jimmy loved Rat’s playing; he said that if Bonham had been a punk he would have sounded like Rat! Eventually we began to refer to the band as “The Firm.”

“Eventually I got asked to audition for Ozzy and when I was offered the gig I had the dilemma of if whether I wanted to stay with Jimmy or go out with Ozzy. I discussed with Jimmy and he told me that they were still not going out for another year and I decided to go with Ozzy. Jimmy had started to use Tony Franklin on bass and we parted as great friends. In a way I had mixed emotions as I was so fond of Jimmy, but we still speak and it is always great to see him.”

Where Are They Now? Bassist Phil Soussan of Ozzy Osbourne, Billy Idol, Beggars & Thieves – http://noisecreep.com/phil-soussan/

RON NEVISON, PART 1 – http://crappyindiemusic.blogspot.com.au/2010/02/jess-interviews-ron-nevison-part-1.html?m=1

Interview with PHIL SOUSSAN – http://dmme.net/interviews/soussan1.html

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A to Z of Making It, Music, My Stories

Who Is the Real Star? The Band Name or the Personnel In The Band

There is an article doing the rounds at the Hollywood Reporter about how “The Walking Dead” is TV’s number 1 show and that the stars of the show are still largely unknown.

So it got me thinking. I was very interested to check out the show based on my love of the Horror genre. Once I checked it out, I was hooked. I didn’t start watching the show because they had certain actors in it. The only actor I was aware of was Daryl’s brother and that was from the movie Cliffhanger with Stallone and that was after watching a few episodes. So I got into the show because i was a fan of the horror genre.

However I got into “Sons Of Anarchy” because hard-core friends eventually got me to invest some time in it.

The point I am trying to make is that we get into certain TV shows, movies or artists based on a thousand different reasons. One thing is clear; we don’t get into these cultural icons because of the people in them.

For example, when Metallica started on the scene, no one was walking around saying that they got into Metallica because James Hetfield was such a cool cat or Lars Ulrich was the man. We got into Metallica for multiple reasons. For example, we were fans of the metal genre, the songs connected with us; we wanted to be part of the conversation and so on. From the outset, we become fans because of the music we hear.

That is what culture is all about. Sharing stories about the things we love.

Of course some outliers do exist and some artists have a cultural influence that transcends their music. They become institutions themselves. For example, Slash is now a cultural institution. Ozzy Osbourne is a cultural institution albeit with a lot of help from his “friends”. Nikki Sixx is a cultural institution. Robb Flynn is a cultural institution. Dee Snider is a cultural icon. These artists can all survive on their own. They are brand names themselves.

It’s taken Slash almost 14 years from when he left Gunners to re-establish and re-brand himself as a force to be reckoned with. That happened in 2010 with the release of his solo album and with a little help from his friends.

Randy Rhoads and Bob Daisley helped Ozzy Osbourne break the shackles of Black Sabbath. Jake E. Lee and Phil Soussan enhanced what Randy Rhoads and Bod Daisley created. Zakk Wylde turned it all into a blockbuster with “No More Tears” being the pinnacle.

Nikki Sixx re-invented himself and Motley Crue by first gaining control of Motley Crue’s back catalogue from Elektra Records. A task that no other artist had accomplished before. Then he pushed for the writing of “The Dirt”. Since then, he has become a solo artist with Sixx AM, a song writer for other artists, a social media junkie, a photographer, a literary writer and a radio personality.

Robb Flynn showed the world that he can survive. He really went out of his comfort zone recently and performed acoustically. He survived the “Through The Ashes of Empires” era and lived to tell the tale. Talk about Grit and Roll. It was music all the way, with no safety net. No plan B. His Journals are pure gold. Even if you don’t like Machine Head’s music, you can still appreciate the Journal Ramblings. For any artist starting off, there is information in there that is real. There is information there that is not sugar-coated by a mainstream writer.

Dee Snider, what else can be said. Read his bio.

These artists have all connected with us on different levels. They have become so large in people’s lives that they have become cultural institutions themselves. We then stick with these institutions through the good times and the bad times.

So what about all the other artists. Well for the remainder of the artists it is still about the music. They need to have the music pumping out and they need to make connections.

Dee Snider once said that there are no more rock stars in this day and age. I took that to mean, that in the internet age, there are no real recognizable faces to put to certain bands. While I agree with that comment in parts, I also disagree with it.

For example, Coheed and Cambria has Claudio Sanchez. Watch them live and you get to see the hair. Instantly recognizable.

Five Finger Death Punch has Zoltan Bathory with the dreadlocks and the UFC/mixed martial arts look. They have Ivan Moody and the Mohawk.

Shinedown has Brent Smith, who performs like an adrenaline injected Steve Tyler.

Black Veil Brides have, well they have the whole band.

Avenged Sevenfold have Eighties rock star stage names with instantly recognisable faces.

However if any of the band members in the above mentioned bands, decide to go on their own, it will be a tough slog for them as the bands they are in have all become cultural institutions. Then you have a band like Protest The Hero who look like normal guys going to University.

So going back to “The Walking Dead”. The show is the rock star. That is the cultural institution.

So for any wannabe rock stars, think about all of the above for a second. No one is going to wake up tomorrow morning and think to themselves, “damn, I want to hear some music from Zoltan Bathory, or “Insert New Artist name here””.

We wake up in the morning and think to ourselves, “damn, we want to hear some Five Finger Death Punch. We wake up and go “damn its “The Walking Dead” tonight.”

That is what a lot of misguided artists fail to grasp when they leave a certain cultural institution citing musical differences. They (meaning the person) were never the stars. The band name is the star and it always will be.

That is why Guns N Roses is still rolling along, playing to large audiences.

That is why Tommy Lee returned to Motley Crue.

That is why James Hetfield returned to Metallica after rehab. That is why Lars Ulrich never contemplated anything else except Metallica during this period.

That is why Dave Mustaine resurrected Megadeth after he disbanded the band.

That is why Dimebag didn’t want Pantera to end. He knew that Pantera was the star.

That is why David Lee Roth worked with Van Halen again. That is why Sammy Hagar wants to work with Van Halen again.

That is why Alex Skolnick returned to Testament.

That is why there is a fight over who owns the right to the Queensryche name.

That is why Benjamin Burnley went all legal for the right to use the Breaking Benjamin name.

That is why Bruce Dickinson and Adrian Smith returned to Iron Maiden.

That is why Rob Halford returned to Judas Priest.

That is why Black Sabbath reformed with three of the original members and released ’13’.

That is why bands like Ratt, Quiet Riot, Dokken, Poison and Skid Row are still continuing.

That is why Joey Belladonna returned to Anthrax and why Scott Ian is still continuing the band.

That is why Slayer is continuing without Jeff Hanneman.

To finish off with the immortal words of Ronnie James Dio “And on and on and on and on it goes….”

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A to Z of Making It, Music, My Stories

1986 vs 2013

BON JOVI

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

Now, Jon Bon Jovi is all about the money. The band Bon Jovi released their biggest dud, in What About Now, Richie Sambora has been booted because of money and Jon Bon Jovi cancelled a New York Fair concert for an intimate Government concert that paid more.

 

BLACK SABBATH/OZZY OSBOURNE

In 1986, Black Sabbath released Seventh Star with Glenn Hughes on vocals and Ozzy Osbourne released The Ultimate Sin.

Seventh Star was originally intended to be the first solo album by Iommi, but due to pressures by Warner Bros. Records and the prompting of band manager Don Arden, the record was billed as Black Sabbath featuring Tony Iommi.

The Ultimate Sin featured songwriting contributions from Bob Daisley and Phil Soussan, however due to Sharon Osbourne (Arden) trying to keep as much money as possible in Ozzy’s corner, Bob Daisley was not credited on the initial release and Phil Soussan had an accounting disagreement with Sharon. Everyone got shafted by an Arden.

In 2013, Black Sabbath released 13, their first album with Ozzy since 1978, that also featured the talents of Rage Against The Machine drummer Brad Wilk. Bill Ward said he would not participate until he was offered a “signable contract.” One B.W is out and another B.W is in. Again, someone was shafted by an Arden.

RECORD LABELS

The major labels wanted their artists to have careers. They spent a lot of money to convince the public that they should pay attention to their new artist or the latest release of an existing artist.

The marketing was from the label down to the streets. The labels had so much power and they set the bar. Either a band was signed to a label or they didn’t matter. Major labels were plentiful and the most powerful person in the music business was the Record Label head. Artists could live off the money from their record deal as people had to buy the expensive record to listen to it. Because it was expensive, we played it over and over and over again and eventually became a fan.

Now the marketing is from the streets and the record labels want the hit singles. They have shareholders to please, a board to please and all the label heads are interested in bonuses and short term profits. There is no long term vision anymore as the Record Labels do not have the same power.

The major labels have been reduced to 3, with Sony, Universal and Warner Bros.

In 1986, record companies were cool. In 2013, HBO, Netflix, Showtime, Facebook, Apple, Samsung, Twitter and Amazon are cool. 

 

LIVE

In 1986, all the acts did the arena and stadium tours because demand was high. If a band opened for a major act, they believed they had made it. The public discovered new acts when those acts opened up for our favourite bands. Look at the list below;

Metallica and Ratt opened up for Ozzy Osbourne.

Anthrax opened up for Metallica.

Marillion opened up for Rush.

 

Loverboy opened up for Van Halen.

King Kobra, White Lion and W.A.S.P opened up for Kiss.

 

W.A.S.P also opened up for Iron Maiden.

Cinderella opened up for Bon Jovi in the U.S and Queensryche opened up for Bon Jovi in Europe.

 

Queensryche also opened up for AC/DC.

Cinderella also opened up for David Lee Roth.

Honeymoon Suite and Glass Tiger opened up for Journey.

Dokken opened up for Accept.

Keel opened up for Dio.

Krokus opened up for Judas Priest.

Now only the classic rock acts of the Seventies and Eighties can sell out the arenas and the few modern superstars. The majority of acts play the club circuit. If bands have a small hard core fan base, they can raise enough money to make an album and own everything about themselves. No one cares who the opening band is.

RANDY JACKSON

In 1986, he played bass with Journey. He appeared on the Raised on Radio album and also toured with them. People judged him on his abilities.

In 2013, he is a judge on American Idol.

CHARTS

Back in 1986, the charts meant everything and albums sold in double digit millions. Slippery When Wet from Bon Jovi went to Number 1 for 1 week in October and then it re-appeared at number 1 for 7 weeks in 1987.

Now the charts are useless and artists are lucky to sell a million units. There are a few, like Adele that go into double digits. Bon Jovi’s What About Now went to Number 1 for 1 week and it didn’t reappear again.

ANTHEMS OF A GENERATION

In 1986, we had Addicted To Love from Robert Palmer, Sledgehammer from Peter Gabriel, Dreams from Van Halen, Livin On A Prayer and Wanted Dead Or Alive from Bon Jovi, Peace Sells from Megadeth, Battery from Metallica, Raining Blood from Slayer and The Final Countdown from Europe.

In 2013, nothing lasts.

THE MUSIC BUSINESS 

In 1986, it was all about the music and if a band was all over traditional media, it meant they had traction and that people would be hearing their music.

Now, our favourite bands are playing to the masses who just don’t care and now it is all about marketing. Look at the marketing campaign for the new Dream Theater album. It looks like the label is trying to monetize every little bit of it. If a band is all over traditional media, it doesn’t mean that they have traction and it doesn’t mean that people have heard their music.

In 1986, everything was expensive and the cost of music was different at every store. Due to the high prices of music, everybody had a little bit of it. We had to buy it to hear it, or we used to tape it of someone who purchased it.

Now, music costs the same everywhere, and it’s cheap and everybody has more than they want. Music is available to hear for free, whether on YouTube or streaming music services like Spotify.

In 1986, albums from our favourite artists would normally come out every two years. Due to this lack of new material, music was scarce, so when we purchased albums we played them to death. We became fans by over playing the music we purchased as it was all about the music.

Now, music is released constantly and it is plentiful. Due to these riches of new material, we don’t spend as much time with the albums we purchased. We become fans by looking for the song that grabs our attention on the first listen.

LADY GAGA

In 1986, Lady Gaga was born. In 2013, Lady Gaga is just Born This Way.

METALLICA

In 1986, Metallica released Master of Puppets and lost bass player Cliff Burton in a bus accident while on tour.

In 2013, Metallica will be released Through The Never a live/concert film and will be losing a lot of money when it doesn’t set the world on fire.

MEGADETH

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.

KISS

In 1986, Gene Simmons from Kiss produced and co-wrote songs for the Black N Blue album, Nasty Nasty, that had a certain Tommy Thayer on guitars.

In 2013, Kiss released Monster, that has Tommy Thayer on guitars, as well as lead vocals on one song and a major co-writer of material.

STRYPER

In 1986, Stryper released To Hell With The Devil.

In 2013, Styper will release No More Hell To Pay. It looks they still have hell on their minds.

SLAYER

In 1986, Slayer reigned in blood.

In 2013, Jeff Hanneman’s reign ended. RIP.

QUEENSRYCHE

In 1986, Queensryche was one band that released the a superior album in Rage For Order.

In 2013, Queensryche are 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.

CINDERELLA 

In 1986, Cinderella released Night Songs and proved to the world that they are nobody’s fool.

In 2013, Tom Keifer the singer from Cinderella released The Way Life Goes, an album 9 years in the making with a song called Fools Paradise.

VINNIE VINCENT

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

In 2013, Vinnie Vincent is …..

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Classic Songs to Be Discovered, Music, My Stories

Vince Neil – Exposed

A few of my favorite albums from back in the day are having anniversaries this year.

Let’s start with the Vince Neil release, Exposed.  As a massive Motley Crue fan, let’s say that I wasn’t impressed with the ousting of Vince Neil.  For some reason, I always took Vince’s story as the source of truth.

Back in 1992, it was hard to get current information.  So I hear that Vince was fired from Motley, and next I am seeing his Exposed album in Utopia in April 1993.  Without question I purchased it, took it home and put it on the CD player.  Before I pressed play, I took out the booklet and I see that Phil Soussan is credited with writing quite a few songs.  This got me even more interested.

For those that don’t know, Phil Soussan was responsible for writing Shot In The Dark when he was in Ozzy’s band.  Shot In The Dark appeared on the Ultimate Sin album, released in a time where Hard Rock and Metal was starting to hit its commercial peak.  To give some back story to Shot In The Dark, Soussan had this song written years before he joined Ozzy’s band.  It was inspired by the Pink Panther movies.  Ozzy loved the lyrics, but wanted Soussan to make the song darker, while trying to keep with the original idea.

Then Jake E. Lee left the band.  Soussan and his best friend Randy Castillo (RIP) who was also the drummer in Ozzy’s band, started to hold auditions to find a new guitarist, while Ozzy went out to promote the Tribute album.  That is where a young Zachary Weilandt came into the picture based on a recommendation from Mark Weiss (this is the guy who photographs everything to do with rock n roll). That is how Zakk Wylde was born.

Phil Soussan was just another talented musician and songwriter that had to leave a band he wanted to be in because of  business disagreements with Sharon Osbourne regarding future publishing arrangements.  I am sure Jake E. Lee was also forced out in this way.

To get back on track, I am a fan of Phil Soussan.  So I find out that many of the songs that he had written for Ozzy’s next album, ended up on Exposed.

I then find out that it was Soussan that was responsible for putting together the Vince Neil band.  The original band line up was Vince Neil on vocals, Phil Soussan on bass, Adrian Vandenberg (from Whitesnake) on guitar, Vik Foxx (Enuff Z’Nuff) on drums and Robbie Crane on guitar.

Soussan and Neil also put the Warner Bros deal together along with Vince’s manager Bruce Bird who passed away in 1993.

Then it all went sour when Steve Stevens (Billy Idol and Atomic Playboys) was asked to replace Vandenberg. Stevens already had a personal issue with not having written the songs and it looks like Stevens held a grudge against Soussan for working with Billy Idol, who was Stevens former employer.  So all hell broke loose after the death of Bruce Bird.  

Soussan started to be on the outer, especially when Stevens wanted to play bass and eventually Soussan had no option but to leave again.  Imagine his dismay, when his manager showed him a draft sleeve of the album where Stevens had tried to put his name as the songwriter and remove Phil Soussan’s credit from his own songs.  Songs that Soussan wrote all the original demos and titles from back in the Ozzy days.  

The matter was addressed and legally resolved, in favor of Soussan.  So much drama and the album hasn’t even come out.  Isn’t that just the nature of Rock N Roll.    

Look in Her Eyes is the opener and it is listed as being written by Vince Neil, Steve Stevens and Phil Soussan.  Other songs written by this combination are The Edge, Gettin’ Hard and Forever.

Look In Her Eyes is a classic. The intro riff has that Euro Metal vibe, the verse has that Dr Feelgood vibe and the Chorus is melodic and catchy as hell.  You can hear that Phil wrote this song with Ozzy’s style in mind.  Steven Stevens contribution to this song, was to make the lead break a centerpiece and it goes for well over a minute and a half.

An ocean of temptation
With every drop of wine
Shadows meeting face to face
The tentacles entwine
One look from the jezebel
Phony valentine
Now you see the wanderer
Frozen in the corridors of time

 

For some reason I love the way that second verse is written.  Maybe it is the Medusa reference, done in such a rock n roll way.  That is why the song has that big epic classic rock feel.  Men are creatures of temptation, from the Garden of Eden to now.

The Edge is another uptempo riff fest of a song.  From its flamenco intro, to its pedal point driven verses and its climbing arpeggio choruses.  This song is a dead set classic.  It reminds me of Red Hot from the Crue for some reason.  It reminds of Deep Purple. It reminds me of Scorpions.  The lead break is pure class, breaking down into the acoustic flamenco passages again, before building up again, with the orchestra strings in tow into a wah shred fest of a lead break.

There is no tomorrow i live my life today
Luck is my religion to the lady i will pray
I fail to see the black in every tinsel town
They can try and take my pride
But they can never take my crown

Listen to the phrasing of the vocal line.  It’s done the same way Ozzy sings.  It was meant for Ozzy.  Of course Vince has a totally different voice, so it sounds unique.  It’s totally different to what Vince did in Motley.  Living your life on the edge of time, is what the song is saying.

Fine, Fine Wine is written by Vince Neil and Phil Soussan.  This song would fit perfectly on Dr Feelgood.  It is classic Motley Crue.  The lyrics, the riffs, the sex and the sleaze.  Vince is in his element here.

Baby’s long and tall man she’s got it all she’s alright
alright
Hips have got a sway shakin’ it my way it alright
alright
Full bodied curves with her legs she serves oh yeah
oh yeah
Lips that say it all turn and hear her call oh yeah
oh yeah
Ain’t no cheap and nasty liquor dripping down her vine 
Taste of golden honey sweet as candy money
Bottle it up and make her mine

Give me a taste of your fine fine wine

The bass line just rolls the song along, keeping it low and dirty.  Steven Stevens delivers another great solo on this song.  Even though he was a dick to Soussan, he still played his arse off on this album.

Sister of Pain and You’re Invited (But Your Friend Can’t Come) was written by the Vince Neil, Jack Blades and Tommy Shaw combination.  It is steeped in the blues hard rock vibe that Damn Yankees brought back to the charts.  The same blues hard rock vibe made famous by Free, Bad Company, Led Zeppelin, Ted Nugent and many others.  Again both songs would not be out-of-place on a Motley Crue album.  

Can’t Change Me is a Jack Blades and Tommy Shaw composition, very similar to Damn Yankees, the super group project they had with Ted Nugent.

Can’t Have Your Cake and Living Is A Luxury is written by Vince Neil and Steve Stevens.  I don’t really rate these two songs.

Finally there was a Sweet cover in Set Me Free, that is written by Andrew Scott.

The album was produced by Ron Nevison.  That is why it has that AOR feel, very radio friendly, arena rock feel and the performances are top-notch.

Ron was coming off multi platinum success with Heart, Survivor, Bad English, Europe and Ozzy’s The Ultimate Sin.  Actually Ron played a part in getting Phil Soussan to depart, as he started to support Steve Stevens in the decision-making.

1993 was a year of big change in the music business.  Vince Neil delivered an album that didn’t get the promotion it deserved.  The only way I could have purchased the album was from Utopia Records, which was a hard rock/heavy metal record store.  Utopia records is located in the Sydney CBD and back then they where on Clarence Street.  I had to take a 90 minute train ride from my country town to the Sydney CBD.  

The usual major stores back then didn’t even stock it.  Makes it hard to compete if the fans can’t find it.  It can be found today, by everyone.  

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