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

1986 – Part 4.3: Journey – Raised On Radio

Its album number 9 for Journey, released in 1986. But no one was sure if it would get made.

After “Frontiers” (1983), Steve Perry got a massive offer to do a solo album, “Street Talk” and Neal Schon got a similar offer to do “HSAS” with Sammy Hagar. Both albums did well however

Perry’s album would probably still not be listed as recouped based on the dollars spent on session musicians (there was a lot), the dollars spent writing with other writers, the dollars spent in the various studios and the massive advance given to him to even do it. Schon meanwhile got a chance to really show what an awesome hard rock guitarist he is.

But Jonathan Cain wasn’t finished for Journey. He just kept on writing and writing. A lot of his songs ended up on Jimmy Barnes albums, which led to massive success in Australia. And it was Cain who called up Perry to sing on a few demoes he was working on.

That get together led to this album and it also led to Journey falling under Perry’s control.

He fired bassist Ross Valory and drummer Steve Smith, even though Journey’s manager Herbie Herbet told em not to do it.

Perry then replaced them with studio musicians, in Randy Jackson (from American Idol fame) and Bob Glaub on bass with Mike Baird and Larrie Londin on drums (with Smith still performing on a few cuts).

Perry expressed his regret at this many years later and for Valory and Smith, they still received income from the album and the subsequent tour even though they didn’t need to leave their house.

It was probably why their manager Herbet was against their firing. It meant the pie would need to be distributed to even more people.

And Perry broke with tradition of the single word album titles. The album was meant to be called “Freedom” until Perry said it would be called “Raised On Radio”.

How good is the cover by Priarie Prince who built his career as a drummer in The Tubes and Jefferson Starship, along with his work as a graphic artist and set designer for various music videos. Simply and effective.

Girl Can’t Help Out

How can you not like Perry’s silky and smooth voice?

And Neal Schon gets some slack for going missing in Journey during this period, but he became a master decorator, doing enough to give the songs the MTV and Radio edge.

Positive Touch

It’s got that David Bowie “Modern Love” vibe from his 1983 album, “Let’s Dance” merged with “I’m So Excited” from The Pointer Sisters album of the same name which came out in 1982.

And I like it.

This is how music works. Take what has come before, tweak it, merge it with something else, tweak it again and what comes out is something new.

Suzanne

A monster melodic rock cut, with an arena rock Chorus.

Be Good To Yourself

It’s that feel-good summer vibe typical of the 80’s. Press play and let the sounds wash over you.

The solo from Schon, so simple and singalong.

Once You Love Somebody

This song would not be out of place on a Sting solo album or an album from The Police. Even Van Halen would have a cut like this many years later on “Balance”.

Press play for the Chorus. It sounds like it came from a soundtrack.

Happy To Give

I like the keyboard riff which starts it off but overall the song is a skip for me.

Raised On Radio

Schon is centre on this after the harmonica intro. It’s a rocker with the keys decorating.

I’ll Be Alright Without You

I’m not sure if John Sykes or David Coverdale were listening to this because it’s got that “Is This Love” feeling, which Coverdale would reuse for “The Deeper The Love”.

It Could Have Been You

While Cain plays chords, Schon plays this pentatonic riff which is memorable and full of groove.

The Eyes Of A Woman

Killer bass line on this and Steve Perry just nailing a vocal.

But press play to hear Schon wail away.

Why Can’t This Night Go On Forever

“Faithfully” part 2 comes to mind. Next.

In the end, six singles got released and by 1989, it was certified double platinum in the U.S.

I also wasn’t surprised to read that this album did good business in Sweden as a lot of the melodic rock acts coming out from Sweden many years later had this albums vibe and sound.

It was also the last Journey album for over a decade. While Perry lived off the royalties, Schon and Cain went to work with Bad English, with John Waite on vocals and to further platinum glory.

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

The Record Vault: Def Leppard – High ‘N’ Dry

I don’t have the vinyl anymore. It was in a box that went missing in one of my many house moves. I’ve been meaning to replace it, but I just haven’t gotten around to it. And then Def Leppard announced those marvellous box sets that would cover their career a few years ago, and I’ve seen a few of em reviewed on the blogs I follow, so I’m thinking, it’s time to part with some monies and get em.

Spotify also has em to listen and man, listen I did. For those who reckon that once you’ve heard an album, you don’t need to purchase it, well those people have never understood the collectors mentality.

Anyway, let’s get to the album, released in 1981.

The band is the same as the debut with Joe Elliot on vocals, Steve Clark and Pete Willis on lead and rhythm guitars, Rick Savage on bass and Rick Allen on drums.

The album cover by Hipgnosis is smart and done well, but my 80’s mind, made me ignore it for quite some time. It wasn’t as good as the debut cover, and nothing like the covers of the other albums I was purchasing.

Let It Go

It’s written by Pete Willis, Steve Clark and Joe Elliott.

Many would say its AC/DC influenced and I would agree, but then again a lot of British acts like Queen, Sweet, Mott The Hoople and T Rex who influenced Def Leppard had songs with riffs like this. But producer Mutt Lange did work with AC/DC and during this period, “Back In Black” and “Highway To Hell” were selling like crazy.

Most Def Lep fans would know that it was originally titled “When the Rain Falls” with different lyrics and performed live during the “On Through The Night” tour.

I wouldn’t be surprised if Mutt Lange had something to do with the song title change.

Another Hit And Run

Written by Rick Savage and Joe Elliot. It’s one of my favourite tracks from when I dropped the needle on this. I can never get enough of the Chorus riff and the Verse Riff.

High ‘N’ Dry

The song is written by Steve Clark, Rick Savage and Joe Elliot. If you want to hear the embryo of the “Photograph” riff, then press play on this and enjoy.

And it also became famous when it made a list called the “Filthy Fifteen”, which is a list of songs criticised by the Parents Music Resource Center (PMRC), for having explicit lyrics that describe alcohol use and intoxication.

Seriously the subject matter on this song is meek compared to some other song. But then again what would a bunch of politicians wives know about hard rock music.

Bringin’ On The Heartbreak

One of Def Lep’s best slower tempo songs. Written by Steve Clark, Pete Willis and Joe Elliot. If those harmony guitars in the Intro don’t grab your attention, then please check for a pulse.

And that Chorus. Wow. The multi layered vocals that would become synonymous with the “Pyromania”, “Hysteria” and “Adrenalize” albums are all here.

Steve Clark also owns this song in the lead department. He didn’t have the top hat of Slash to give him that certain unique look, but his pentatonic playing is exceptional.

In relation to the videos, the live recording with Pete Willis is my go to version, but the video with the boat on a lake featuring Phil Collen is the more well-known one. And the 1984 remix version with the synths is a misstep. There was nothing wrong with the original at all.

Switch 625

An instrumental and it was the song playing in the end credits of “Cobra Kai” Season 4 finale. Written by Steve Clark and all solos are handled by him as well.

Just press play, close your eyes and let the music take you to the places your mind conjures up.

You Got Me Runnin’

Side 2 kicks off with this, written by Pete Willis, Steve Clark and Joe Elliot. I’ve read some reviews that basically ignore Side 2, but man, some of my favourites are here.

I like the 70’s vibe this song gives and the hooks keep coming with the Chorus vocal melody. And press play for the “you got me running” section just before the Pete Willis pentatonic bluesy solo.

Lady Strange

Written by Pete Willis, Steve Clark, Rick Allen and Joe Elliot.

How good is this song?

If it had a different title, it would still be in the set lists today.

The intro harmonies get me hooked and the Chorus riff with the melodic lead gets me moving and tapping my foot.

The verse riff has some sped up chords that would be slowed down in a few years’ time for a song called “Pour Some Sugar On Me”.

But it’s that metal riff just before the Chorus that seals the deal. Press play to hear that and then to hear Clark wail.

And as they come out of the Chorus, there is this arpeggio riff which is excellent, Elliot starts singing and the music morphs into the verse riff and then we are back to the Chorus and that infectious vocal melody, of “lady strange I need you, lady strange I want you”.

On Through The Night

Written by Steve Clark, Rick Savage and Joe Elliot. The song has the same title as the debut album.

It’s another killer riff (which also becomes the verse riff) to start the song off. It’s very Blackmore like.

But press play to hear those Randy Rhoads style arpeggios in the Bridge just before the Chorus. For a band who wanted to rule the charts, they definitely kept their fingers on what was hot and what wasn’t.

Mirror Mirror (Look Into My Eyes)

Written by Steve Clark and Joe Elliot.

A very underappreciated cut.

Press play to hear how the verses are constructed. The drivers are the bass and drums.

Rick Savage plays a pulsing bass riff with Rick Allen providing a thundering beat and then the guitars start to decorate with chords at low volume and then at a more aggressive volume. Joe Elliot showcases his vocals chops moving between metal god and rock god melodies.

The Chorus has a catchy vocal melody with multi layered vocals.

And those harmonies in the solo. Just so many good sections in the song that words can’t describe.

I also like how in the last 40 seconds, it starts off with the pulsing bass and drums for a few seconds before the Chorus riff thunders in to close out the song.

No No No

Written by Rick Savage, Pete Willis and Joe Elliot.

I feel like its “Ballroom Blitz” merged with “Tie Your Mother Down” and I like it.

Def Leppard will always be known for “Pyromania” and “Hysteria”. Those albums have moved over 40 million in sales combined and they make up Def Lep’s streaming Top 10 lists as well. But I’ve never judged albums on how many units sold. It’s based on songs and riffs, and the quality and influence of this album cannot be ignored.

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

1986 – Part 4.2: Quiet Riot – QR III

“QR III” or “Quiet Riot III” is actually the fifth studio album from Quiet Riot if you can the “QRI” and “QRII” albums with Randy Rhoads.

It was released in 1986 on Pasha/CBS and it is the last album to feature lead singer Kevin DuBrow until the 1993 album “Terrified” which got a zero skull review in an Australian mag and the word “Terrible” as part of the review.

It’s produced by Spencer Proffer again with John Purdell.

A funny thing was happening in 1986. For some strange reason, artists who had massive sales in 1983 and 1984, struggled to match those sales a few years later.

Twisted Sister had big sales in 1983 and 1984 and they played to half empty venues on the “Come Out And Play” tour in 1985 and by 86, no one really cared about em and by 87 they had broken up.

Judas Priest had declining album sales by 1986, but still proved to be a big drawcard on the live circuit.

Ratt couldn’t match the success of their 1984 debut and by 1986, “Dancing Undercover” was just a blimp on the charts.

And then we have Quiet Riot.

Following the massive success of “Metal Health” and the more modest reception of “Condition Critical”, sales of “QR III” were even lower and it did not achieve any certification.

This Quiet Riot album is also the first album to feature Chuck Wright, formerly of Giuffria, on bass as an official member replacing Rudy Sarzo.

Wright joins Kevin DuBrow, Frankie Banali and Carlos Cavazo.

Before I get into the album, it’s worth mentioning that I never understood the argument put forward about bands rocking less when keyboards are involved. This album has a lot of keys but it still rocks.

Main Attraction

It’s a songwriting committee of Carlos Cavazo, Frankie Banali, Kevin DuBrow, Spencer Proffer, John Purdell and Chuck Wright.

They keys are prominent and the track could be mistaken for a Styx or Toto track.

The Wild and the Young

The song is written by Proffer, Banali, Cavazo, DuBrow and Wright.

Behind “Bang Your Head”, “The Wild and the Young” is the next best original.

The drum groove from Banali starts things off. Then the guitars and the keys play in unison until Cavazo overdubs a memorable little lead.

And the vocals start. While DuBrow is more miss with his lyrics, on this song he’s perfect with his message and delivery.

The music video for the song wasn’t cheap as it shows a dystopian future under control by a totalitarian militarist government and they are trying to round up anyone who is listening to rock music.

Twilight Hotel

Written by Wright, Banali, Cavazo, DuBrow and Proffer. I was drawn to this song immediately because it was different musically.

Down and Dirty

Written by Dubrow, Banali, Cavazo and Wright. It’s written as “Dow And Dirty” on Spotify. It’s typical hard rock and of the times.

Rise or Fall

Written by Dubrow, Banali, Cavazo and Wright.

I dig the opening riff on this. And Cavazo goes to town on the lead break.

Put Up or Shut Up

Written by Dubrow, Banali, Cavazo and Wright.

CC DeVille would have been listening to this as the main riff sounds like something that DeVille tweaked for “Nothin But A Good Time”.

Still of the Night

It’s written by the same songwriting team that wrote “Main Attraction”.

The cut is excellent, a soft rocker but so far removed from the “power ballad” formula.

Bobby Kimball from Toto performs backing vocals on the track, however the “backing” vocals are really cranked up in the Chorus, so it’s safe to say that Kimball was brought in to be the lead vocal there.

Bass Case

It’s an Instrumental written by Wright and all bass. For a minute length, I’m not sure why this is here.

The Pump

Written by Banali, Cavazo, DuBrow and Wright. It’s an attempt to capture “The Stroke” from Billy Squier.

I’m surprised that this song hasn’t been sampled by the rappers as it’s got a lot of good bits in it.

Slave to Love

The mighty Stan Bush is here as a songwriter, along with the committee of Banali, Cavazo, DuBrow, Proffer and Wright.

Musically it’s excellent. It’s almost melodic Metal The melodies are also excellent. Lyrically it’s crap.

Helping Hands

Written by Dubrow, Banali, Cavazo and Wright. It’s an underrated cut with a heavy 70s influence with a killer lead by Cavazo.

While a lot of people were off the QR train by the time this album hit the streets I wasn’t one of em. I was hooked by the music video for “The Wild And The Young” and when I saw the High Syme cover I was happy to part with my money.

Musically it’s a very mature album and an album that’s aged well.

Check out and be wild and young again.

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

The Record Vault: Def Leppard – On Through The Night

“On Through The Night” will turn 42 this year.

It’s the debut album from Joe Elliot, Pete Willis, Steve Clark, Rick Savage and Rick Allen, otherwise known as Def Leppard.

I would love to say I purchased this when it came out, but it was after “Adrenalize” that I went back and got this.

Rock Brigade

It brings the standard hard rock blues vibes to the album but it’s got all the glitter from Sweet added to it.

Pete Willis takes the solo spotlight on this.

Look out for the rock brigade is the catch cry and look out we did.

Hello America

After the “hello America” chants, a “Strutter” style beat and feel kicks in.

I like the Beach Boys vibe, especially after the solo section which Steve Clark nails.

Sorrow Is A Woman

Press play to hear the “Stairway To Heaven” inspired lead break.

And how good is that harmony solo section from the 2.40 mark, which leads to the Outro.

It Could Be You

It shows their love of UFO, Mott The Hoople, Sweet and hard rock Queen.

Hell, the song wouldn’t be out of place on a Judas Priest album.

Satellite

Listen to that tasty palm muted arpeggio riff from Steve Clark in the verses after the first Chorus and how good is that “staring up at the sky” section) which shows the adventurous and melodic spirit of the band.

Press play to hear the solo. It’s Pentatonic heaven and the section straight after the lead.

When The Walls Came Tumbling Down

How good is the clean tone intro?

And then it morphs into those galloping style riffs which was a big part of the NWOBHM and something Iron Maiden would use a lot, “The Trooper” comes to mind immediately.

With a Chorus that reminds me of New Wave acts.

Press play to hear the riff after the Chorus at 2.34.

Wasted

What a headbanging riff to kick off the song.

For anyone who wanted to question the metal credentials of Def Leppard, I always pointed them to this song.

Rocks Off

It’s interchangeable with “It Could Be You” with very similar riffs being the main riffs. Then again the whole blues hard rock movement was based on the same riffs being re-used by each individual artist.

It Don’t Matter

It could have come from the fingertips of Michael Schenker as “Rock Bottom” comes to mind. And how good is that Chorus, just a simple, “It don’t matter” line repeated in a simple AC/DC style backing vocal.

Answer To The Master

How good are those harmony leads in the Chorus?

And the song has a little drum solo before it moves into a section that reminds me of U.F.O.

But press play to hear, the lead break courtesy of Clark, with an open string lick before it morphs into the pentatonic lines.

Overture

It’s 7 plus minutes long and it doesn’t feel laboured and boring. At the 2 minute mark it starts to go into a Thin Lizzy style of song, full of energy and harmonies.

But my favourite part is the stop start harmony section from the 4.20 mark and at 4.40, Joe Elliot starts singing a haunting melody, before a wah solo kicks in.

And from here to the end, it’s that good, that the only thing I could do is press repeat.

For all the multi-platinum and Diamond certifications that came afterwards, there is something simple and organic about the debut.

Check it out.

P.S.

Pete Willis will be forgotten in the future when Def Leppard is mentioned and written about, however his songwriting chops and guitar playing on this album is at a high level.

And let’s not forget Steve Clark. Together they formed a formidable guitar team.

Post Def Leppard, check out the excellent band Roadway in which Willis wrote most of the tracks. The album came out in 1991 and it’s a melodic rock gem, a continuation of the work he started with “Pyromania”.

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

1986 – Part 4.1: Robert Tepper – No Easy Way Out

If you watched “Rocky IV” in the 80’s, you would have heard it’s melodic rock soundtrack.

At its essence, the “Rocky IV” movie is a combination of music videos segments.

The “Apollo vs Drago” pre fight has 4 minutes devoted to “Living In America”. There are two training scenes, with “Hearts On Fire” and “Training Montage” taking up 8 minutes in total. Then there is the final fight scene, which takes up another 4 minutes.

There is also a scene in the movie, which involves Rocky driving his sports car, with the song “No Easy Way Out” playing and various scenes of Rocky’s time with Apollo flashing before his eyes. It happened at a pivotal time in the time, with Apollo dying in the ring, Rocky then organising a fight against Drago (Apollo’s killer) and Adrian telling him, “you can’t win”.

Close to 30 minutes of a 90 minute movie is devoted to musical scenes.

So it was only a matter of time before an album came out from Robert Tepper.

But before that, another Stallone movie came out in 1986 called “Cobra” which had the song “Angel In The City”, another Tepper cut.

So Tepper had momentum with the soundtrack songs, released the album and nothing. Back when sales was the metric of success, the album stiffed and charted low.

But it doesn’t mean the album is crap. It’s actually very good melodic rock album.

First check out the studio band, as it has some experience.

While Tepper does the vocals, Dan Huff and Guy Marshall play the guitars.

Myron Grombacher is on drums.

Tim Landers on bass and a range of keyboardists in Kim Bullard, Alan Pasqua and Richard Gibbs.

You can Google their names and see their body of work as band members and session musos.
 
Let’s get to the album.

“No Easy Way Out” was released in 1986 by Scotti Brothers Records.

And it’s no surprise, that the album starts off with the two soundtrack songs.

No Easy Way Out

The bass riff to start it off is iconic. The feel of it reminds me of the bass riff in “Living On A Prayer”.

The vocal melody from Tepper is emotive and how good is the outro solo.

There’s no easy way out
There’s no short cut home

Truth right there.

Angel Of The City

The bass groove is simple, yet memorable as it drives the song with the synth chords.

The song will always bring back memories of the”Cobra” movie. Brigitte Nielsen is doing a photo shoot while “The Night Slasher” and his entourage get ready to kill another victim.

Whip it cracks just like thunder
Some survive her, most go under

The lyrics deal with the survival of the 9 to 5 grind by looking for some mythical Angel to save us.

Don’t Walk Away

Another classic. Latin like but with a bit of New Wave and a whole slab of melodic rock. It basically could be on a melodic rock, a Duran Duran album or a Ricky Martin album.

Once we had a purpose
Once, once we had a song
Once the feeling disappears
It’s all gone

Can love ever come back if disappears?

Your Love Hurts

It has this “Purple Rain” vibe which I like.

Press play to hear the synth melody.

Restless World

It’s got this Bruce Springsteen spirit which I like.

A restless spirit
Looking for a chance
In this restless world

Aren’t we all.

Hopeless Romantic

It’s like mid 80s Rush and I like it.

Soul Survivor

It’s a favorite. Very pop rock like.

Check out the arpeggios in the Intro which also reappear in the Chorus.

My soul survivor
Without you, what do I have left
My soul survivor
Cannot make it by myself

Press play to hear the vocal melody in the Chorus. It reminds me of the band Gun.

If That’s What You Call Lovin’

The balladeer career of Michael Bolton would be proud of this one.

The song fits on the album however I’m not a huge fan of songs like these.

Domination

Almost soul funk rock. Mid 80s Rush definitely comes to mind.

After the second album “Modern Madness” (1988), Tepper got put on ice by his label. They weren’t interested to release any new music from him, nor did they want to release him from his contract.

He finally got out of this deal in the mid 90s and his third album came out in 1996.

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Influenced, Music, My Stories

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

Damn, I just realized I didn’t post this on my usual Sunday.

4 Years Ago (2018)

PUBLIC DOMAIN 2018

A simple post about the works not entering the public domain but should have been.

COPYRIGHT SUITS

Lana Del Rey and Radiohead went to war, with Radiohead suing her for copyright infringement in her song “Get Free” which has a verse that sounds similar to “Creep” released in 1992.

Boy George had the best quote on his Twitter account. “Radiohead were sued by The Hollies and now Radiohead are suing Lana Del Rey. Utter Madness!”

RANDOM LISTENING – THUNDER BAY VERSION

These artists albums came from Deke’s EOY list for 2017.

Greta Van Fleet – From The Fires

I thought it was Wolfmother.

“Edge Of Darkness” is the song that hooked me. It’s feel and groove, which is a cross between Southern Rock and Led Zep’s style of rock is infectious.

And I heard the album that came after and it was boring but I’m still interested as to see what comes next.

Headstones – Little Army

Check out the lyrics.

  • “We’ll I’m a red meat eater, liar and cheater”… from “Devils On Fire”.
    Take that all you politically correct wannabes.
  • “You won’t lift your finger to get your s!!t out of this” … from “Little Army”.
    Blaming others when something goes wrong and doing nothing to fix the problem.
  • “You’re singing the same old song, it’s called “sucking the life outta me”… from “Dead To Me”.
    You gotta love relationships.

Cheap Trick – We’re All Alright

I was never a Cheap Trick fan. Bands I liked always mentioned them as influences, but when you have limited funds to purchase music, I avoided Cheap Trick.

“Brand New Name On An Old Tattoo” is an excellent song title and the song is pretty cool as well. “Floating Down” rocks hard for a mid-tempo song, and the vocal line is infectious and “If You Still Want My Love” is a bonus track on the deluxe version that probably no one would hear.

And youngsters won’t care about this album and the extra few million who purchased “Lap Of Luxury” because of “The Flame” won’t care either. But there are people who will care!

Europe – Walk The Earth and The Final Countdown 30th Anniversary live

Europe nailed it.

They started off with the whole “War Of Kings” album and then played the whole “The Final Countdown” album.

When Joey Tempest screams, “Are you ready London?” the answer is a unanimous cheer.

Stephen Pearcy – Smash

Does anyone care if Stephen Pearcy is running solo?

The “Unchained” sounding “Ten Miles Wide” is cool while “Rain” is interesting musically and it has some decent lyrics. “Want Too Much” works but the piece d’resistance is “Passion Infinity”. Everything just fits and works brilliantly together.

Finally “Summers End” is another song that surprised me with its epic “Kashmir” feel.

Not bad from the Rattster. I wanted another album after this but it never came.

Collective Soul – Live

They don’t disappoint and they have the catalogue of songs to keep the live show ticking over.

I also dig the change to have “Shine” starting off with the piano and how they jam it out “Lynyrd Skynyrd” style at the end, turning one of their biggest songs into a 7 minute jam epic is worth the price of admission alone.

MEMPHIS THREE

If you want to know what society and politics is like, just look at the documentary “West Of Memphis”.

In it you will see incompetence and political corruption.

Three metal head kids (the Memphis Three) are arrested for the murders of three 8-year olds. They are convicted of murder and did more than 18 years in prison.

But they are out now as the whole case against them in a Bible Belt town was all bullshit.

And what the hell is an Alford Plea?

I looked it up on Wikipedia.

The Prosecutors knew they had to release them, but the only way they would do it is by an Alford Plea, so the Memphis Three claim their innocence but plead guilty. The tragedy is the killer still walks free and law enforcement can’t go after any other suspect because a piece of paper says they have the killers.

And the current prosecutor at the end of the doco is a joke. He’s saying those kids are guilty.  If they are guilty why didn’t he go to a re-trial then?

He knew he was going to lose the re-trial because the weight of new evidence found was in favour of the Memphis Three and he would lose votes and lose his position as City Prosecutor.

GRIT

Never quit. Good things come from frustration. If you are upset about failing, it just means that you haven’t failed enough.

Dream Theater almost called it a day, during the period between 1988 and 1991, when months rolled by and no suitable singer appeared.

Perseverance is a skill. It keeps you estranged from the conventions of society.

Ronnie James Dio spent 18 years paying his dues before finding success with Rainbow in 1976.

How many musicians starting out today will put in 18 years of service to music?

Breakthrough work is usually rejected at first. Success is slow.

There is plenty of money to be made in the long run if you don’t make money your number one priority. Start small and remember you don’t have to start perfect.

Just start.

8 Years Ago (2014)

THE CHALLENGE

The record labels arose as a way to get music out of its city venue limitations and into the greater world.

However in time these record labels formed into mega corporations with the emphasis on lower costs and high profit margins.

Throughout the Eighties and Nineties, the labels employed people that figured out how to engineer processes and machines to drive productivity and profit.

The labels ruled the kingdom unchallenged until another player called social disruption reared its head.

It started with a technology called Napster and society showed the powerful record labels what they really think of their high prices.

In the last 20 years, the record labels have constantly stated that the “biggest threat” they face is continued copyright infringement.

They point to research that shows how it is destroying businesses, employments and other sectors. They get people in the press and they get elected politicians on their side to believe those claims. Because, hey, big copyright monopoly companies said that copyright infringement is a threat so it must be a threat.

Did you know that Vivendi (owner of Universal Music) commissioned 23 reports and only 5 of those reports mentioned copyright infringement as a potential risk?

Guess which reports get released to the public.

Did you know that Sony (Sony Music and Sony Pictures) commissioned 15 reports and only 2 of those reports mentioned copyright infringement as a potential risk?

But in their recent annual report, the company listed copyright infringement as a major risk to their business, however 13 reports out of 15 disagree.

The record labels seem to forget that their business is reliant on humans forming a connection with an artist. Yep, with the artist. Not with the label.

THE KASHMIR EFFECT

Great songs don’t happen overnight or by a committee. They happen by jamming and by creating derivative accidents.

If there was any doubt about the power of “Kashmir”, then look no further than the metal and rock movements during the Eighties.

Kingdom Come’s derivative version “Get it On” helped the self-titled Kingdom Come album released in 1988 move over a million units in the U.S.

Whitesnake employed the same technique in “Judgement Day” from the “Slip Of The Tongue” album, which even though it didn’t reach the sale heights of the self-titled 1987 album, it still moved over a million copies in 1989.

In the Nineties, the main riff was used by Puff Daddy in the song “Come with Me”.

The defining part of the song is the ascending chromatic riff over a pedal point which is made even greater by the drumming from John Bonham, playing slightly behind the beat.

Dave Mustaine is a great employer of this technique.

“In My Darkest Hour” and “The Call Of Ktulu/Hanger 18” both employ this technique,

“Mary Jane” from the “So Far, So Good, So What” album released in 1988 has a riff which comes in at 0.46 and continues throughout the song. If it sounds familiar, it should, it is a very close derivative version of “In My Darkest Hour”.

“This Was My Life” from the “Countdown To Extinction” album released in 1992 has the main verse riff.

“Public Enema Number 1” from the “Th1rte3n” album released in 2011 has the main verse riff.

“The Kingmaker” from the “Super Collider” album released in 2013 has the Chorus riff.

Check em out if you don’t believe me.

THE THING THAT SHOULD NOT BE

“The Thing That Should Not Be” from Metallica is inspired by H.P Lovecraft. It is the story of Cthulu the Apocalyptic Elder God lying in a dream state within his sunken kingdom of R’lyeh.

Today, “The Thing That Should Not Be” is the story of Copyright.

In 1998, the US Congress agreed to grant another 20 years of copyright protection to every film, book and song in the land. And because of this, works that should be in the public domain are not there.

The world needs a sensible copyright policy which makes the public domain bigger and better so people can build upon.

SAMPLES

Everyone knows the song, “Every Breath You Take”. It is from the mega selling “Synchronicity” album from The Police and it is credited as a Sting composition.

Sting did bring in the demo with his bass line, synth chords and vocal melody.

But, it is in the performances and the Andy Summers guitar riff which makes the song memorable.

But Sting is credited as the songwriter, so he gets all of the publishing royalties.

And when Puff Daddy did his version, it was the guitar track which was sampled, not the drums or bass, but Summers guitar track.

THE ULTIMATE SIN

“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 m, the heavy metal community waited with anticipation as to what Osbourne would do next.

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.

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.

And that’s another wrap for another week.

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Music, My Stories

The Record Vault: Deep Purple – Masters From The Vault (DVD)

I got suckered in by the $7 price.

This is Deep Purple performing for the TV stations in Europe during the 70’s.

This DVD sourced the material from;

  • 1970 Live Performance from Granada Television Studios in England
  • Circa 1971/72 Live Performances on German TV
  • 1989 Live Concert Performance of the Ian Gillan Band

Check out the 1970 live performances for Granada Television Studios in England on YouTube. The version of “Child In Time” is killer and the 25 year old, Ian Gillan is nailing everything and Ian Paice is thundering behind the kit. And the song is played in it’s entirety.

All up the live TV performance has 4 songs. “Speed King”, “Child in Time”, “Wring That Neck”, and “Mandrake Root”. Apart from “Child in Time”, the other songs are edited so Deep Purple could fit into the 30 minute TV slot.

The German TV material has 3 songs in “No No No”, “Highway Star” and “Hallelujah”.

Listen to this, just to hear “Highway Star” in its infancy as the classical arpeggios hadn’t been written yet.

And “Hallelujah” is lip-synced.

The Ian Gillan Band material is of Deep Purple songs and it’s pretty good.

You can hear it here.

“When a Blind Man Cries” is done really well.

Back when the DVD was released I believe it was the earliest known recordings of the classic Mark II line up of Blackmore, Lord, Paice, Gillan and Glover.

One final note, it looks like the footage was copied from an old VHS.

And this brings to end my Deep Purple collection. Either Dream Theater or Def Leppard is up next.

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Music, My Stories

The Record Vault: Deep Purple – In Concert With The London Symphony Orchestra

It was recorded at Royal Albert Hall, London on 25th and 26th September 1999 and the audio album was released on 8th February 2000 by Eagle Vision while the DVD was released on 25th July, 2000.

Pictured Within

It’s the title track from Jon Lord’s solo album released in 1998.

Very soundtrack like.

And it’s so far removed from the hard blues rock of Deep Purple. Only Jon Lord appears from the Deep Purple band along with the orchestra.

Wait a While

It’s also from Jon Lord’s solo album and Jon Lord is the only one who appears from the band here.

The opening two songs are skips for me.

Sitting in a Dream

This track and “Love Is All” are from Roger Glover’s solo album, “The Butterfly Ball and the Grasshopper’s Feast”, a concept album released in 1974.

On these two tracks, Ronnie James Dio (RIP) sings the studio versions and he also appears here to sing the live tracks.

And it looks like the DP band is here with the Orchestra.

Love Is All

It’s like an ELO Beatles Cabaret tune and the great Dio is on hand to perform vocals.

As a side note that 1974 Glover album also had Glen Hughes and David Coverdale contributing vocals plus Les Binks on drums.

Wring That Neck

On the audio version of this concert release there are two Ian Gillan tracks and a Steve Morse track and then “Wring That Neck”.

But on the DVD those tracks don’t appear.

It’s written by Richie Blackmore, Nick Simper, Jon Lord, Ian Paice and it’s from “The Book of Taliesyn” released in 1968.

And it’s like a jazz fusion rock number with the brass instruments. Ian Paice again showcases his brilliant drumming techniques.

I could go on about each track and try to find some postives but when when the Concertos started I was more or less pressing stop. While they are great pieces for some they aren’t that for me.

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Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Deep Purple – Bombay Calling

It’s a 2004 DVD release of a concert recorded in 1995.

It’s Deep Purple post Blackmore and Steve Morse is the guitarist and has been the guitarist since.

Morse play’s Blackmore’s recorded parts more accurate than Blackmore ever did as Blackmore really liked to improvise.

Fireball

It opens the show and I’m struck by how very un-Metal they look.

Gillan is wearing a vest, with baggy tracksuit like pants and black slip on shoes that people involved in karate wear. It’s definitely not a Metal look but it’s a relaxed look.

And there is no stage show with pyro and backdrops. It’s just the band and their music and a few lights.

Maybe I’m A Leo

The blues groove shines through.

There’s no doubting their musical technique and prowess. Morse really shines through when he hits those fast Lydian lines in the improv solo.

And you can’t escape his Peavey 5150 amp set up. RIP EVH.

Black Night

Glover’s bass sound is monstrous so far and he really drives this song.

And Ian Paice doesn’t get the credit he should as one of the most dependable and skilled drummers in rock music. He’s thunderous on here.

The Battle Rages On

It really fits the spot it occupies in the concert.

And Jon Lord is the star here with his synth riff.

How good is it?

The song is not an easy one to perform. It’s epic Metal with a lot of exotic minor key riffs and melodies.

Check out Morse in the solo. A true guitar hero.

And have I mentioned how good Ian Paice is?

Woman From Tokyo

A classic.

That Intro riff is huge. Instantly recognizable.

And did anyone notice the drum pattern and how a certain song called “Run To The Hills” has a similar pattern.

Have I mentioned how good Paicey is behind the kit?

Purpendicular Waltz

They played an unreleased song that they were still writing. The blues rock groove definitely grabs ya and never lets go.

When A Blind Man Cries

One of my favorite ballads.

Lush keys from Jon Lord starts it all off.

And Steve Morse comes in with volume swells, delay and slides. Throughout the song, Morse is decorating with licks.

And Ian Gillan has a voice for these kind of songs.

Stick around for when Morse takes the shred solo. It’s “hairs on the back of your neck” type of soloing.

Perfect Strangers

Glover and Paice lay down the foundations which allows Lord and Morse to decorate musically.

And Gillan is in fine form here.

Pictures Of Home

Morse is in cruise control here. He’s having a blast and as the new guy, it’s like he’s always been there.

And Paice on the drums, so precise and yet so jammy.

Child In Time

When I think of this song, I think of the vocal ohhhs and ahs.

And I like how it builds and it gets louder and more intense as it goes on.

And Morse is helping Gillan here as he plays the higher pitch vocals melody on the guitar and it sounds fantastic.

Gillan then moves to percussion while the rest of the band jams out the next section. Morse is burning the fretboard here.

The music stops and Jon Lord brings back the Intro riff and groove.

Anya

From “The Battle Rages On” album. And while Morse didn’t write it, he made it sound like it was written by him in the instrumental intro.

But when the song kicks in, it’s a Rainbow tune from the Bonnet and Turner era. Maybe because Turner was involved at some stage on this album.

Space Truckin’

I enjoy this song as the way it was recorded. I wasn’t a fan of the 15 plus minutes live versions they did while Blackmore was in the band.

On this they keep it simple and just rock out.

The chromatic lines in the Chorus reminds me of stuff that Metallica would do. Just check out the Intro to “Master Of Puppets” and you’ll hear what I’m saying.

Guitar Solo

As good as the guitarists are I’m just not a fan of these kind of things.

Lazy (Including Ian Paice Drum Solo)

And they move into the Bluesy “Lazy”.

Speed King

And after the drum solo, another uptempo blues rock number begins. If you haven’t gotten the idea so far, the band has a great jam element to their live show.

Highway Star

The story behind this song and it’s creation is legendary.

Smoke On The Water

And the closer itself has a story to tell in the lyrics along with one of the most iconic riffs ever.

The 1995 Bombay show is a good historical capture of DP MK7. The show was filmed for Indian TV, and the crew did a great job. It was also the bands first visit to India.

YouTube has the whole 2 hour show, so crank it.

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Music, My Stories, Unsung Heroes

2021 – Released Too Late In The Year To Listen To Properly

These albums came out at a time which is too close to the end of the year to be properly assessed for any EOY list.

Especially when they are up against albums which came out in the first four months of the year and those albums have became part of my fabric.

Volbeat – Servant Of The Mind

The pre releases single “Shotgun Blues” is a great classic Metal song.

It’s on my “On Repeat” playlist from Spotify which is basically designed to help the user keep track of what they’ve been playing most over the past 30 days.

And the “Shotgun Blues” single dropped in September and it’s still on the playlist.

The album dropped on December 3 and on purposely I’ve not listened to it as I’m waiting for my break to happen so I can sink my ears into it.

Black Label Society – Doom Crew Inc.

It dropped in November 26.

But I’ve been heaps busy to devote the time I want to this album.

And Zakk Wylde has earned the respect for people to devote proper time to his music and if they play guitar, to put in some woodshedding to learn some of his riffs.

Crazy Lixx – Street Lethal

The album dropped on November 5.

The pre-release singles all connected with me but I haven’t had the time to fully digest the album. It’s going to happen soon.

They are a Swedish Metal band formed in 2002, who bring back the 80’s Sunset Strip with the aggression of the San Francisco Bay Area Thrash scene and the defiance of Twisted Sister.

And once you add the Brit bands to the mix, it’s a whirlpool of creativity.

Their first album came out in 2007 and since 2010, they’ve been on the Frontiers label, releasing albums on a two year cycle.

If you’ve heard these albums drop your thoughts in the comments.

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