How can you pass up an album with “Stargazer” as its title?
Black Majesty is from Melbourne, Australia. The band is made up of John Cavaliere on vocals, Steve Janevski and Hanny Mohamed on guitars with Pavel Konvalinka on drums. There is no bassist listed.
Steve Janevski on guitar lists George Lynch, Zakk Wylde, John Sykes, Michael Wilton & Chris DeGarmo, Warren Demartini, Ronnie Letekro as his favourite guitarists. All great influences to have.
And apart from playing in Black Majesty (Power Melodic Metal), he also plays in Wicked Smile (Heavy Rock) and The Radio Sun (AOR Melodic Rock).
“Stargazer” was released in 2012.
Falling
The lead breaks are excellent. Steve Janevski and Hanny Mohamed showcase their abilities from the outset.
Lost Highway
Harmony guitars and fast double kick start the song off.
Voice Of Change
A killer Chorus and another killer lead break section. Actually killer lead breaks as there are a few.
Killing Hand
It has a “Paris Is Burning” riff to start off and I like it.
Check out the Chorus. Great vocal melodies, fast double kick and the guitars just play power chords.
As it’s becoming the norm, the lead breaks on this album are guitar hero moments.
Journey To The Soul
How good are the harmony guitars in the intro, before it moves into a Maiden like groove?
Holy Hillers
Another great harmony guitar intro.
Symphony Of Death
The slow Intro reminds of Queensryche circa first two albums and once the gallop riff starts, Helloween and Maiden come to mind.
But the lead breaks. Guitar hero stuff again.
It starts off with an open string harmony lick, then each guitarist gets a chance to shred and tap away before coming back to the open string harmonies to close the solo.
Edge Of The World
It’s blasting fast and loud.
And when it comes to instrumental section, Janevski and Mohamed don’t disappoint.
Stargazer
As soon as the Intro leads start, the song could have appeared on “Brave New World” and people would think Maiden wrote it.
The lead section part of the song is essential listening. it starts off with a sing-a-long harmony lead before it goes into individual solos. And man, what solos they are.
By the end of it, you can only press repeat.
If there is a criticism, the drums seem to be on cruise control with the stock fast double kick patterns Power Metal music is known for.
Steve Janevski and Hanny Mohamed deserve special mention here on guitars.
Vocalist John Cavaliere is a multi-octave vocalist. His voice and style ranges between David Coverdale, Bruce Dickinson, Geoff Tate and Michael Kiske but still sounding unique enough to be original.
I’m not a huge Power Metal fan but I do listen to bands that play that style purely for the guitar playing.
If you like Power Metal, you’ll like this. If you like Melodic Metal you’ll like this. If you like Heavy Metal, you’ll like this.
Daughtry dropped a new album recently and it’s great to hear the hard rock side kick back in after a couple of albums that lived in a popular rock/beats area. Even the metal sites are reviewing the new album.
A review of the new Daughtry will come soon, but it did get me in the mood to listen to earlier Daughtry and so let’s kick off the next Record Vault series with the debut album.
Daughtry is the debut album, released in 2006 by RCA Records. He came to fame by competing in American Idol, but he didn’t win Idol, however he’s had a bigger career then the actual winner Taylor Hicks. I guess the kiddies voting don’t really purchase records.
It’s Not Over
The Bm to A to G chord progression is familiar (think “Kryptonite” from Three Doors Down) but it’s the tone of Chris Daughtry’s voice which hooks me in.
Chris Daughtry, Gregg Wattenberg, Mark Wilkerson and Brett Young are listed as the songwriters and what a song they wrote, sitting at 90.325 million streams on Spotify. But it’s not the most streamed from Daughtry. That goes to “Over You”.
And if the songwriter names are familiar, well, if you own a Train or John Legend or Goo Goo Dolls album, you will see Gregg Wattenberg listed as a producer and writer. Mark Wilkerson was the lead singer and guitarist for Course Of Nature, a rock band which was also known as COG. The Chorus was written by Brett Young, a singer in the same season of American Idol as Daughtry.
It’s also certified 2x Platinum as a single in the U.S. Back in 2007, it got a Gold certification for CD physical sales of the single in the U.S.
Used To
Daughtry, Howard Benson and Zac Maloy are listed as the songwriters.
A simple drum and bass groove start the song, but it’s the repeating guitar arpeggios in the verse which moves the song along.
Another infectious chorus.
We used to have this figured out / We used to breathe without a doubt
So what changes as we get older. As we learn more, do we fear more.
Home
Sitting at 76.8 million streams on Spotify. Certified 3x Platinum in the U.S as a digital single, with its most recent certification happening in September 2019. Back in 2008, it got a Gold certification for CD physical sales of the single in the U.S.
And as an artist, this is exactly what you want. People still consuming your songs, many years after they’ve been released.
It’s written by Chris Daughtry.
My favourite song on the album. It crosses over to so many different styles and genres. If you like Southern Rock, you’ll like this. If you like Country Rock, you’ll like this. If you like Hard Rock, you’ll like this.
And the message of returning home after been away for a while is a message that everyone can understand and relate to.
Over You
This is the most streamed Daughtry track, at 116.8 million streams. And it also has a 2x Platinum in September 2019, for digital sales in the U.S.
Written by Daughtry and Brian Howes it could have appeared on a Jovi album at the time.
It’s a mid-tempo rocker and Daughtry’s vocals are excellent.
And Brian Howes is a Canadian songwriter who has written songs with Adelitas Way, Airbourne, Caleb Johnson, Halestorm, Hedley, Hinder, Nickelback, Rev Theory and Skillet to name a few. A lot of chart cred right there. So if the song sounds familiar, I’m sure some of the melodies from Howes would have been reused.
Crashed
Written by Daughtry, Nina Ossoff, Dana Calitri and Kathy Sommer and the Chorus is catchy.
Feels Like Tonight
Max Martin, Luke Gottwald and Shep Solomon are the writers. These guys wouldn’t come cheap. I would be surprised if Daughtry is listed as re-couped for this album. I am sure the record label creative accountants still have him in debt, even though its 6x Platinum in the U.S.
It starts off like “Chasing Cars”. That’s what writers of hits do. Take what came before and tweak it.
And of course, a Max Martin /Dr Luke song, isn’t a song without a massive Chorus.
What I Want
Written by Daughtry and Howes and features Slash.
Just by featuring Slash, the song already has a hard rock swagger to it more like the “Velvet Revolver” swagger. But it’s short. Just over 2 minutes long.
Breakdown
The songs which are solely written by Chris Daughtry highlight his skills and style as a writer. “Home” showcases his story telling and use of simple chords to deliver an emotive vocal melody.
“Breakdown” is also written by Chris Daughtry.
It’s actually a rewrite and combination of two songs “Conviction” and “Break Down” previously recorded by Daughtry’s former hard rock/alternative metal band, “Absent Element”.
This one percolates, living in the grey area between soft rock and hard rock.
Check out the head banging riff at 2.30.
Gone
Written by Chris Daughtry, it starts off slow, ballad like but by the end of it, it becomes a great melodic rock song.
There and Back Again
Written by Daughtry and Brent Smith from Shinedown who also plays guitar on it.
It feels like a track that would appear on “The Sound Of Madness”. It’s heavy and it rocks hard.
All These Lives
Written by Daughtry and Mitch Allan, it’s in the soft rock domain moving between acoustic verses and distorted choruses.
What About Now
Written by Ben Moody, David Hodges and Joshua Hartzler.
Moody and Hodges had a certain style of writing. They both came to fame via the “Fallen” album from Evanescence and when Moody left the band mid tour, he became a songwriter for other artists. Kelly Clarkson recorded a few of their songs, I think, “Because Of You” was written by Moody and Hodges.
Well this one follows in that vein. It has a piano riff which at the start reminds me of “Alone” from Heart.
Sorry
Written by Daughtry, Alexander Rethwisch, Christopher Langton, Konstantin Rethwisch and Matthias Weber. A lot of writers.
It lives in this acoustic Fuel/Alice In Chains space because it reminds me of Fuel’s “Something Like Human” album and “Sap” from Alice In Chains.
For a debut album from an American Idol contestant who came 5th, every cent was spent by the label on getting the correct songs as evidenced by the different songwriters on each song.
And he had a lot of musicians on the debut album. Phil
X who performs with Bon Jovi now, is on lead and rhythm guitars. The excellent Josh Freese is on drums. Paul Bushnell plays bass except on “What About Now” which is Chris Chaney. Producer Howard Benson also plays keyboards on the album and Chris Lord-Alge is mixing. These guys and production team don’t come cheap.
In an era of low sales, Daughtry also showed that great music can still sell. In Australia and New Zealand it went Gold. In the UK its certified Silver. In Canada its certified 2x Platinum and in the U.S, its certified 6x Platinum.
The album produced 7 singles. Yep, 7, but then again, every song on the album could be a single, hence the different writers.
And Daughtry sings for most of the album so his voice is left, front and right.
Critics did write, what is the point of having Slash appear on a 2 minute track. Or what would have happened if music took the lead in a song instead of Daughtry singing over everything.
But then again, critics don’t normally sell 6 million albums in the U.S.
Opeth is a Swedish progressive metal/rock band from Stockholm, formed in 1989. The group has been through several personnel changes, including the replacement of every single original member. Lead vocalist, guitarist and songwriter Mikael Åkerfeldt has remained Opeth’s primary driving force since the departure of original vocalist David Isberg in 1992.
Opeth has consistently incorporated progressive, folk, blues, classical, and jazz influences into its usually lengthy compositions, as well as strong influences from death metal, especially in their early works.
The band rarely made live appearances supporting their first four albums, but since conducting their first world tour after the 2001 release of Blackwater Park, they have led several major world tours.
So “Morningrise” is part off the “first four” albums.
It’s the second one, released on 24 June 1996.
Opeth for this album is Mikael Åkerfeldt on vocals and guitars, Peter Lindgren on guitars, Johan De Farfalla on bass and Anders Nordin on drums, percussion. All lyrics are by Akerfeldt and music is by Akerfeldt and Lindgren.
Åkerfeldt has mentioned that “The Number of the Beast” by Iron Maiden and “Lick It Up” by Kiss made him a metal head, but he also was heavily influenced by “Sabbath Bloody Sabbath” by Black Sabbath and his favorite metal album is “Sad Wings of Destiny” by Judas Priest.
Lindgren had a nice diet of Iron Maiden growing up and was heavily influenced by “Master of Puppets” from Metallica along with ’70s progressive rock band Camel.
So with similar influences as mine I was more than interested to listen.
I didn’t hear this album until 2005/06 as I started listening to em after “Blackwater Park”.
5 songs clocking in at 60 something minutes.
Advent
The song is almost 14 minutes long as it moves between sludgy grooves, acoustic guitars and fast double kick metal like passages.
Vocally, Opeth during this period was more death metal like with some clean vocal passages.
At 3.20, this acoustic guitar riff kicks in, arpeggio based and very Rush sounding and I’m like where did that come from.
It becomes abrasive again with death metal vocals which don’t impress but the music does impress.
At the 6 minute mark, a different acoustic arpeggio riff kicks in and this time, the vocals are in clean tone and I’m all in.
At 8 minutes a Thin Lizzy/Iron Maiden/Helloween like galloping riff kicks in which is great to play on the guitar.
But it gets better, there is this metallic riff at 9.20 which has a jazz like bass line behind it with double kick drums. It feels unsettling and jarring.
The Night And The Silent Water
At 11 minutes long, it’s another short song.
Im not a fan of the death metal vocals, but goddamn I really like the music and it’s movement between distortion and acoustic.
Around the 8 minute mark, this “Children Of The Grave” feel/gallop starts. It keeps building until the guitars explode into playing octave melodies.
Nectar
At 10 minutes long it’s maybe the shortest song on the album.
The music is very Iron Maiden”ish” like. There is this riff that kicks in at the 2 minute mark, which is excellent.
At 7 minutes there is another acoustic like arpeggio passage which comes out of nowhere and yet it fits nicely. And the last 90 seconds has a riff which appeared on a Dream Theater album in a few years’ time.
Black Rose Immortal
Almost 20 minutes long.
The song has a lot of harmony leads that feel like they are influenced by Thin Lizzy as it’s got that major key Celtic like vibe.
Check out the Maiden like instrumental sections from 7.30 and the excellent volume swell section around 9.30 to 9.43 which is way too short. But hypnotic and very violin line.
To Bid You Farwell
Another 11 minute song to close the album. A “Fade To Black” like arpeggio riff starts it off.
And the song percolates in the acoustic domain until it explodes into distortion at the 7 minute mark.
The amount of acoustic progressions in this song, another person could have written 10 different songs.
The vocals are clean tone and make sure you check out the bluesy kicks at the 4 minute mark.
And it returns back to the acoustics for the last 90 seconds to end the album on somber note. Like Empire Strikes Back.
I wasn’t sure I needed a Kiss “Unplugged” album but after pressing play, I became a fan of it instantly. The songs they selected worked so well in an acoustic setting.
For a band that was trying to find a way to fit into the mixed up 90’s, the “Unplugged” setting was perfect for them.
Apart from Stanley, Simmons, Kulick and Singer, they are also joined by Ace Frehley and Peter Criss for a handful of songs. In Australia it went to Number 4 on the charts. Argentina and the U.S certified the album Gold.
Comin’ Home
I wasn’t a fan of the distorted version that appeared on the album “Hotter Than Hell”, but goddamn I really like this acoustic version. By far the best song on the album and my go to version for this song.
Plaster Caster
I think this is the weakest one.
Goin Blind
Acoustically, it sounds like a progressive rock song from ELP, something which seems to be lost with the studio cut.
Do You Love Me?
A good song works in any format.
Domino
This song works so good in acoustic format, as it brings out its sleazy swampy Delta blues influence.
And how good is Bruce Kulick.
Sure Know Something
One of my favourite Kiss songs. Hated by American fans and loved by the Australian disco rockers.
A World Without Heroes
A perfect song for the “Unplugged” format. Paul Stanley is an excellent rhythm guitarist and Bruce Kulick shines here with the leads.
Rock Bottom
I didn’t think this would translate well, but it did.
See You Tonight
It’s like the Beatles walked into the building.
I Still Love You
This song is a masterpiece in hard rock balladry. The acoustic arpeggio riff which makes up the Intro and Verse is haunting and it sets the tone of the song.
Stanley delivers a killer vocal but the unsung hero is still Bruce Kulick. And check out Eric Singer, as he pounds those drums like the track is electric.
Every Time I Look At You
I’m not a fan of the studio cut, but it really works here and I like the way the guitar lead break sounds. And Stanley is a crooner, he loves doing vocals like this.
2,000 Man
Some members of the family are back, in Ace Frehley and Peter Criss. And I’ve always seen this Rolling Stones track as a punk rock song.
Beth
The big hit. I prefer it as an acoustic guitar led cut, instead of a piano led cut and this version rocks, even though the song is a ballad.
Nothin’ To Lose
It sounds like a Motown cut in this format.
Rock ‘N’ Roll All Nite
It’s a campfire song and a perfect closer, sing-a-long to end the night.
The “REVENGE” band sounds great and this show along with the “Kiss III” release serves as a great testament to their abilities.
But the magazines I purchased at the time, hated it and didn’t write kindly about it. But good rock and roll was never meant to be the critics’ darling.
Here are some reviews that I agree with.
And if you want to check out the views of 2Loud2OldMusic, who gave it an easy 5.0 out of 5.0, then click here.
Or from Mr Mike Ladano who also gave it 5/5 stars, click here.
“Reckless” was massive and is still massive. The follow up “Into The Fire” was seen as a failure but “Waking Up The Neighbours” re-established Bryan Adam’s as a tour-de-force. Mutt Lange was on board for that album as co-producer and co-writer, with Jim Vallance only appearing on half of the tracks as co-writer.
Released in 1996 and five years after “Waking Up The Neighbours”, “18 Till I Die” hit the streets.
Bryan Adams and Mutt Lange are back at producing and writing most of the tracks but Jim Vallance is missing.
The band for the album is Bryan Adams is on rhythm guitar and vocals, Keith Scott is on lead guitar, Mickey Curry is on drums, Dave Taylor us on bass, Mutt Lange is on guitars, Michael Kamen is on piano and string arrangements.
The Only Thing That Looks Good On Me
It’s like a ZZ Top track. No blues purist would give them the credit but ZZ Top with “Eliminator” and “Afterburner” brought back the blues into the pop mainstream in a big way. And those little lead breaks and fills on this song are loaded with Texan spice.
The title is one of those cheesy pick-up lines, but hey, Adams makes it work as he sings about how they stick like glue and how she’s the only thing that looks good on him.
Do To You
It reminds me of a song called “What I Like About You” from The Romantics merged with a bit of “Love Shack” from the B-52’s and a little bit of punk from The Clash and somehow it still sounds like Bryan Adams.
And I like the harmonica licks that kick in between the vocal melodies.
Let’s Make A Night To Remember
This is a Def Leppard cut through and through about getting together and getting it on. It could easily be interchanged with a song from “Adrenalize” and people wouldn’t notice.
The video clip has various women posing for Bryan Adams as he photographs them, an attempt to change his image to fit into some voyeur playboy kind of image.
I like the lead break although its only four bars and way too short.
18 Till I Die
I like the arpeggios in the intro.
When the power chords come crashing in, I feel like it’s like a Rolling Stones or The Kinks like track musically. Lyrically it’s about maintaining youthful traits, even as you grow older.
Star
It’s different, more ballad like and very similar to another song he co-wrote called “Glitter” with Motley Crue. And melodic rockers from Sweden would start to have ballads like this in the mid 2000’s.
I guess Adams was a bit ahead here.
(I Wanna Be) Your Underwear
Stupid title, but hey, management and the label were trying to alter Adam’s image from working class hero to playboy.
Keith Scott has got some Steve Vai talking guitar happening with the guitar whistles to kick off the song.
Check out the bass work in the verses from Dave Taylor. Excellent.
We’re Gonna Win
It’s a punk song, but a rock song. And I like it.
I Think About You
A ballad, but more in the country rock ballad arena, something which Mutt Lange was using a lot of Shania Twain.
I’ll Always Be Right There
Strings, an acoustic guitar and a Steve Perry like vocal delivery. It feels like a movie song but two ballads in a row, lost me.
It Ain’t A Party, If You Can’t Come Round
The cheesy titles are back which also reminds me of a Vince Neil song title and so is the loud country blues rock.
Black Pearl
The country blues rock from the Mississippi Delta continues with this one and a riff inspired by “Peter Gunn”.
The lead break (although brief) from Keith Scott is Grade A Nashville stamped.
You’re Still Beautiful to Me
I like the feel of this song. It’s a simple drum beat, a strummed acoustic guitar, a great Adams vocal deliver and how good are those licks in between the verses and Choruses and under the vocals.
Have You Ever Really Loved a Woman?
Written by Adams, Lange and Kamen and featuring the excellent flamenco guitarist Paco DeLucia.
I came across DeLucia via Al DiMeola and the trio they had with John McLaughlin and became a fan with his acoustic guitar playing.
Featured in a movie I can’t remember but these movie placements ended up being huge promotional vehicles for Adams.
It was a Top 10 album in Australian, Austria, Belgium, Canada, Holland, Finland, Germany, Norway, Sweden, Switzerland and the U.K (which also had it go to Number 1).
In Australia and Canada it was certified 3× Platinum. In the U.K it was certified 2x Platinum. Platinum in the U.S, New Zealand, Japan and Switzerland. Gold in Austria, Belgium, Finland, Germany and Spain.
M.O.L. stands for “Meaning of Life”, a song from “The Sickness” and it’s the title of a DVD released in 2002.
They all started off the same as other bands. Each member performed in various bands before hooking up.
But the vocalist spot was proving a problem. They put an ad out and Dave Draiman answered the ad. He was the anti-rock star with real short hair and sandals but he was onboard with focusing on originals.
And when Dan Donegan played an original riff and Draiman started singing a melody, that was it. That song became “Want”.
There is studio footage from November 25, 1999 and December 2, 1999 and its cool to see how “Bill Ward like”, Mike Wengren is on the drums, very groovy like with a bit of swing.
And Johnny K was not what I expected him to look like. I was thinking like another Kevin Churko. Even though I’ve seen his name on so many albums I never really googled him or read any interviews.
It’s always strange watching things back and the way bassist Fuzz talks about “how lucky the band got with David” but in the end it was the personality differences between Draiman and Fuzz which led to him getting fired.
In Australia this DVD release did good business and it was certified Platinum.
I caught em live on the “Ballbreaker” tour and little did I know that would be the last time I would watch em live.
“Ballbreaker” is a favourite, the same way “Flick Of The Switch” is a favourite. It feels rawer and bluesier. Both albums came after massive periods of success in “Highway To Hell/Back In Black/For Those About To Rock” and “The Razors Edge”.
“The Razors Edge” was that popular that it gave the band a 16 year victory lap. In other words it was still selling when this album and others came out, along with the monster known as “Back In Black”.
Released in 1995, it’s album number thirteen based on the Australian releases. Otherwise its number 12 based on the international releases.
The only change to the band line up was the return of Phil Rudd on drums, replacing Chris Slade.
But the producer this time is Rick Rubin although most of the work is credited to Mike Fraser as Co-Producer, engineer and mixer. And many years later, Malcolm Young said it was a mistake to work with Rubin who was absent for a lot of the sessions.
Hard As A Rock
It’s a favourite. I like the clean tone, droning open string riff to start the song and then it explodes into distortion with the Young brothers jamming on a B5 chord.
Cover You In Oil
The walking guitar riff reminds me of “Ice Cream Man” from Van Halen. And while Brian Johnson was hard as a rock in the first song, now he’s asking if he’s allowed to cover someone in oil.
The Furor
I like the single note riff that Malcom plays in the Verse while Angus strums away in the higher register.
And when the Chorus kicks in, I like what Angus plays on the higher register. And the lyrics are simple, “I’m your furor baby”.
Boogie Man
The riff is derivative and the title is derivative of “Night Stalker”. But hey, AC/DC built a career on being derivative.
The Honey Roll
The riffs in this song are virtually unknown but they are as good as anything that came from the “Back In Black” album.
Burnin’ Alive
A simple riff on a lightly distorted electric kicks off the song. And I like how Rudd builds the intro.
Check out the groove on the verse riff.
Hail Caeser
How good does this start off?
It reminds me of all the things I like about AC/DC like “Dirty Deeds”, “Whole Lotta Rosie” and “TNT”.
I said “Hail”.
Love Bomb
I don’t know what kind of a bomb a love bomb is, but its Wikipedia definition has love bombing as an attempt to influence a person by demonstrations of attention and affection.
The Chorus is catchy, but the lead break is my favourite.
Caught With Your Pants Down
I like the Intro. Sleazy.
In the verses, “Whole Lotta Rosie” went around in the 90’s.
And how good are the chromatics in the Chorus.
Whiskey On The Rocks
This song subliminally makes me drinks whiskey.
Ballbreaker
The riff is excellent, iconic, but when the bass of Williams and Rudd kick in, that’s when you know it’s gonna be a great AC/DC song. A perfect song.
In the end, there are no bad songs here or a skippable track. And seeing em play most of this album on the tour, it’s definitely a favorite.
In Australia it went straight to number 1 (as most albums of AC/DC do here), along with Sweden and Finland.
It was a Top 10 album in Austria, Belgium, Canada, Germany, Norway, New Zealand, Switzerland, UK and US.
Certified 3x Platinum in Australia. 2x Platinum in the U.S. Platinum in France and New Zealand. Gold in Austria, Finland, Germany, Switzerland and the U.K.
The Disturbed Record Vault series is almost at an end.
“Music as a Weapon” is a series of concert tours created by Disturbed. All up this tour did the rounds seven different times.
In 2001, the first edition featured Disturbed, Drowning Pool, Adema, Stereomud and Systematic.
In 2003, which is also the tour captured on the CD, it featured Disturbed, Chevelle, Taproot and Unloco.
In 2006, the tour featured Disturbed, Stone Sour, Flyleaf and Nonpoint.
In 2008, the tour came to Australia and New Zealand which I caught. It featured Disturbed, P.O.D., Alter Bridge, Redline and Behind Crimson Eyes.
In 2009, the tour featured a bigger line up, with Disturbed, Killswitch Engage, Lacuna Coil, Chimaira, Suicide Silence, Spineshank, Crooked X, Bury Your Dead, Born of Osiris and After the Burial.
In 2011, the line-up was Disturbed, Korn, Sevendust, In This Moment and StillWell. It’s also the first time the tour had co-headliners with Disturbed and Korn. The Australia and New Zealand edition had Disturbed, Trivium, As I Lay Dying, Forgiven Rival and These Four Walls.
But back to the “Music as a Weapon II”.
It was recorded at The Aragon in Chicago in 2003, and released in 2004.
The DVD also contains Disturbed’s video for their single “Liberate” and it was Disturbed’s last release with bass guitarist Steve Kmak.
On a different note, it was also Unloco’s final release before splitting up. But vocalist Joey Duenas did form a new band called “Anew Revolution” and released two excellent albums called “Rise” in 2008 and “iMerica” in 2010. But that band is also no more.
“Loading the Weapon” (instrumental)
An instrumental track from Disturbed that is not on any album. I love the mood that this track creates.
“Bound”
It then explodes into “Bound” from the “Believe” album.
“Myself”
This CD was my first exposure to Taproot. The live recording didn’t captivate me to listen any further.
“Dehumanized”
It was written and recorded for the “Believe” album, however it didn’t make the final cut. But it was played live during the “Believe” tour and released as a B side to the “Stricken” single from the “Ten Thousand Fists” album, alongside “Hell”.
And it was finally released on “The Lost Children” album.
“Forfeit”
My first exposure to Chevelle and I was instantly a fan. The live recording isn’t the best, but the Tool like grooves into a concise 4 minute song was of interest to me.
“Fade to Black”
From Disturbed.
A Metallica cover. And how good is the whole intro with the acoustic arpeggios and lead break.
“Empty”
My first exposure to Unloco.
“Sumtimes”
Taproot’s other song on the album. It’s like Staind and the track is more accessible than the previous one. But still not interested.
“Darkness”
From the “Believe” album. The piano and acoustic guitar is haunting. Draiman’s vocal delivery is excellent.
“Bruises”
From “Unloco”. This song was in “The Matrix” movies and various video games.
“Prayer”
From the “Believe” album, the fast staccato riffing in the Intro isn’t as powerful as the album version, but I do like the slight increase in tempo which makes the fast staccato riffing even faster.
And Draiman delivers vocally.
“The Red”
David Draiman makes an appearance with Chevelle. Its pitchy especially when Draiman joins in with the harmonies but that’s what performing live is all about.
“Poem”
Song number three from Taproot. The riff sounded interesting and a bit complex, so from this song, I would go on to check out more Taproot eventually.
“Stupify”
From “The Sickness” album, and Peter Loeffler from Chevelle and Joey Duenas from Unloco make an appearance.
In the end, it’s live with no studio overdubs and very different to the live albums I grew up with, (which were basically re-cut in a studio).
I also like how Disturbed put three unreleased songs on this album.
Man, the Scorpions sure know how to cause a bit of controversy with their album covers. Remember “Virgin Killer” or “Lovedrive” and to a lesser extent “Animal Magnetism”. Well, you can add “Pure Instinct” to the list.
And all of this controversy generated an alternative cover, with the Scorpion guys acting like animals..
And the music catalog of Scorpions is all over the place when it comes to streaming services. This album like many others from the Scorpions is not available on streaming services like Spotify, Deezer or Apple, but hey YouTube has it.
So “Pure Instinct” is album thirteen. Released in 1996 it’s basically forgotten.
Klaus Meine is on vocals, Rudolf Schenker on rhythm guitars, Matthias Jabs on lead guitars and Ralph Rieckermann on bass. For drums they used a session player (aka a “Hired Gun”) called Curt Cress.
The main Producer is Erwin Musper with 80s legend Keith Olsen, producing tracks 1 and 7.
“Wild Child”
Produced by Keith Olsen.
Bag pipes play a Celtic like melody before the crunchy guitars of Rudolf Schenker kick in. Its classic Scorpions delivering a kick ass rock song.
Check out the lead breaks from Mattias Jabs especially the outro solo.
And to close out, the bag pipe melody is back in. Musically it’s as good as any hard rock track from the Scorpions.
“But the Best for You”
Klaus Meine wrote the song.
It’s more Bryan Adams in the Intro than the Euro Scorpions Rock and the verses are very heavily influenced by ELP and the song “From The Beginning”.
What is it with that ELP track?
Dokken covered the ELP track a year before on “Dysfunctional”.
The Chorus also has that “You Give Love A Bad Name” vibe.
“Does Anyone Know”
Another Meine composition and its the first ballad on the album.
Another day has just begun Life goes on there’s no return How can I trust anyone When honesty is such a dirty word
A breakdown in a relationship is not easy especially when you’ve been deceived.
The guitar solo from Jabs is excellent, reminding me a bit of a certain UFO guitarist who did time in Scorpions.
“Stone in My Shoe”
The hard rock of Schenker is back and its got that 70’s feel.
“Soul Behind the Face”
The intro remimds of the Uli Jon Roth era with a bit of Neal Schon.
And even though the acoustic guitar is prominent in the verses, i class the song as a rocker.
And Meine’s lyrics are better here, questioning who he’s real friends are.
And What a Chorus!.
“Oh Girl (I Wanna Be with You)”
A mix of “No One Like You” and “Passion Rules the Game”.
“When You Came into My Life”
A ballad written by Meine and Schenker along with Titiek Puspa and James F. Sundah.
The intro arpeggios remind me of something, but I cant remember what.
The acoustic lead break by Jabs is brief.
“Where the River Flows”
I thought of Collective Soul when I saw this title, even though their version came after. A rock song but with a strummed acoustic as the main focal point.
Under suburban skies Where life is bleeding Where concrete skies are grey There’s plenty of room for dreaming
My hometown has sure changed. Suburbia has moved from the house into the apartment which goes up many levels.
“Time Will Call Your Name”
It’s like a long lost cut from Led Zep III.
“You and I”
A boring ballad to me but it got played live.
“Are You the One?”
A ballad to close the album with.
Skip.
And the album was a Top 10 album in Germany and Finland. It was also a Top 20 album in France, Switzerland and Austria.
It was also certified Gold in Germany, France and Finland.
In the end, it was a release to keep the Scorpions brand going. But the songs feel dull and uninspired. Other artists who had fame in the 80s ask struggled during this period, unsure of what to write, how to sound and how they fit in. Like when Slayer delivered a Nu-Metal album, you knew as a fan that bands were doing it tough.
Klaus Meine at 48 years of age was still writing about “Wild Child’s” and other irrelevant 80s cliches. But on some songs he showed us that there is a questioning human behind the rock star bravado.
I don’t own it. Between 2016 and 2019, I didn’t buy a lot of music as streaming was becoming king.
Released in 2018 and after the success of “The Sound Of Silence”, it was inevitable that the sound of Disturbed would evolve to include a lot of acoustic guitars.
In the interviews leading up to the release, the guys in the band mentioned that the classic rock music they grew up with, influenced the writing of this album.
And this time around, Kevin Churko is also listed as a songwriter along with the band (like how Mutt Lange was listed as a writer with the bands he worked with) and the song “Uninvited Guest” has Dianne Warren as a co-writer. Yes the “I Don’t Want To Miss a Thing” Dianne.
Are You Ready
A throwback to the first two albums in musical style, lyrics and vocal phrasing with an anthemic Chorus.
No More
It’s got a riff and drum groove that reminds me of “The Beautiful People” from Marylyn Manson.
In the Chorus, if you like Swedish Hard Rock or Euro Hard Rock, then you’ll get your fix here.
A Reason To Fight
One of the first acoustic tracks on the album, about not giving up when the demon inside you wants you to. Not a favorite.
In Another Time
The start feels poppy, but then a “Kashmir” like riff kicks in.
The way the verses are delivered vocally is more in line with the popular charting songs.
And the Chorus. Huge.
Stronger On Your Own
A drum groove that reminds me of the first album from Imagine Dragons is prominent but the song still sounds like Disturbed with a bit of Shinedown.
Hold On To Memories
A simple strummed progression on the acoustic guitar starts it off, and then a melodic acoustic lead kicks in.
Draiman is hopeful, sending a message to take the ones you love and hold em close, and to make the most of your life.
And the song remains in the acoustic domain throughout, like “A Reason To Fight”.
Saviour Of Nothing
The heavy rock is back.
But the song was pedestrian, until the interlude section from 2.40 got me interested.
Then a lead break started, first with some Digitech Whammy effects and the shred kicked in after.
Watch You Burn
The acoustic guitars are back, more Led Zeppelin like especially the interlude.
The Best Ones Lie
Its back to the Disturbed Hard Rock sound.
Already Gone
Acoustic guitars are back again with a “Stairway To Heaven” like intro.
This is the best of the acoustic guitar songs and the only one that should have been included. The feel of it is almost Country Rock and Draiman’s bass/baritone like delivery is perfect.
Now for the bonus tracks.
The Sound Of Silence (Live with Myles Kennedy)
It’s a great track and Disturbed have done it justice with their re-interpretation.
This Venom
It’s a bonus track, but the Chorus is better than some of the album tracks.
Check out the whole interlude and lead section part.
Are You Ready (Sam DeJong Remix)
It’s an Imagine Dragons song with this remix and I like it.
Uninvited Guest
Another acoustic guitar led song.
Give it a listen just for the orchestra.
And the album at this point in time doesn’t have any certifications. Time will tell if people will keep listening to it. If I had to rank all the albums, this is my least favorite.
destroyerofharmony 