Tag Archives: rock

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

The Record Vault: Def Leppard – Pyromania

In 1983 and 84, it felt like there was “Pyromania” and then there was everything else.

Quiet Riot didn’t have the same success in Australia that they had in the U.S and Motley Crue was a few years away from their “Home Sweet Home” fame in Australia.

The Lep’s wanted to be on top of the pop charts. That was their mission. The rise was slow but gradual.

If you like rock and metal music, you would like this album. If you like pop and other forms of music, you would still like this album.

The “Pyromania” story begins with “High ’N’ Dry”.

The album didn’t sell what the band and the label expected it to sell. And their UK headlining tour had them selling 25% of the tickets. In other words, they were pulling in between 400-500 people in 2000-seat theatres.

Def Leppard was then given a supporting slot on the European Leg of the “Point Of Entry” tour by Judas Priest. But they never had a chance to make an impact, coming on second after Accept, who had massive momentum with “Balls To The Wall”.

The tour finished in December, 1981.

But the band was busy writing riffs on the road and man, they sure had a lot for new songs. They also revisited some older songs and rewrote em lyrically or rearranged em musically.

“Medicine Man” wasnt good enough to make the “High ‘N’ Dry” album but it was beefed up and retitled “Rock Rock (Till You Drop)”. With new lyrics, it became the album opener.

There was another unfinished track which was described as “a dual-guitar pop song” by Joe Elliot in an interview at TeamRock.com. Well that song was also finally completed, and it became known as “Photograph”.

Producer Mutt Lange, was also on board, being listed as a co-writer on all of the album’s 10 tracks which bothered Willis as he believed that wasn’t the case.

When the band was given the green light to record, the budget was tight. Two albums in, the band was in debt to their label to the tune of £700,000, and each band member was on wages of £40 a week.

A cold hard truth on the realities of the recording business and the creative accounting of the labels is that the bands incur debts that could last forever.

The album finally hit the streets in January 1983.

But.

The album was selling slow in the U.K. A showcase gig at the Marquee Club in London on February 9 had a very small attendance.

But in North America, it was a different story.

MTV put the songs “Photograph,” “Foolin’” and “Rock of Ages” on constant rotation.

Suddenly rock and metal bands changed the way they recorded. NWOBHM bands started to sing more melodically and with multi-layered backing vocals.

Joe Elliot once said that he wanted the power of AC/DC mixed with the variety of Queen for Def Leppard. That equals “Pyromania”.

I had the vinyl but it was also in the same box that went missing during a house move however I picked this up on CD.

Rock Rock (Till You Drop)

It’s a sound and groove that Cinderella and Kix and many other U.S acts would put to good use to build careers’ on.

But it was guitarist Pete Willis who wrote the riff to “Rock Rock (Till You Drop)” however he’s not credited.

Willis and Lange didn’t get along at all, constantly clashing with each other in the studio which then also led to tension with the other members.

As a founding member, Willis didn’t believe he could be removed or fired. But removed he was.

Anything goes

Photograph

There is no denying the riff. It’s as good as any of the classic riffs that guitarists play in guitar shops and so forth. Structurally, the song goes all AC/DC style riffing in the verses and pop rock like in the Chorus.

Stagefright

Rick Savage came up “Stagefright”.

It’s got this Sweet “Action” vibe merged with metal riffage in the verses and a pop chorus.

Too Late For Love

As soon as this song starts off, I swear I’ve heard it somewhere else.

Die Hard The Hunter

You feel the sadness as soon as the Emadd9 clean tone arpeggios kick in and it gets even sadder when Joe starts singing “Let’s toast”. Then it goes into a riff that Queensryche used when they wrote “Revolution Calling”.

That section from 4.05 to 5.05 always gets me to stop what I’m doing and start paying attention.

Foolin

The opener to Side 2, with that majestic guitar part.

The magic is in the arpeggiated intro and the eventual build up with the layered backing vocals singing “Is anybody out there?”.

This song stands the test of time.

The lead break begins with a call and response. It reminds me of “Over The Mountain” from Randy Rhoads and Ozzy.

Rock Of Ages

The first time I heard em.

Yeah, it’s better to burn out / Yeah, than fade away

A rock and rollers creed.

Rise up, gather ’round / Rock this place to the ground

Burn it up, let’s go for broke / Watch the night go up in smoke

Rock on (rock on) / Drive me crazier / No serenade, no fire brigade / Just the pyromania, come on

This is the embryo of “Pour Some Sugar On Me” and they take inspiration from Queen, by using songs like “We Will Rock You” and “Another One Bites The Dust” as influences for the verse delivery/structure.

When the Chorus comes in after two verses, it’s well worth the wait. “Don’t Stop Believin’” from Journey also used this kind of song structure.

Rock of ages, rock of ages / Still rollin’, keep a-rollin’

Rock of ages, rock of ages / Still rollin’, rock ‘n’ rollin’

You won’t be able to stop yourself from singing along with the chorus.

Comin Under Fire

This song is a must for any guitarist. It merges 70’s classic rock, with the NWOBHM sound with Scorpions Euro Metal.

The intro alone has it all.

Arpeggiated guitar lines hook you in and then the pedal point riff blasts through the speakers.

When the verses come in, we are greeted with volume swells that outline the different chords.

Like the pre-chorus of “Foolin”, the chorus of “Comin Under Fire” has excellent layered backing vocals. Lyrically, it’s not the best, but musically, it rules.

Billy’s Got A Gun

Steve Clark was a Jimmy Page fan, so it was no surprise that he was the one who created this Zeppelin-influenced epic.

Never underestimate the ability of a song to paint a picture.

This is my favourite Def Leppard cut and it has so many good bits.

The verse bass riff reminds me of “Heaven and Hell”. The backing vocals are so layered, melodic and operatic. The overall drum groove reminds of “Kashmir”. And I guarantee you that Chris DeGarmo, Geoff Tate and Michael Wilton all had this album and paid particular attention to this song as the “Operation Mindcrime” album is musically influenced by “Billy’s Got A Gun”.

And you get an unbelievable solo and an ending that makes you press play again, so you hear the album over and over and over again.

As time marches forward, the greatness and power of this song is being forgotten.

And it’s like the band made a crossroads deal to achieve fame. The success of this album put the band members on different paths than the previous ones they were on and that would lead to different outcomes for them.

On New Years Eve, 1984, Rick Allen went to overtake a car and failed to negotiate the bend. He lost part of his left hand in the accident and surgery to reattach it, led to an infection and then eventual surgical amputation.

And no one knew it at the time, but it was going to be long wait for the next album.

On a side note, Trevor Rabin and Mike Slamer are both thanked in the credits.

Those two dudes are very well known session guitarists, so I’m asking the question; did they actually play on this?

Slamer was used by producer Beau Hill on most of the records he produced in the 80s. If you have an Alice Cooper, Kix, Winger, Streets, Warrant, Fiona, Europe, Twisted Sister and Ratt album, then there is a high chance that Slamer played on it.

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Australian Method Series and 1996 – Part 4.5: Powderfinger – Double Allergic

“Double Allergic” is their second album released in 1996.

It peaked at No. 4 on the ARIA Albums Chart and was certified triple platinum by ARIA for shipment of 210,000 units by 2007.

Like all second albums it contained material that had been written for the debut album.

You know the saying. Artists have their whole lifetime to write their first and second album and only a few months to write their third.

They worked with an expensive producer on their first album but worked with a less well known producer for this.

From 1992 until their break-up in 2010, the line-up consisted of vocalist Bernard Fanning on vocals, guitarists Darren Middleton and Ian Haug, bass guitarist John Collins and drummer Jon Coghill.

“Pick You Up” was the first single and is by far the best pop song on the album.

“D.A.F.” is the the second single, and it’s title is the chord progression.

“Living Type” was the third single written about the Manson Family cult, and came with an X-Files style music video.

But if you want to press play on a song, then press play on “Oipic” and let the Led Zep exotic Sounds take you away.

By the way, this isn’t the album that got me interested. It was the next one “Internationalist” and the song “Passenger”. But that’s for another post.

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Australian Method Series: You Am I – Hi Fi Way

“Hi Fi Way” is the second album by Australian rock band You Am I, released in 1995.

Wikipedia tells me that “Hi Fi Way” reached #1 on the local albums chart and is one of the most influential and critically acclaimed Australian albums of the 1990s.

I remember this album being released and I also remember not being too enthralled by the singles at the time.

Coming off a decade plus diet of 80s hard rock, I was a bit destroyed when the labels started abandoning the genre in favour of grunge acts. So I went into a deep dive into the 70s. And that deep 70s dive became the reason why I ignored You Am I.

Main songwriter Tim Rogers later said that he was really high and drunk the whole time. And he wanted the album to sound huge but with the way that he sings and plays guitar it ended up sounding scrappier than he intended.

They had had seven days to make it, while living in New York.

The band is Tim Rogers on Vocals, Guitar, Mellotron, Hammond organ, Andy Kent on Bass and Rusty Hopkinson on Drums.

Lee Ranaldo from Sonic Youth is Producing. Stylistically it’s like punk and grunge.

Ain’t Gone And Open

It’s like a garage jam.

Minor Byrd

It’s a skip for me.

She Digs Her

Remember the lyrical theme from “Same Ol Situation” from the Crue.

A guy falls for a girl who is into girls and the guy is still thinking that’s okay, maybe he’ll get a threesome out of this.

Well, if you listen to the song; that also didn’t happen.

Cathy’s Clown

It’s almost like The Easybeats meets Radiohead meets The Who.

Jewels and Bullets

It’s a punk pop song and I like it.

There’s a drink you can drown in
Choose a blanket to die in

When you’re out on the streets only a few things matter.

Purple Sneakers

Folk Rock.

Found out what shame can mean
In purple sneakers and grey jeans

Yep to some people this look wouldn’t cut it and they’ll do their best to let the person know.

Pizza Guy

Grunge like.

Grab a six pack for the way home

Who doesn’t?

It’s a rite of passage. Well it used to be.

The Applecross Wing Commander

It’s got this Blue Oyster Cult and Free 70s vibe.

And although I have no idea what the song is about, the groove and attitude of the song grabs me.

Stray

I like the Soul Bluesy Intro on this.

The Vines would build a career playing songs like this.

Handwasher

It’s got this Hunters And Collectors vibe.

Wash my hands in shame
4000 times a day
And when I make it on home
There’s a smell that always stays

Sometimes the stain never comes out. When I used to be a fitter and machinist the grease was in the skin.

Punkarella

It’s high energy.

Coffee teeth and a cigarette heart for sale

Great lyrics.

Ken (The Mother Nature’s Son)

You’ve lived on beans and rice
And fell for Jesus Christ

Everyone is looking for some place to belong.

Gray

It’s a skip.

How Much Is Enough

It’s melancholic. My favorite song.

In the morning
When you’ve wiped his taste away
The last of the red and all the records you played
How much is enough?

Sometimes it’s enough for a few hours and then the night repeats.

There’s a review at Sputnik Music which summarizes the album as “The backyard gig, captured on CD”.

And I agree.

The album is mentioned by members of Jet and Wolfmother as an influence. And for a little while it looked like You Am I was going to break into the US, but that that never came.

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Australian Method Series: Eskimo Joe – Black Fingernails, Red Wine

Eskimo Joe are an Australian alternative rock band that was formed in 1997 by Stuart MacLeod, on lead guitar, Joel Quartermain, on drums and guitar, and Kavyen Temperley, on bass guitar and vocals.

Their road to fame started with a University Battle of The Bands contest. They won their local campus event, won the State event and then won the National event.

Released in 2006, this album is Number three and it’s noted for having the sound of the early 1980s Australian rock movement.

From the bands point of view they wanted to make a record as if they were stadium rock band. In other words if they were like INXS, what kind of record would they make.

The band recorded “Black Fingernails, Red Wine” on the central coast of NSW’s The Grove Studios. The Grove Studios were originally known as Mangrove Studio and were formerly owned by INXS bass player Garry Gary Beers.

In Australia it was certified 4× Platinum. It went to number one and spent 62 weeks on the ARIA Charts.

I never really appreciated this album when it came out. I was heavily into Progressive Metal, Nu-Metal and Metalcore bands at the time and I was devouring bands from those genres. I heard the singles and I liked em, but didn’t invest time.

A decade later, I finally did.

Comfort You

A great pop song with a piano line that reminds me of “Speed Of Sound” from Coldplay.

As soon as the drums and the fuzzed out guitar kick in, I was hooked. It’s almost new wave, but hard rock as well.

Lyrically there’s not much to it with a simple repeating line of “I will come, come to comfort you”.

But that’s all that is needed as the music and the groove is intoxicating.

If you’re not tapping your foot and nodding your head by the end of it, check for a pulse.

New York

This song is excellent.

It’s constructed with all the right atmospherics and ambient noises, plus an emotive piano melody and Temperley’s glimmering voice powers the melody.

Hey, hey, I know it wasn’t New York
Where I lost my mind.

The opening lines. A habit will always follow you regardless of which city you wake up in.

Black Fingernails, Red Wine

This song is huge. And the hook.

Black fingernails, red wine
I wanna make you, all mine

It reminds me of Icehouse, Eurythmics and INXS.

The Chorus is arena rock.

Breaking Up

An acoustic guitar and an addictive vocal melody.

And how descriptive is “A mouthful of glass / That cuts up your words”.

Setting Sun

The song was called “Forever Young”.

U2 comes to mind but press play on this track to hear the bass playing.

If your scared about the future,
I’m scared about the past

While you’re at it, check out the guitar melody which starts at 2.32.

London Bombs

Coldplay comes to mind. And I like it.

Sarah

Killers comes to mind with a bit of Rick Springfield.

This Is Pressure

An acoustic strummed passage starts the song.

There is no romance in suffocation

Truth right there.

Beating Like A Drum

If you like INXS, you will like this song. it’s not that it sounds like the band, it just has this spirit and attitude of Michael Hutchence.

I had a lot to drink last night
Now I’m feeling old
Is there anything that I can buy
That I have not sold

I’ve grown up with a father who likes to drink a lot and an older brother who likes to drink more. And all they think about is the next drink. Lucky for me they didn’t sell stuff to feed their habit.

Reprise

It’s a short instrumental, cinematic like piece.

Press play on it to hear the emotive piano melody.

Suicide Girl

Oasis and Radiohead comes to mind.

My social suicide girl
Poison in the wall
Razors in the apple core

These lyrics are hard rock. Nikki Sixx and Rachel Bolan would be proud.

How Does It Feel

A piano riff and a Muse/Coldplay feel.

You’re gonna lose everything / How does it feel

Not the best when it happens but as time goes on, a lot better.

There isn’t a song on this album that I will skip. It’s perfect from start to finish. So if you want to experience Australian Pop Rock, press play on this.

And the band is still active releasing new music and touring. But those reviews will be in other Australian posts.

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Australian Method Series and The Record Vault: Dragon – Bondi Road

The “Body and the Beat” album and the song “Rain” kept Dragon in the Charts between 1983 and 1986.

In 1986, they released the hard rock sounding “Dreams Of Ordinary Man” album which was certified Platinum in Australia and kept their comeback alive.

In 1987, they dropped a cover song, “Celebration” from Kool And The Gang. And it went to Number 1 on the Australian charts and stayed in the Top 10 for quite some time.

I’m not a real fan of that song but it made business sense to cover it because of it’s cross over appeal. It was played in night clubs, parties and everywhere you went in Australia, you heard Dragon’s version.

And then in April 1989, they dropped “Bondi Road”, their ninth studio album.

And no one knew it at the time but it was to be the last album of new material to be released during singer Marc Hunter’s lifetime, who passed away from throat cancer in 1998 at 44 years of age.

Bondi Beach is listed as a place to visit in Sydney for tourists. It’s also the place where the reality TV show, “Bondi Rescue” is filmed which shows the lifeguards basically saving tourists from the waters.

With a title that involves the word “Bondi”, summer always comes to mind, however they dropped the album in April, which in the Southern Hemisphere, is the second month of Autumn.

But by the time October rolled around (the second month of Aussie spring), the album had grown in momentum and really became a summer album for the months of December, January and February.

Young Years

It’s one of their best songs, a hard rock classic. And it’s not even written by the band, written by keyboardist Alan Mansfield and his partner, vocalist Sharon O’Neill, who as a songwriting team have written other songs for Dragon which became fan favorites.

The song also had a massive resurgence in popularity following Marc Hunter’s death in 1998.

And on guitar they have the great Tommy Emmanuel. Apart from being an accomplished solo artist and an amazing guitar player at that, Emmanuel has amassed a lot of session credits here in Australia and in the U.S.

Plus a special mention to the awesome backing vocals of Mary Azzopardi and Wendy Matthews.

It’s a great opener and then I felt lost listening to the next songs.

“Blue Blue”, “Book of Love”, “Here Am I”, “Ice in this Town” and “Gold in the River” failed to capture the intensity and fire of the opening track.

Bondi Road

Then the Intro riff started for “Bondi Road” and I was back in. It’s all in clean tone but it’s got this rock blues funk groove which I like.

Written by Johanna Pigott and Todd Hunter, who also wrote “Rain”, however this time around vocalist Marc Hunter also has a songwriting contribution.

Summer

You couldn’t have an album called “Bondi Road” without having a song called “Summer” on it.

This one is written by David Hirschfelder, Marc Hunter and Wendy Hunter.

It’s major key riff, rocks hard but the way it’s delivered, it feels like I’m on the beach, soaking in the summer rays.

Then came “Family Man” and the album lost me again.

Runaway

It rocks out of the gate with a hard rock riff.

Another track written by the team of Alan Mansfield and Sharon O’Neill.

Good Time Girl

Mansfield and O’Neill contribute another song.

The rock sounds of Free and Bad Company start the song, and it moves into a riff similar to “Young Years”.

Stick around for the Chorus.

Celebration

And yes the stand alone single was given an album as well.

The album was Certified Gold in Australia, a bit lower than the previous albums and a sign of the changing times.

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1976 – Part 3.6: Electric Light Orchestra – A New World Record

“A New World Record” is studio album number 6 for Electric Light Orchestra (ELO), released in 1976.

Like The Doobie Brothers, this album acts as a bridge between the progressive side of the band and the radio-friendly side of the band.

The Electric Light Orchestra of 1976 is made up of Jeff Lynne on Lead Vocals and Lead Guitars, Bev Bevan on Percussion/Drums, Richard Tandy on Keyboards and Guitar, Kelly Groucutt on Bass and Backing Vocals.

Mik Kaminski is on Violin, Hugh McDowell on Cello and Melvyn Gale on Cello.

All songs are written by Jeff Lynne. At 28 years of age, he was at the peak of his songwriting powers.

Tightrope

How good is the symphonic 80 second Intro?

And then it moves into a Beatles like cut.

Telephone Line

It starts off as a telephone call, with the call going to message and the message being left is the song. At first it sounds like a cassette recording and eventually the sound cleans up.

It’s a perfect 60s (especially when the do-wop section kicks in) like song that wouldn’t be out of place on the Grease movie.

Rockaria

Bar room 12 bar blues with symphonic elements and operatic like vocals.

What a mix?

Mission (A World Record)

A piano, violins and a vocal melody that Freddie Mercury would be proud off.

From a modern view point, Muse comes to mind.

So Fine

There was a period in the70s when artists would write a song and have”Groove” or “Shuffle” in the title.

This song is in that area of Funk blues rock.

Livin’ Thing

A great track.

It almost feels like a soundtrack with the Spanish like violin Intro before an acoustic rhythm kicks.

Press play just for the Chorus.

Above the Clouds

Next.

Do Ya

Its a remake of the 1972 single by The Move, of which Lynne was a member between 1970 and 1972.

And it’s my favorite track.

Just press play to hear the Intro riff.

Shangri-La

It moves between an aria and a rock power ballad. Very Queen-like.

In Australian it went to Number 1 and it deserved to be there.

In 1977, four of the album’s songs were featured on the soundtrack of the film “Joyride” which always help getting the awareness out there.

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1976 – Part 3.5: Doobie Brothers – Takin It To The Streets

It’s a great album title but people hated the cover, thinking it was lazy.

“Takin’ It to the Streets” came out in 1976 and it’s the first to feature Michael McDonald on lead vocals. If you own the “1984” album by Van Halen, you will see Michael McDonald listed as a co-writer to “I’ll Wait”.

Tom Johnston was the leader and main songwriter in The Doobie Brothers. But in 1974 while touring, he fell ill and he had to reduce his involvement with the band. This got the label nervous as they didn’t want the band to continue without Johnston and the other members considered calling it quits.

But newbie guitarist Jeff Baxter suggested calling up a friend and fellow Steely Dan graduate Michael McDonald to finish the tour. McDonald thought that once the tour was over, he would be on his way, but was then asked to come into the studio to work on their next album.

Producer Ted Templeman (another familiar name for Van Halen fans) started going over the songs the band had available, but he knew they needed more and McDonald was asked to contribute his own songs. Which were very different sounding to what the Doobies played and if the band recorded em, would take the band in a different direction.

And that is what happened. So let’s see how the bridge between the Johnston and McDonald era sounded.

The musicians for the album are Tom Johnston who was still around to contribute and he played electric guitar, lead and backing vocals on the track “Turn It Loose” and vocals on “Wheels of Fortune”.

Patrick Simmons played electric guitars and lead vocals on a few songs,

Jeff “Skunk” Baxter is on electric guitars.

Michael McDonald played all the piano and synths as well as lead and backing vocals.

Tiran Porter on bass, backing vocals and lead vocal on “For Someone Special”. Drums were provided by John Hartman and Keith Knudsen.

The album had a The Memphis Horns section and various other musicians playing congas and violas and what not. Even Templeman chimed in with some percussion.

Speaking of the Production team Donn Landee (another familiar name for Van Halen fans) was there as Engineer.

Wheels of Fortune

The clean tone riff to start the song rocks and grooves. Almost funk rock like. Dare I say it, Steely Dan like.

Written by Patrick Simmons, Jeff Baxter and John Hartman, it’s still the old Doobies sound.

Vocals are provided by Tom Johnston.

Changin’ wheels of fortune
Drivin’ us on and on
Winnin’, sometimes losin’
As soon as it’s here it’s gone

Living from payday to payday is the only way for a lot of people.

Takin’ It to the Streets

The Michael McDonald era begins. The title tracks is solely written by McDonald. Its piano driven, and it funks and sort of rocks.

I also like the bass playing from Tiran Porter. Check it out.

And the solo is driven by The Memphis Horn Section. Yep horns and not guitar.

I ain’t blind and I don’t like what I think I see
Takin’ it to the streets

People have taken to the streets to protest a lot these last 15 years, but it’s still the same rubbish.

8th Avenue Shuffle

Guitarist Patrick Simmons wrote this one. It’s a blues soul funk tune, with some wonderful bass playing. Hell, it could appear on an Eagles album and not be out of place.

Losin’ End

Another track written by McDonald. It does nothing for me.

Next.

Rio

A track written by guitarists Simmons and Baxter, with vocals provided by Simmons and McDonald.

A Charlie Watts style drum beat starts the song, and when the Latin percussion comes in, I felt like I was listening to an Al Di Meola cut.

This track is the definition of “Yacht Rock”.

For Someone Special

Written by bass player Tiran Porter and the vocals are delivered by Porter himself.

The 70’s acts all had capable musicians who could play and sing.

The bass plays the main riff here, while the guitars and keys decorate. It’s trippy and I feel like he’s venting his feelings about Tom Johnston.

To reach down inside
And push that nightmare away
Now I’m glad that it’s over, it’s over
Now I can play

It’s always difficult for a band when a person who is like a band leader steps away. And the label does it’s best to make the other members feel worthless.

It Keeps You Runnin’

Another cut written by McDonald by himself, the lone wolf.

Not a favourite.

Turn It Loose

Johnston definitely gave the band a rocking edge. So even though he was done with the band, he did deliver this excellent cut.

People all around me
Everywhere I go
I thought I had a grip on things
Now I just don’t know

I’m not a big enough fan to know everything about The Doobie Brothers, but Johnston was seen as the driving force of the band and one of the main writers by the press and the label.

So when he disappeared, no one knew what was going to happen.

Carry Me Away

Written by Simmons, Baxter and McDonald. It’s just too much like a 70’s TV intro theme song.

In the end the album has more of a jazz, urban, soulful, funk than rock tunes and a new era started.

Michael McDonald and The Doobies.

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Australian Method Series: Voyager – Colours In The Sun

Voyager is a band from the state of Western Australia. The band is made up of vocalist Daniel Estrin, guitarists Simone Dow and Scott Kay, bassist Alex Canion and drummer Ashley Doodkorte.

“Colours In The Sun” was released on 1 November 2019 via the label Season Of Mist. And for all my North American pals, please take note of the proper spelling of colours.

And they’ve been at for a while, since the early 2000’s. On Spotify I can see seven studio albums and I think there are a few EP’s in there as well which are not on the streaming services. I must admit, their band name reminded me of Star Trek, so I had to check em out.

Colours

A synth intro. Upbeat and danceable.

Once the vocals kick in there is a sense of euphoria to em.

And there is a lot of syncopated guitar, bass and bass drum like riffs. Perfect.

Severomance

More synths.

But it’s the drum/bass and guitar work which I like, with a pop like vocal melody.

This one just kept growing on me to become my favourite track.

And I like the guitar solo on this.

Brighstar

The keyboard/synth riff to start it off with the metronomic kick drum reminds me of Toto and I like it.

In the process it quickly become a favourite.

Saccharine Dream

A shimmering effect and a riff made up of single notes starts the song off.

Then a distorted guitar kicks in.

At 2.15, a normal 4/4 drum beat kicks in and from all the frantic beats, it’s amazing to hear just a simple beat. A stock beat.

Who would have thought?

So far a four punch knockout combo.

Entropy

A fast keyboard riff is played, with the guitars providing a djent like rhythm as its foundation.

Einar Solberg from Leprous (which is another favourite progressive metal act I am into) guests.

And I expected more from this song.

Reconnected

The fast alternate picking and double kick lines reminds me of Evergrey and its cabaret like piano line makes it sound unsettling.

It’s more like Power Metal.

Now or Never

It’s like a 90 second intermission, a short song to transition with. It has layers of synths with digital delay and a poppy vocal melody.

Sign Of The Times

The synths again and I like how they give the song a techno Ibiza like feel. But make no mistake, this is a progressive metal band.

And the Chorus can definitely etch out a living on the pop charts.

Water Over The Bridge

Man this song is heavy.

“The Distance” from Evergrey comes to mind during the Intro.

The video clip is hilarious as it shows the guitarists putting on some serious “stink-face” looks as they jam it.

Runaway

The synths again. They feel uplifting.

Then the guitars, bass and drums come in, to support the synth riffs.

And press play for the keyboard solo.

It’s a concise album, coming in less than 45 minutes and by the time it’s done, I’m thinking where did the time go, as it all finished so fast.

So if you’re into progressive music, then Voyager deserves your ear.

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

The Record Vault: Al Di Meola – Electric Rendezvous

In 1980, Di Meola released the double album “Spendido Hotel”. Keeping with the Miami Vice covers theme.

And then the subsequent tour was captured live and released at the start of 1982 as “Tour De Force – Live”.

Towards the end of 1982, “Electric Rendezvous” was released.

The band for the album is Al Di Meola on electric and acoustic guitars, Anthony Jackson on bass guitar, Jan Hammer on keyboards, Steve Gadd on drums and Mingo Lewis on percussion.

God Bird Change

Percussionist god Mingo Lewis is still writing a track per album. This is his contribution.

The bass and drum groove throughout the song is a favorite as there is so much energy.

And of course there is a percussion interlude.

Electric Rendezvous

The title track at almost 8 minutes long.

The Intro is essential listening, with a clean tone guitar playing fast arpeggios while a nice relaxing guitar melody plays over it.

From 1.12 it changes. More Jazz fusion and alot of chromatics over time signatures changes.

From 2.11, a bass riff begins which the distorted guitars then copy. This creates a foundation for Di Meola to solo over, but it’s brief as they groove on the riff.

At the 4 minute mark, a metal sounding riff is played which allows Di Meola and Hammer to solo one after each other.

Passion, Grace & Fire

Paco de Lucia appears and the title of this song would be used to promote the run of acoustic shows that Di Meola, de Lucia and John MacLaughlin would do.

So there’s a lot of acoustic playing, fast fingers and lush arpeggios.

Cruisin’

Written by Jan Hammer it’s got a keyboard hook that is addictive and catchy.

It rocks and perfect for doing exactly what the title says.

Black Cat Shuffle

Written by Philippe Saisse, who also plays keyboards on this, it’s a blues groove with Di Meola’s Lydian and Mixolydian soloing.

The last 60 seconds has some great hard rock soloing from Di Meola.

Ritmo de la Noche

Lounge Waltz music with a Flamenco flavor.

Then some fast shred and make to the Waltz music.

Somalia

A short 90 second instrumental. Arpeggios and an exotic guitar melody as it’s centerpiece.

Jewel Inside a Dream

A riff that reminds me of ELP and their song “From The Beginning” dominates the song.

And you have Hammer and Di Meola trading licks on the keyboard and guitar.

I’m the end it’s a different album from its predecessors but still worthy.

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

The Record Vault: Al Di Meola – Casino

Its album number 3 for Al Di Meola, released in 1978.

This time around its more of a band with Al Di Meola on all things guitar related, Barry Miles on keyboards, Anthony Jackson on bass, Steve Gadd on drums, Mingo Lewis with Eddie Colon on percussion.

While the first two albums had a lot of rock and metal overtones to it, this one leans more in the jazz fusion domain, in which Rock and Metal is not the dominant fusion partner as it was on the first two albums.

Egyptian Danza

An exotic riff made up of single notes begins this song. If you’ve listened to the first two albums it would be familiar, however if this was your first exposure to Di Meola it would be unusual and innovative, full of time changes, Arabic like influences and unison bass/guitar riffs.

It’s progressive and the drumming from Gadd thunders throughout the song.

Chasin’ The Voodoo

Percussionist extraordinaire Mingo Lewis is back again, with another excellent composition. He is the one that wrote “The Wizard” on the debut album and “Flight Over Rio” on the second album. From the whole album, this song is the progressive rocker and a favorite.

As expected, the song begins with percussion before a progressive bass riff kicks in. The drumming is frantic. Then the guitars kick in with chords and Di Meola’s superfast machine gun alternate picking.

There is a lot to unpack here, but my favourite section is brief, between 4.15 and 4.25.

And you’ll be pressing play on this, for the very underrated bass guitar playing.

Dark Eye Tango

A slow groovy bass line begins and when the drums come in, it’s like a wedding waltz, which Di Meola solos over appropriately.

At 1.38 it goes into a Latin/Flamenco feel, as the tempo increases and the solos while repetitive are catchy like a good Chorus.

Then at 2.57, a brief distorted guitar riff begins, which reminds me of Rush and Alex Lifeson, before it moves back to the Latin Flamenco feel, 15 seconds later.

On a sidenote, the keyboard riffs are great to play on guitar as well.

Senor Mouse

It’s a Chick Corea cover from Di Meola’s days in Return To Forever before he went solo. But he slows this one down and it doesn’t have the manic interplay of the original.

Regardless it’s still a good interpretation and it feels like the start of a movie.

Some sections are atonal and some sections are locked into a mode, with some chromatic notes being used as passing notes.

I like the bass riff at the 5 minute mark which Di Meola then goes into a flamenco like lead to complement. His palm muting technique is excellent.

Fantasia Suite For Two Guitars

It has four movements, in “Viva La Danzarina”, “Guitars of the Exotic Isle”, “Rhapsody Italia” and “Bravoto Fantasia”.

While all the ingredients are there for a flamenco sounding track, it’s more classical and Tuscany, then Spanish/Portuguese.

The section which I think is “Rhapsody Italia”, has strummed major chords with sevenths and ninths added while Di Meola throws in a fast machine gun lick here and there.

Casino

The closer. 9 plus minutes.

How good is the opening riff?

This album is a lot more experimental than the previous two albums and while “Elegant Gypsy” is the jewel in the crown, “Casino” shows a style that he would carry through from the mid 80’s and into the 90’s.

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