Reading about the 35th anniversary special edition re-release of Whitesnake’s 1984 album Slide It In I got to thinking…  you know, that’s not a bad idea for my next Showdown post-  how about a faceoff between the band’s two biggest albums in the States?  Granted I’m not the biggest Whitesnake fan in the world but I’ll fully admit that one of these two albums ranks fairly high in sentimental value, has a lot of cool memories from back in the day, and some of the songs are in frequent rotation on the ol’ iPod.  So which one is it?  Read on…

Come 1983, David Coverdale and his band of ‘Snakes were at a bit of a crossroads-  well known in Europe with a strong back catalog of hefty blues rock tunes, the band had nary any popularity in the States plus with the burgeoning metal scene bubbling up on radio and MTV, may have been looked upon as old hat by the younger crowd.  The band itself was in a state of flux; gone were longstanding members in guitarist Bernie Marsden, bassist Neil Murray, and drummer (and former Deep Purple great) Ian Paice; incoming was returning guitarist Micky Moody, new guitarist Mel Galley, drummer Cozy Powell, and bassist Colin Hodgkinson.  With the new band (and remaining keyboardist Jon Lord) under foot, Coverdale signed a deal with Geffen Records in the US and commenced work on their seventh album with producer Eddie Kramer before the eventual switch to Martin Birch to man the board and complete the job.  The album was first released the following January in Europe and did well; however, in Geffen’s mind the disc needed a bit more oomph and quickly called for a redo for the US version:  in came new producer Keith Olson to thicken up the mix as well as guitarist John Sykes and returning bassist Neil Murray to overdub the work of Moody/Hodgkinson and eventually replacing them in the band for the tour.

By April 1984 the remixed version of Slide It In came out in the States via lead cut “Slow ‘N Easy”, a slow boiling corker of a tune written by Coverdale and departing guitarist Moody featuring the latter’s smooth slide playing, Lord’s brooding keyboards, and cannonlike drums from Powell.  However, it was Coverdale’s vocal that stole the show:  everything from Robert Plant roars to sensual crooning and over the top breathless panting, the former Deep Purple vocalist definitely made his mark with rock fans who dug the band’s classic bluesier stylings yet appreciated the heavier sounds found on the disc.  Outside of “Slow” the disc features a great, great number of tunes; from the self titled cut’s stomping riff to the killer radio ready rock of “Love Ain’t No Stranger” to unsung cuts like the melodic rock hookiness of “Standing In The Shadows” and uptempo swing of “Guilty Of Love”, all featuring some great heavy rock tones, memorable tunes, and great playing from all players involved.  Sure, you had a fair bit of cock rock going on (after all, the band IS named Whitesnake) and some of the lyrical content is sophomoric at best (ahhh…  “Spit It Out” and the title cut anyone?), but there was no mistaking Slide It In for a Culture Club or Duran Duran record.  Nope, this was the perfect tonic for album oriented radio in 1984 featuring just a touch of 70s rabble rousing with some new guitar stomp for the 80s.

Interestingly enough, the three years between the release of Slide It In and the follow up self titled album (called 1987 in some countries) were frought with similar tensions that tore at the band back in 1983.  Gone was Powell\Galley\Lord, leaving the core team of Coverdale\Sykes\Murray and new skinsman Aynsley Dunbar to pen and eventually record a new album that featured seven originals, two rerecorded Whitesnake classics from the early days, and a MUCH more metallic mix with hotshot guitarist Sykes at the forefront.  While Sykes was a featured player on the previous disc his stamp is all over this one – gone is the inherent bluesiness of the original band, having been replaced by molten metal, layers of heavily reverbed guitar, and squealing, pinched harmonics.  On songs such as “Bad Boys”, “Children Of The Night” and the immortal “Still Of The Night” Sykes lays down astonishingly heavy riffs that propel the band, who can only try to keep up with the manic intensity from the six stringer and not get caught resting on their heels.  It’s not until their re-recording of “Here I Go Again” and (bleahhh) power ballad “Is This Love” that the band falls back into a groove, the former a bit of a rousing rocker after a smoothly crooned Coverdale intro while the latter is a sickly sweet tune that is rather forgettable (sorry David!).  Overall, the disc was a hit on MTV as the videos did everything from cross the lines of parody with odd hints of Led Zeppelinisms (that bow in “Still Of The Night”) to turning Coverdale into some sort of permafrost hair sex symbol to the best of the lot in making a video star out of one Tawny Kitaen (soon to be the new Mrs. C).

So which disc is the best?  Slide It In, and it’s not even close.  Yes, it holds sentimental value for me as it is one of the earliest records I’d ever purchased but as a whole the disc still holds up incredibly well thirty-five years later.  The sound and mix is massive; just the right amount of heaviness and atmospherics between all instruments and enough space that allows the songs to breathe but most of all it’s the songs-  “Slow ‘N Easy” and “Love Ain’t No Stranger” are brilliant, thick ‘n meaty rockers with plenty of hooks and the rest of the album features good to great cuts with zero filler.  However, I find the self titled pretty uneven: “Still Of The Night” is an absolute monster and THE cut on the album but the remainder is a mixed bag of good tunes to a so so batch of unmemorable ones.  As much as I love John Sykes (check out Blue Murder!) he’s almost TOO over the top here and I’m a metal guy!  But I think a lot of that can be chalked up to a poor sounding disc with crap drum sounds, oversaturated guitar, and very little bottom end to show for it.

In the end, both discs are pretty much apples and oranges… Slide It In hearkened back to the classic old days with a touch of the new and Whitesnake was on a sonic rocket ride to the future, no holds barred.  But one thing I don’t get…  Whitesnake is a hair metal band?  Seriously?  It’s that damn ballad, I tell you…

It took me at least a decade or so to get into more extreme forms of metal-  I grew up loving Judas Priest, Dio, Black Sabbath, and Iron Maiden yet warmed slowly to the aggression and more hardcore vocal barks of Metallica and Slayer, but when the genre branched out even further into death\black metal I’d somewhat tuned out.  Don’t get me wrong; musically I couldn’t get enough of it but when the singer(?) opened his mouth I’d often cringe:  just what in the hell is that?  But as with thrash there was enough there to keep my attention for a return listen and after a while (years, actually) it hooked me.  I’m sure some of you may be saying…  yeah right!  What you got that’s gonna hook me?  Well, how about taking a listen to the blackened thrash of Sweden’s Witchery and the fantastically relentless “Oath Breaker”.

Hold on to your butts and buckle up because this is one helluva ride.  From the get go we’re treated to an endless barrage of pounding drums, ripping guitar work, and one hellacious, guttural croak that’ll scare the pants off the queasiest of punters out there.  But!  And this is one big but…  once that punch starts rattling the chains a little too vigorously the throttle is eased into one glorious, beautifully haunting drone of keyboards akin to the brightest of sunrises after the coldest and darkest of evenings; a moment so stark in a contrast that strikingly counterbalances the vociferous din that preceded it.  That is, until those darkest of clouds come rolling back in to warn the listener that they’re not quite out of the woods just yet and you’re yanked back into a rocket ride of ferocity.

Having been a fan of Witchery since their excellent debut, the band had released a handful of follow ups of varying degrees of quality.  Most were good if not excellent, but after the loss of original growler Toxine I was not quite as pleased with the followups.  Musically the tunes were excellently metallic but the vocals weren’t quite up to par.  But man, did that ever change with In His Infernal Majesty’s Service that featured new vocalist Angus Norder, who, based on his work on this disc and follow up I Am Legion, should be a household name in the frostiest of metal circles.  Norder’s evil, dark growls and venomous delivery are some of the best of the lot plus his thespian approach in the band’s videos stands tall amongst his peers.  On “Oath Breaker” he is downright spine chilling; more straight and direct with the growl during the verse and really laying the black heart on thick during the chorus section as he forewarns menacingly to “do what has to be done”.  Sleepless nights and scary dreams for sure…

While that vocal may be a shock to some, it’s that relentless battery of guitars and hammer of drums that serves as the core of the tune.  Drummer Christofer Barkensjo is beastly, sounding as if he’s grown up on a steady diet of Slayer’s Reign In Blood and a dusting of Anthrax’ Among The Living; guitarists Richard Corpse and Patrik Jensen are lethal with their riffery, sounding a mix of early Slayer and Judas Priest at their heaviest yet still layering in some warmer ryhthms to offset the crunch; and last but not least, deep in the mix is bassist Sharlee D’Angelo doing his best Steve Harris impersonation with a few melodic bass runs.  But man…  it’s still that light and shade that really gets me here; just an excellent dichotomy between the blackest of black and whitest of lights that interweave throughout, not leaning too far to one side to lose you altogether but walking that fine line between the two.  Just a thing of odd, unsettling beauty.

So go on, take that listen, and I promise you’ll be hooked.

Progression, as noted in the Oxford Dictionary, is defined as “the process of developing or moving gradually towards a more advanced state”.  In some minds progression is a scary proposition; a move into unknown territory that lies outside someone’s personal comfort zone and often causes a bit of angst or anxiety-  don’t mess with the formula!  But the flip side of that is often the reality-  don’t stick with the same ol’ same ol’, try something new.  Maybe not a drastic change but some modifications here and there that aren’t such a shock to the system;  keep the core in place yet don’t be afraid to explore and build upon those key elements.  That latter thought is what comes to mind immediately when listening to The Earth Laid Bare’s second release (and first full length disc) in Flow.

As someone who has seen this band for the past six years or so I have seen quite a bit of progression from this Cincinnati, Ohio area five piece.  From the early days The Earth Laid Bare (and even in their formative stages as Eyes Like Comets) played with a bit of youthful and reckless abandon, leaning towards metalcore in style featuring some heavy duty breakdowns and more of a punishing death metal vocal.  But with some members leaving and new ones coming on board there is bound to be change, and likely, progression.  Come 2014, the band streamlines a bit more to add more progressive and symphonic elements, tightens up the guitar , gets a bit more dynamic in the vocal department, and releases their debut EP Circadian Rhythms; a CD chock full of heavy, dizzying guitar work and dynamic, choppy riffs.  A new sound is essentially born, the band plays quite a few local shows in the area, and gains new fans along the way with the highlight over the next couple of years being their opening slot on a side stage of the Rock Star Mayhem tour in Indianapolis and opening the main stage of Summer Slaughter in Cleveland the following year.

OK, enough of the history lesson…  what about new disc Flow?  Does it match the intensity of their debut?  Are those core sonic elements still in place?  Are they taking any risks with any of the material, trudging bravely off into new realms in an effort to strengthen the song?  Will the addition of a second guitarist hinder the music within or augment the band’s sound and broaden The Earth Laid Bare’s horizons?  I am happy to report the answer is “yes” to all of these questions…  and then some.  There is definitely a progression much, much beyond the band’s debut and one that should be viewed as a good thing.

From the opening strains of intro guitar on intro cut “Caliburn” through last tune “The Cartographer”, Flow is an excellent mix of the band’s heavier elements from their debut EP but steers clear of being too one dimensional, opting to “peel back the onion” to display a wide variety of moods from the atmospheric and ethereal through hostility and alarm and through feelings of introspection and hopefulness, often within the same song.  Take the aforementioned “Caliburn”, which begins with a sweetly layered and echoey guitar figure that’s contrasted by a roaring intro vocal from lead singer Jake Antony before being countered by a gutpunching, spinning riff that builds, twists, and turns across multiple sonic highways; never content to stay too long in one mood and wanting to take you on another whirling dervish of a thrill ride.  Or how about the next cut “Avarice”; itself a song about the dangers of lust and greed (spot “The Hobbit” references here!) that offers a similar rocket ride, ever building on a massive riff that grows then drops off into a beautiful, atmospheric section (check out bassist Ian Remley’s masterful solo spot nod to Yes man Chris Squire behind that vocal) before the guitars build and the drums pound to segue us into another massive riff before the song concludes.  Both songs are some of the better cuts on the disc, ably mixing up the light and the shade between vocals (lead from Antony and occasional counter from guitarist Michael Bishop) and varying textures between guitars, bass, and drums.

Still, some tunes offer up a bit of a breather-  take for example “Moria”; more of a brooder overall focusing on more various sonic collages- less distortion and more echo in the intro, yet a heavier section comes in that’s a bit more thick and dense on the riff and less busy compared to the previous cuts.  This change up of approach allows more of a focus on the vocal and a passionate one it is as Antony builds the tension during the lighter sections, almost pleading in tone before turning on the menace as he sings “this is your rude awakening” before that heavier section kicks in.  Or take the brief instrumentals “Inertia” and “Valinor”; the former is a great segue between cuts featuring some beautiful melodic guitar backed by an almost ominous single note tone and some popcorn percussion (think Pink Floyd’s “Time” after the introductory bells are rung), while the latter features more introspective and beautiful guitar work while the bass and drums build up the intensity before bringing it back down again during the rideout.  No, these two are not “songs” per se but excellent transition pieces between the other songs on the album and gives an example on how this band does an outstanding job on textures and shades.

Even after multiple plays, “Eternally Present” still ranks high as my favorite song from this release (you can read about my thoughts on the song HERE) but there are days where the title song gets just as many plays.  “Flow” is a bit of a grower that sneaks up on you; like many of the bands songs the buildup is fantastic but the real winner is in the vocal department-  not only do you have the tenacity from Antony/Bishop but the band’s other lead guitarist Waylon Baker counters their ferocity with an almost haunting, ethereal vocal that offers an almost dizzying effect-  one moment you are caught up in the intense combination of a soaring riff and menacing vocal and suddenly the rug is pulled out from under you and you are mesmerized by the transition to another astral plane almost unthought of.  How did we go from here to there?  And then you’re jarred into other realms as Baker lays down a tasty lead spot that kicks you back into reality.  As mentioned, this disc has many of these moments and “Flow” may certainly be the pinnacle of sonic movement.

There are plenty more surprises and songs on this disc but it would be unwise for me not to highlight the performances of the band members.  Lead vocalist Jake Antony has grown tremendously from the EP, offering up deeper growls yet providing plenty of depth and dynamic to various lines in each song as he easily bounces between the forceful and commanding to an almost pleading yet measured tone.  The dynamic duo guitar tag team of Waylon Baker and Michael Bishop are stellar colorists, capably switching from introspective and lighter shades to darker and more powerful tones-  Baker may play a smoother, tapped section while Bishop counters with layers of punchy riffs or a flurry of notes, both intertwining skillfully throughout each song.  Last but not least, the rhythm section is outstanding and not to be outdone either-  bassist Ian Remley often punches up the riffier guitar sections as he speeds along in unison with the some of the faster Baker/Bishop runs but also frequently steps back to lock in with drummer Daniel Reinhart to provide some solid backbone to counter the guitar and vocal histrionics, at some points deftly leading the charge a la Chris Squire or Iron Maiden’s Steve Harris and the next moment content to lay back like John Paul Jones.  And speaking of the drummer…  at one moment Daniel Reinhart is speeding all over the kit and the next moment he’s content to lay back in a deep pocket yet surprise you with a few snappy drum rolls or lighter percussive touches.  All five members lend their talents exceptionally well to each song.

So yes…  progression is often a good thing and in the case of Flow can also lead to magical results.  Trust me, there is no bias here…  this is an impressive 35+ minute ride of extremely high peaks and deep, deep valleys that fits in well within the progressive metal genre and most definitely worth your purchase.  Also, don’t be afraid…  there certainly is MUCH to absorb on first listen but the results are remarkable, so much so that you may find yourself liking a particular song but on consecutive plays your ear will be tuned into an entirely new cut or captivated by a specific musical passage.  Yep, Flow is THAT good.

“Pink Bedroom” John Hiatt, Two Bit Monsters

Come Two Bit Monsters, John Hiatt was starting to emerge from the “new Elvis Costello” tag that some critics had branded him with and started to be viewed more on his own songwriting merits.  “Pink Bedroom” is certainly a great blast of fun, less new wave-y in production and leaning more towards uptempo, rootsy rock and a bit of a precursor to the groovy “Slow Turning” that would come a few years later.  As always with Hiatt the lyrics are a blast, this time singing about a young lady that takes “Coca Cola with the valium” and thinks all her boyfriends are stupid.  Ahhh, young love!

“Half The World Away (Live)” Oasis, Definitely Maybe 

I was a bit of a latecomer to Oasis’ brilliance, certainly enjoying the hits but totally missing the boat on picking up any of their discs.  That all changed at some point in the 90s when I grabbed What’s The Story Morning Glory and got seriously hooked.  “Half The World Away” is found on debut Definitely Maybe with this version pulled from the extended version of the same disc released within the past few years.  Sung by Noel Gallagher (he being the main songwriter), “Half” is brilliant in melody and simple hookiness-  just a man, his voice, and his guitar.  Fantastic!

“Long Road To Ruin” Foo Fighters, Echoes Silence Patience Grace

I hate saying this, but the Foo Fighters are probably one of the last great rock bands that get a sniff of radio play; a fact that has always bothered me and should you too.  “Long Road To Ruin” is another smoker from a band that has more hits than a UFC fighter; a heavy yet tuneful rockin’ blast that sounds good cranked on your car radio.  Rhythm section as always is tight; Taylor Hawkins (Les Groper!) slammin’ the drums and Nate Mendel is groovy but with the Foos it’s Dave Grohl’s keen sense of riffiness that always steals the show.  And, of course, those high larry us videos 🙂

“Best Kept Lies” Cold Chisel, East

Quick, who is Cold Chisel’s lead singer?  Well, I’ll tell you…  Jimmy Barnes!  Ol’ Jimmy had a brief sniff of AOR radio in the States in the mid-80s but before then he was a bit of a star Down Under with Cold Chisel, a fine little rock band who didn’t make a dent in the US of A but were quite popular with the Aussies.  “Best Kept Lies” is a fine ditty, mixing a semi-Police vibe via a reggae-esque beat but with a bit more swagger; guitarist Ian Moss mixes up some dry and piercing guitar tones along with some killer keyboard work from Don Walker and Barnes’ cool and understated vocal.

“665” Soundgarden, Ultramega OK

Miss Chris Cornell big time.  You can consider “665” a bit of a throwaway track, a joke on the idea of spinning a record backwards to hear Satanic messages (yeah, we all did it, don’t try and deny it!) and other sorts of riff raff (it’s fun to smoke marijuana?).  All that stuff was fun and good for scaring your parents until the PMRC came on board and took it all too seriously (damn you Tipper Gore!) and started throwing Parental Advisory stickers on everything, which only encouraged kids to buy THOSE albums because…  well, there’s FILTHY stuff on it!  So yeah…  665…  Hail Santa!

“Sky Is A Poisonous Garden”  Concrete Blonde, Bloodletting

You remember Headbanger’s Ball don’t you?  At least you old timers do.  Hell, you remember when MTV actually played music videos?  Ha ha, yeah…  the good old days.  Well Concrete Blonde is one of those bands that shoulda been one of those fringe acts to pop up during those Saturday night shows because they definitely leaned hard and heavy at times, especially this song with its heads down, punky drive and James Mankey’s go for the throat guitar work. But hey, they may have been a bit too dark and too goth for the hair farmers and would have been played on 120 Minutes for the alternafolks.  Right?

“Angry Chair” Alice In Chains, Unplugged

Miss Layne Staley big time too.  The original version of “Angry Chair” (found on Dirt, THE best album of the 90s) has always been one dark brooder but on Unplugged that darkness is peeled back a bit, opening this one up to showcase the beautiful harmonies between Staley and guitarist extraordinaire Jerry Cantrell.  That Sean Kinney intro thump is great and all but this is more of a vocal showcase for Staley/Cantrell, whose unique blend highlights that tortured timbre of the former and softer shades of the latter.  Love the new AIC too but…  well, it’s not quite the same 😦

“Teenage Rage” The Kinsey Report, Powerhouse

I caught these guys opening for Living Colour on that band’s tour for Vivid and I can distinctly remember how different the guitar tones were between lead singer/guitarist Donald Kinsey’s Gibson SG and fellow guitarist Ron Prince’s Stratocaster.  Good God was it LOUD!  And good!  If you like uptempo bluesy rock then grab a copy of Powerhouse or debut Midnight Drive–  “Teenage Rage” gives you a great taste of the roadhouse rock and those tones; Kinsey loud, distorted, and in your face and Prince a bit more restrained and subdued but equally rocking.   (Sorry, couldn’t find a vid for this song in particular!)

“Strong Arm Of The Law (Live)” Saxon, The Eagle Has Landed

Those readers of this blog should be well aware of my love for the mighty Saxon.  I don’t recall offhand but this album may have been my first purchase from the band and boy what a great one to start off with (see my “Favorite Live Albums” post from a couple years back).  “Strong Arm Of The Law” is a classic-  take a simple yet hooky guitar riff and tubthumping drum ‘n bass, throw in a lyric that anyone can identify with, and spruce that up with a singalong chorus from a charismatic frontman and yer gunna love this band too.  A fist shakin’ anthem if there ever was one.

“Soul Finger” Jake E. Lee, A Fine Pink Mist

The mid 90s sure was an odd time for former hair era artists-  not that Jake E Lee should have been considered “hair metal” but he did play in Ozzy’s glammiest period and had his greatest success during the 80s.  But with Badlands having bit the dust due to the unfortunate death of singer Ray Gillen, Lee was left looking for new creative avenues.  So with guitar albums still selling decently the six stringer put out A Fine Pink Mist, handling all instrumentation himself and featuring tasty rockers like “Soul Finger”, a noisy, chunky rhythmic cut that deftly shows off Jake’s heinous guitar chops.

Best song this post goes to “Strong Arm Of The Law”, followed by “Angry Chair” and “Half The World Away”.  All live versions but great live versions, mind you!

The Answer are one of those bands that came along at the right time for me.  I’d kinda given up on a lot of music on the radio and had become an avid reader of Classic Rock magazine, who did (and still does) an excellent job highlighting newer artists along with those classics from yesteryear.  The mag would always include a CD sampler of tunes, some of which would grab my ear and others I’d just skip altogether.  It was one of these samplers that I caught the band and was blown away by what I was hearing.  These new guys were brand new yet heavily steeped in the blues based rock of the 70s a la Free, Thin Lizzy, Rory Gallagher, and Led Zeppelin with plenty of balls and swagger to spare.  At the time, the band’s debut Rise was import only in the States but that certainly didn’t stop me from tossing out some extra $$$ just to grab a copy.  What I’d heard was that good.

The Answer consists of four lads from Northern Ireland- Paul Mahon, guitar; Cormac Neeson, vocals; Micky Waters, bassist; and James Heatley, drums.  Besides debut Rise the band has released an additional five CDs over their relatively short (well, 12 year!) career along with multiple singles, EPs, and special editions of their first two CDs.  Also during this period the band has done extensive touring, opening for the likes of Deep Purple, The Rolling Stones, and AC/DC, who the boys did an extensive US run with during the Australian legends’ Black Ice tour.  Currently the band is taking a short break while singer Neeson tours behind a solo release, which is a bit more laid back and personal compared to the bootstomp featured in his day job.

As mentioned the band has six discs of strong hard rock to choose from but if I have to pick one it would be the debut, solely due to the fact that it was the first disc I’d heard from the band and a good chunk of the songs had such a strong swagger n groove that absolutely knocked me out.  Not that the other discs aren’t up to snuff-  far from it; each disc is made up of strong rocking cuts with some chances taken here and there that stretch out their skillset.  Good examples of this can be the bluesy push and pull of “Why’d You Change Your Mind” and the melodic AC/DC swing of “Tonight” found on second disc Everyday Demons, the Lenny Kravitz funk of “Leave With Nothin'” found on New Horizons, the Black Sabbath/southern rock of “Raise A Little Hell” from the album of the same name, or the dark brood of the Cultesque “Solas” and haunting “Being Begotten” from the their most recent album Solas, an incredibly diverse and rootsier album that’s far removed from the heavy rock found on other albums but deserves a “good on you mate” for challenging themselves and stepping out of their comfort zone.

As a whole, if you dig bands with strong vocals (Neeson can belt with the best of them), great riffs, excellent songs, and a solid rhythm section then take a chance on The Answer.  First few albums lean to the heavier side of things on the rock scale but each album shows a bit of growth from the previous.  I must admit that other than the title cut I’ve not given Solas much of a chance, although I feel a rejiggering of the track order might have been better as the second half of the album feels much stronger than the first half (although it’s tough to live up to that absolutely mesmerizing title cut).  Overall though, this is an outstanding young band and you can’t go wrong with any album you may choose.  Looking forward to what’s in the future from these lads!

Hittin’ up the first ten songs on shuffle mode to review on the iPod.  Let ‘er rip!

“Stop Crying Your Heart Out” Oasis, Heathen Chemistry

Another total winner from the Gallagher brothers, a little bit lighter on the symphonic moments with more tinkly piano at the intro but tossing in the strings midway through.  Production is nice and Beatley as always, not quite as dense as past albums but builds exceptionally well with Liam’s Lennonisms at full force ahead of a beautiful melody with brother Noel adding some decent, distorted backing vocals.  One of those lighter waving, singalong cuts that these guys did exceptionally well-  time to patch things up boys and regale us with more classics like these!

“Por Todos (Percussion Intro)” I Mother Earth, Earth Sky & Everything In Between

One of my favorite unknown bands from the 90s that still releases the occasional new tune and tours occasionally, I Mother Earth is one of those bands that I could yell from the mountaintops and say…  LISTEN TO THIS!  However “Por Todos” just gives a small taste of the band, that being a percussive groove similar to what you may hear on a Santana or world music album.  How these guys mix such tribal whomp with their brand of hard rock certainly bends the ear but on this cut you have to settle for that whomp (that is, no guitars!)  Sorry, no video 😦

“The Song Remains The Same” The Jason Bonham Band, In The Name Of My Father-The Zepset

Like father like son…  Jason Bonham grew up at the Led foot of his father, often hopping up on the kit to play pre-show so his old man could check out the mix at the front of the house.  Here the younger Bonham rips it up with his band of stellar players, not quite an exact copy but certainly in the ballpark of the mighty Zep.  Bassist John Smithson gives a capable performance as John Paul Jones, Chas West does a rough ‘n tumble Plant, but the stars here are Jason’s skin bashing and the nimble fingerwork from guitarist Tony Catania.

“Shards Of Ice” Ozric Tentacles, Tantric Obstalces

Working at a record store and getting to run through promo discs was always a treat and gave me my first exposure to the oddly mesmerizing and spaced out sounds from this eccentric English pychedelic/progressive/electronica outfit.  “Shards Of Ice” comes from one of their earliest cassette only releases in the mid-80s (eventually released on CD years later) and is a truly out there mix of spacy jazz funk; think Tony Williams’ playing on Miles Davis’ In A Silent Way mixed with Bernard Edwards’ from Chic on bass playing with someone like Gary Numan or Tony Carey on keys.  Far out, man…

“Only The Lonely” The Motels, Living In Oblivion: The 80s Greatest Hits, Vol. 2

Those that missed growing up in the early 80s and catching the heyday of MTV sure did miss out on a lot.  “Only The Lonely” was one of those videos I can remember seeing pretty frequently, vocalist Martha Davis certainly a strong visual element but its really the hook that pulls you in as it wraps you in its warm embrace and allows for the memorable chorus to shine.  Davis gives a coolly measured and heartfelt vocal, not relying on over the top vocalization or flights of fancy but fully content to use a huskier tone to let the lyric speak for itself. Nice sax solo too.

“Doctor, Doctor” Michael Schenker Group, Rock Will Never Die

Good Lord do I love Michael Schenker’s playing…  really it’s just that buttery smooth tone he’s got; one minute just some sweet melodic phrasing, next minute a flurry of steamy notes that’ll knock you for a loop.  This version of his former band UFO’s “Doctor Doctor” starts off nice and smooth, that well known keyboard line rolling out and Schenker mesmerizes for a brief moment until the full band kicks in for a cheery yet somewhat speedy romp. Cool co-vocal featuring MSG’s Gary Barden with Scorpions’ Klaus Meine (another band Schenker has history with).

“I Ain’t Gonna Take It This Time” Hall and Oates, Best Of Hall and Oates: Starting All Over Again 

Interesting listening to Hall & Oates in the context of the times; “I Ain’t Gonna Take It This Time” is given the full production treatment- heavy on the drums, layers of keyboards, and overall BIG everything.  Still, the pull of anything from Daryl and John is the white boy soul and the hooks; this song strong as always vocally and the hook is there but not quite as memorable as some of the more fun singalong tunes from the early to mid 80s (this cut came out in 1990 and it sounds like it).  Doesn’t quite groove as much as it should but I’ll blame the “everything but the kitchen sink” production.

“Wounds Will Last Within” Symphorce, Godspeed

https://www.youtube.com/watch?v=aMyQ5aEuyJE

German progressive metal band Symphorce ups the ferocity compared to fellow countrymen like Halloween or Primal Fear, definitely leaning a bit more to the groove metal of Pantera mixed with bits of Black Label Society crunch with a cleaner yet still aggressive approach.  “Wounds Will Last Within” is a cool pounder, certainly lots of squeals ‘n pinch harmonics that would make Zakk Wylde proud and some Dimebag stomps tossed in for good measure but pushes more to Testament heights come solo time.

“Don’t Let It End” Yngwie J. Malmsteen, Marching Out

https://www.youtube.com/watch?v=zuqTpXWnLOU

If you’d never heard the name Yngwie Malmsteen and you heard this song for the first time you might think this was the Jeff Scott Soto show.  His vocal is pretty dominant in the mix, capably reaching various nooks and crannies during the first minute as he subtly croons through various registers for the first minute before the song takes off into Rock Land.  Oddly enough YJM is fairly reserved on this one, seemingly content to let the vocalist have most of the spotlight for the first couple of minutes before knocking out a few liquid, fleet fingered runs to show everyone who’s boss.

“Jade’s Song/Dreams In The Dark” Badlands, Live In Toronto

So there’s a boot floating around of this show, possibly taken from this YouTube video that someone uploaded from a band that shone brightly for the briefest of times before fizzling out due to some unfortunate band drama in the early 90s.  Just some killer musicianship, this live version featuring Eric Singer on drums which puts it right around 1989 or 1990 if memory serves (Singer eventually leaving for Alice Cooper/KISS money).  At any rate, one of my all time favorite concert memories is seeing these guys around this time-  Jake E Lee on guitar and Ray Gillen on vocal were a formidable tag team.  RIP Ray…

Pick of the post goes to “Only The Lonely” but I gotta go with “Jade’s Song/Dreams In The Dark” at number two and “Doctor Doctor” a nose behind for third spot.

Cincinnati radio station WEBN’s Labor Day fireworks are always considered THE “end of summer” party in the Tri-State area and the bash may very well have been the first place I’d ever heard this absolutely turbocharged cover from the great Pat Travers.  This scorching live version of the Little Walter original comes from the classic Live! Go For What You Know and is arguably the song for which Travers is most known.  The album, released in the late 70s, featured singer/guitarist Travers, fellow guitarist Pat Thrall, drum maestro Tommy Aldridge, and bassist Mars Cowling funk rockin’ through a blazing set of seven strong originals but it’s the party rock vibe and riotously fun, audience call and response singalong chorus that was the hit on album rock stations of the day.

Nah, hold on a sec…  it’s not just the party rock vibe and audience participation that makes this song a winner-  just listen to the DRIVE and ENERGY!  That roar from the crowd followed by the rattling Tommy Aldridge intro is like a jolt to the heart, a raucous bit o’ fire that flames on with raging intensity as Travers and Thrall riff it out and Cowling gets all funktastic with some popping grooves.  While Travers primes the crowd for participation, the band glides along with the groove until escalating the tension during the slammin’ stop/start section of the verse, crashing power chords after each line of verse then goosing the tempo again before the classic “Boom Boom! Out go the lights!” of the chorus.  Just some killer push and pull tension during the verse, hitting it hard in spots and greasy in others.

Not only are we looking at some fab band interplay here but Travers and Thrall are absolute monsters.  The riffs are alive and the groove is hot, the guitar tones are a mix of dirty one moment and slinky at others, and the solos are overdriven goodness that were unlike anything at the time short of some dude named Eddie Van Halen.  Travers/Thrall were more molten hot overdrive in their funk rock than, say the quicksilver greasiness of Aerosmith; maybe more akin to the mean town blues of Johnny Winter and Rick Derringer (definitely similar to Winter’s rock holler vocal) or the rawness of Ted Nugent.  So for your next party that needs a swift kick in the pants, toss this one on to intensify the fun!

There are times in our lives where we are privy to certain things that need to be kept hush hush until the time is just right-  maybe it was that special Christmas gift your parents got for a sibling that you knew about and was told to keep secret; or maybe a surprise party you had planned for a significant other; or possibly sharing some very important news about an incredible life changing event.  We’ve all been there; you get that feeling inside that you (and only you; possibly a few others) have just witnessed or heard something utterly fascinating and you begin to wonder…  just how in the hell am I NOT going to want to share this?  The time I caught the band’s debut performance of “Eternally Present” well over three years ago was one of those moments-  this, my friends, was a game changer.

Shortly before Christmas in 2014 the band debuted “Eternally Present” to a crowd of their fans at the 86 Club in Cincinnati, Ohio.  Their debut release, Circadian Rhythms, had been out for a while and the boys had been working up material after the addition of a second guitarist to the mix, so I was definitely eager to hear something new.  As “band Dad” (my son Ian is their bassist) I tried to make every show to provide support and help as needed, but  also I enjoyed (and still enjoy) catching their gigs because I really do love their music and they are an excellent band.  However, I was not quite emotionally prepared for the utter brilliance of the debut performance of their new song- listening to that version as I write this still brings chills to my spine and a tear to my eye due to the passion in their performance and the incredible atmospherics and overall growth as songwriters.  I remember leaving the gig that night with a huge smile on my face and eager to share this proud papa moment but knowing that I needed to keep it secret for the near term.

After listening to various mixes of this song, catching multiple live performances, and hearing the final mix hundreds of times, I am still blown away on each and every play.  “Eternally Present” is a roller coaster ride of emotions, depth, intensity, and dynamics that gets better each time you listen to it; an incredible journey from the dark to the light and back again featuring a dizzying array of sonic textures and forceful blasts of color- one dim gray, hazy path suddenly opens up into warm hints of sunshine and then turns on a dime into twilight time and then quickly spins you around into a kaleidoscope of other hues, all within a span of five minutes.  Like a good book or movie you are swept up in the moment and carried away, segueing through highs and lows before being brought safely home, emotionally wrung out from the journey but all the better for it.

Musically and performance wise, the band has never been better.  The fire and ice tag team of Michael Bishop and new boy Waylon Baker play off each other incredibly well; Michael’s blazing fretwork countered by the cooler inflections from Waylon provides the titanic structure and sonic elements-  everything from the apreggiated intro to the powerful crunch of riff to the single note melodic runs and eventually through the ethereal, atmospheric tapping section deserves high praise.  Drummer Daniel “DJ” Reinhart is a virtual drum tornado as he uses every bit of his kit:  thunderous of foot and quick of the wrist, his playing is equally dynamic as he pushes and pulls the beat ever so slightly with lighter single stroke snare patterns or freight train triplet force.  His rhythm section partner in crime, bassist Ian Remley (that’s my boy!), adds a third layer to the main riff for more auditory punch, mimicking the main riff with a deeper well of sound and even tossing in a brief, Chris Squire inspired solo spot during the moving middle section of the cut.  And finally vocalist Jake Antony’s emotionally charged performance is the icing on the cake-  aggressive and commanding at one moment then yearning and passionate at others, you can feel him giving it his all as he places you front and center for this aural odyssey.  As I am somewhat familiar to the genesis of the lyric for this song (and I know it means a lot to the band), there are certain vocal elements and lines here that cut through the soul:  Michael’s backing shout and Jake’s echo of “we can live forever” followed by Jake’s commanding “LIVE…  FOR… EVER”; the haunting, almost pained howls and angelic voices deep in the mix before Jake’s wounded roars in the atmospheric middle section; and finally the life affirming “I believe in life, I believe…  I believe in love, I believe” at the close.  Incredibly, incredibly moving.

Biased much?  Hell no… as a parent I couldn’t be prouder but as a music fan this is an incredible piece of work that should easily stand alongside some of the greats in the progressive metal field today.  It is THAT good.  For those of you not familiar with music of a heavier genre it may be a bit of a shock at first, but stick with it because you are in for the ride of a lifetime.  Then play it again…  and again…  and again…  and don’t forget to download it too-  soon you’ll be hyped and ready for the release of The Earth Laid Bare’s new album Flow, coming in November.

To Ian, Jake, DJ, Michael, and Waylon…  love you guys and I am VERY PROUD of “Eternally Present”.  I’m finally glad I can tell the world about what a fantastic piece of music this is and what you’ve got in store for the future.  Bravo fellas…  bravo 🙂

Let’s do it!

“Angry Young Girl” The Parlor Mob, And You Were A Crow

These New Jersey cats’ debut album And You Were A Crow came out in 2004 with a sound that was definitely a bit retro, a touch of Led Zeppelin and Seattle’s Walking Papers with maybe a bit of gloomier folk in vibe here and there.  “Angry Young Girl” is a bit of the latter, laid back in tone with an acoustic base for the riff and understated yet passionate vocal.  Hints of echoed keyboard notes and effective bits of backwards guitar noise are added for dramatic flair, taking you on a journey into those nether regions of the darkest vestiges of the unknown.  Really cool little track.

“Jericho” K.D. Lang, Hymns To The 49th Parallel

K.D. Lang is someone I don’t normally listen to but boy does she have one helluva voice.  Her version of Joni Mitchell’s “Jericho” is excellent, ably covering the original artist’s passion and liquid vocal styling yet balancing that with Lang’s more huskier and cooler hues.  The arrangement here is quite a bit more languid than the original, allowing for a greater focus on the vocal and the melody with more brushes of subtle piano, symphonic strings, and acoustic bass (no electric Jaco vibe here).  Hey, if Mom or your cool aunt or older cousin had the original Joni version play her this one 🙂

“Up In Smoke” Blackberry Smoke, Little Piece Of Dixie

Full confession here…  this is the first Smoke song I heard and while I admit I liked it I kinda wrote it off as “well…  not a bad little cut but those lyrics lean a little bro country”.  How UTTERLY STUPID of me, because the more Smoke I heard the more I realized how fabulously killer they are and now are one of my favorite newer bands.  As far as the song it’s definitely a fun little guitar stomper, leaning a little more Blackfoot in heft but still throwing in the Skynyrd/Outlaws tunefulness template with plenty of singalong moments.  Quite the fun and crankable ditty…

“Slow Marimbas” Peter Gabriel, Secret World Live

Essentially an in concert mood piece originally found on the Gabriel soundtrack for the film Birdy, “Slow Marimbas” lives up to its title…  sparse instrumentation featuring marimbas and light keyboards but also includes the haunting violin work from L Shankar, who “voice” sounds akin to that of an Indian vocalist similar to someone like an Nusrat Fateh Ali Kahn.  Definitely not a song per se but Gabriel has never been like any artist in the live format, leaving focus not only on the music but also on the striking visuals he deploys for various songs.

“Black Water” Riot, Shine On 

Two for two with in concert mood pieces!  Here, NYC rock band Riot kicks off their live album Shine On with a keyboard woosh then a brief Irish jig played on violin before the full band kicks in to echo the line, sounding a great bit like a Thin Lizzy/Iron Maiden dual guitar bit.  If you like either of those two bands this is definitely up your alley, although it does lean a little bit more to the wild Irish sons.  Always loved how bands will kick off their shows with something dramatic like this.  And check out the dude dropping what sounds like a “F___ Yeah!” around the :18 second mark!

“Addicted To That Rush” Mr. Big, Mr. Big

Those readers of this blog are quite aware of my fandom for one Paul Gilbert, so when word got out that he was teaming with bass monster Billy Sheehan for a new band I quickly set aside a few bucks to pick up the eventual release.  Their self-titled debut led off with the stunning “Addicted To That Rush”, which pleased this guitar loving freak to no end as it features stunning interplay between both Gilbert and Sheehan and rocked like a mother.  Eric Martin is in fine vocal form and Pat Torpey is solid on the kit, but make no mistake, we gearheads bought the album for the dudes with the fast fingers.

“Fight Fire With Fire” Metallica, Ride The Lightning

God, I remember buying Ride The Lightning after hearing the sinister swing of “For Whom The Bell Tolls”, dropping the needle on the album, and then utterly perplexed with the first song.  Talk about a jarring “huh?” moment!  Oddly enough, I’m still not a fan as much as I love old school Metallica.  That riff is downright menacing and abrasive but that Hetfield atonal bark is…  ah…  a little too robotic and cold sounding for my tastes.  Not long after I sold the album and thought I’d given up on the band until giving Master Of Puppets a chance, which eventually blew me away.  As for Ride?  I did repurchase but tend to skip “Fight Fire”.  I’m a blasphemer!

“Tornado” Voivod, The Best Of Voivod

Funny this popping on after the aforementioned song because it’s definitely similar in vibe as far as thrashiness is concerned and likely not something I would have listened to back in the day due to not getting the harsh vocals.  Nowadays I hear something like this and think the vocals are killer because I dig the intensity and passion the singer employs to sell the tune.  Snake (Voivod vocalist) has always been a unique singer, deploying more of a nasally sneer nowadays but for something like early tune “Tornado” he’d mix it up with the occasional hardcore roar.  A headbanger’s delight, this one.

“Love Stays” Sweet & Lynch, Only To Rise

I’ve always respected Michael Sweet’s talents as a vocalist but never really got too big into Stryper, but I’ll be danged if his voice hasn’t dropped into a slightly smokier tenor with age that suits him incredibly well in his two albums with guitar stalwart George Lynch.  “Love Stays” is a great showcase for the singer, a slower laid back burner in which Sweet capably handles during the verses but it’s really chorus time where he rises to the occasion.  To Lynch’s credit he’s more in the background throughout a good chunk of the song, eventually blessing us with some tasty blues licks.

“(Sittin’ On) The Dock Of The Bay” Otis Redding, The Dock Of The Bay

Otis Redding left us far, far too early.  Those of us of a certain age definitely know “(Sittin’ On) The Dock Of The Bay” and have likely sung the chorus many a time or have even practiced pursing their lips to mimic that iconic whistling moment near the fade of the song.  What can you say about this one?  Just an incredible laid back vibe and picturesque vocal, one in which we can picture ourselves just like the singer as we chill out and sit on the dock after a long day, silhouetted against the setting sun as the waves crash and the birds sing.  One of my all time favorite soul songs.

Pick of the lot this post goes to “(Sittin’ On) The Dock Of The Bay”, followed by “Addicted To That Rush” with “Up In Smoke” bringing up the rear.

Possibly my mother of all guitar riffs and DEFINITELY my favorite from Van Halen, “Unchained” is like a clarion call of sorts:  loud, distorted, and in your face; honkin’ outta the speakers like some urgent war cry from restless savages descending the hill upon sighting the enemy.  Kicking off side two of album number four Fair Warning and also many a concert since, the song is three minutes and twenty-nine seconds of deadly force courtesy of master Edward Van Halen’s fat punch and wicked use of an MXR flanger that sent the young me into air guitar heaven and had me constantly hitting rewind at the end of song to replay to death.  Like Hawk used the say from the Road Warriors\Legion Of Doom tag team of old, I think…  “ohhhhh, what a rush!” when I hear that riff.  BAM!

Funny about Van Halen sometimes…  the riffs weren’t exactly simple and straight forward but I’ll be damned if they weren’t musical.  Not only did Edward have some sleight of hand fretboard wizardry and various tricks up the sleeve when playing a lead, he was (and still is) and incredible rhythm guitarist in his own right and “Unchained” is a classic example of pulling out all the stops.  That insistent crunchy intro, the cool twists and turns during the verses, the odd little breakdown during the pre-chorus, the little bits of noodling during the lead and “c’mon Dave” section, and the driving, sliding riff and slippery tapping spot that brings it home are those incredibly tasty bits of color that pushes this tune to greater heights.  And I’ve not said anything yet about the rhythm section!  Yeah, Mike and Al are the engine room for Ed’s acrobatic flights of fancy, essentially following the riff and adding some tribal slam of their own as Mikey holds the root down and Al bashes away relentlessly.  And Dave?  I’ve been hard on the guy in recent years but he’s on point here, no time for the “clown show” other than the brief ha ha moment with producer Ted Templeman’s “c’mon Dave, gimme a break”, mostly allowing King Edward to be the main focus for a good chunk of the song.  Lyrically not much here but who cares?  It’s that riff baby!

Some VH fans like the hits, some prefer the Roth show, and some think it’s fun to sing along and letting out their inner Michael Anthony but  if yer like me you’re wailing away on your own invisible striped Stratocaster and doing leaps off the couch, coffee table, or chairs in the living room.  “Unchained” always was and always remains my monster shot of energy, better than any hot cup of coffee to wake you up on a cold winter morning or greater than any Red Bull or Rockstar drink you can down.  It is THE Van Halen riff of all time-  now, maybe I should convince my wife to sync it up with my daily alarm clock.  As Dave says in the live video…  Everybody up!