Month: September 2024

Y&T – In Rock We Trust

On By bigbadburchIn Album of the Week10 Comments

It’s time today to look at one of the pioneering acts of the 1980’s sound, and also one of the more overlooked acts of the 1980’s sound.

Y&T – In Rock We Trust

Released July 1984 via A&M Records

By 1984, Y&T were on to their sixth album. They had formed in the ’70’s and got their ball rolling in earnest just before the ’80’s hit. The band were making some buzz for themselves alongside the emerging Sunset Strip scene. Y&T were both opening for a who’s who of rock and metal acts like Kiss, AC/DC and Iron Maiden, while also serving as the headliner for fresh new acts like Mötley Crüe.

The band’s lineup was Dave Meniketti on guitar and vocals, Joey Alves on guitar, Phil Kennemore on bass and Leonard Haze on drums. Y&T also brought in outside help for this record – Geoffrey Leib, who is more popularly known as Jeff Paris, was in as a co-writer. The album was produced by Tom Allom, most known for his long tenure with Judas Priest.

Pretty standard issue album today – 10 tracks at 43:20. There is at least one version of a re-issue out there with a bonus track but I’ll be handling the original copy today. Also – this isn’t on streaming services that I know of, at least not on Spotify or Amazon. I have it on record but I had to use an unofficial YouTube source to review it, stopping and starting a record all the time to collect a thought isn’t a lot of fun. That’s probably why old school music critics were often full of shit.

Rock & Roll’s Gonna Save The World

We open with a nice, big track that brings nice riffs and a huge chorus that handles just what the song’s title says. Fitting that this came out just as a newer version of rock was taking over the airwaves, a version that Y&T were quite responsible for. Grade: A+

Life, Life, Life

This one is pretty melodic and bright rock-wise, though it’s a really dark topic on hand. This is a lament against what was the modern war machine, which in the 1980’s was a machine-filled monster. We were in the final years of the Soviet Union and Cold War then, though we didn’t totally know it was about to end. But we kept rocking and railing against it, and eventually it all fell apart. Grade: A

Masters And Slaves

Another bit of a social and political commentary here, wrapped up again in a prototypical 1980’s hard rock shell. This one’s about how a few have the power and everyone else is left out, something that didn’t get much better 40 years on. Grade: B+

I’ll Keep On Believin’ (Do You Know)

It’s on to a bit of a ballad now, though like many other 1984 ballads, this one packs quite the punch. It’s kind of funny to track the progression of ’80’s power ballads from ’84 to, say, ’89, when they were loaded with saccharine and sap. But these guys in ’84 were doing them right, having at the melody and softer edge while still rocking out. This song wasn’t a “hit” for Y&T per se but did get them a bit of traction in airplay. Grade: A-

Break Out Tonight!

This is a strong and powerful rock track that is just the perfect example of the ’80’s rock scene. The quiet build into the loud chorus works just great and we’re left with another fantastic song. Grade: A

Lipstick And Leather

Another uptempo rocker here, as a badass woman takes over the thoughts of the narrator. Nothing out of place here, it’s another straight and simple rock song that keeps the head banging. Grade: B+

Don’t Stop Runnin’

Nothing deviates from the formula here. It’s another solid rock song that’s both powerful and melodic. Y&T did a great job of blending the heavier edge of things with the more bright sounds that would please people not necessarily into all-out heavy metal. This is also one you can really hear the ’80’s creeping into the song, not that the rest of the album doesn’t totally scream 1984. Grade: B+

(Your Love Is) Driving Me Crazy

Not to be confused with the Sammy Hagar song of the same name (note taken for a future post), Y&T are again hard and heavy in this “on the prowl” song. This one does step over the edge a bit and retain a heavy metal feel throughout. Grade: A-

She’s A Liar

This one brings the heavy and plenty of boogie, with the band belting this one out at a breakneck pace. Very nicely done song, again combining the heavy with the melodic. This one got picked up for use in a Dr. Pepper commercial, too, so a bit more cash for the band. Grade: A-

This Time

The album ends with another ballad, and this one is a more stereotypical ’80’s ballad. The song is fine for what it is, though it honestly never won me over. I’ve heard far worse, but Y&T has also done far better. Grade: C

In Rock We Trust would not be a massive, multi-platinum release for Y&T, but just the same it did become the band’s biggest record. It charted at number 46 on the Billboard 200 and has sold around 450,000 copies. The band would be on a huge series of tours through this time, including Rush, Dio, Ratt, Dokken and Night Ranger, among others. Y&T saw their profile go from the regional Los Angeles scene to a national and international hard rock act. And while the band never “got their due” in a way, they have remained a staple of rock and metal for the 40 years since, even with Dave Meniketti being the lone surviving member from this album.

Grading this album is pretty easy – it’s a bunch of high quality hard rock. It’s done “in the vein” of the 1980’s scene at the time, but that’s primarily because Y&T were a band who helped shape that scene. This was the case of a band meeting their time more than anything, even if they didn’t benefit as much as others did from the new strain of rock going around.

Album Grade: A-

1984 contained a handful of the most essential albums in 1980’s rock – Out Of The Cellar, Tooth And Nail, W.A.S.P. And Slide It In just to name a few, much less 1984 itself. But just under the surface of the new movement in rock was Y&T, now six album veterans who offered up their own slab of high quality rock and metal. This album and band aren’t just “another good, somewhat out of the way” thing that also happened in the ’80’s, these guys were just as essential to the sound of that era as the other bands and albums mentioned in this post.

A Quick Update

On By bigbadburchIn Uncategorized6 Comments

Obviously I didn’t post anything this week. There has been a lot going on and I’ve had a ton of stuff constantly on my mind, no real time to sit and iron out some posts.

Long story short, I have a new job nailed down. I’ll get a call early next week to finalize my start date and all that, which will be at least a few weeks from now.

The thing is this – once I start this new job, I’ll be working. It’s a lot of hours and on a night shift, so I will have to rearrange my time and see how things go to figure out how to keep posting here. It’s a lot of work but we are going to buy a house in the next several months so more money and more work only helps that cause.

Once I do get switched over and going at the new place, things might look different here for a bit. I don’t know if I’ll be able to hack posting an album every week, I simply may not have the spare time. Again, I’ll know more in the near future. I can handle doing the weekly thing I’ve been doing on Fridays still, that takes very little time. And I should be able to crap out another post per week, what exactly that will be remains to be seen. I do want to keep the site going and I’m a bit disappointed that I won’t be able to post in the way I have been, but all this new stuff takes precedence, of course.

Now, I won’t be switching over for a few more weeks so I’ll have time to slam out some posts for more of the 1984 albums I want to talk about through the remainder of this year. I may switch that format up a bit and go brief on them, that was a change I was considering down the line anyway and this whole series of life events serves to accelerate that nicely. But I should still be able to hammer out those 1984 posts, and still do stuff like a “best of 2024” list and all of that.

And also I’ll have more time to read other peoples’ posts and watch videos too. I haven’t done much of that this week, all of this job stuff has been consuming my mind and it’s been hard to focus on anything else. But everything is winding down now so it shouldn’t be a big deal going forward.

Enjoy your day and I’ll see you next week with more of my bullshit.

Picking Five Songs From 1975

On By bigbadburchIn Songs By Year2 Comments

My job has been absolutely kicking my ass this past week or so. Between it and me desperately trying to find a new job, I haven’t had as much time to work on the site. But I can bang out these five songs from 1975 real quick.

Nothing much to note here, I was still two years away from being born so I have no great memories of ’75. Let’s check out the music.

Heart – Crazy On You

I’m altering the timeline again with this one. This song was released on album in 1975 – in Canada. It wasn’t released as a single or in the US until ’76, but here it is on my list for this year anyway because guess what – 1976 is when things get super crowded on these lists.

Anyway – great blast of a song here. Heart were at times part folk, part psychedelic and part heavy metal – this tune fits the first two more. Very groovy guitar and keyboard passages here and Ann Wilson gives a super smooth performance throughout. Plus a great mix of acoustic and electric guitars here, not something you get all the time, at least to this great of effect.

As we go through these, you’re going to find out that Heart is one of my favorite bands, in all their phases. We’re just getting started here.

Led Zeppelin – Kashmir

So Robert Plant drove through the desert in Morocco and was inspired to write this song about a disputed region between India and Pakistan. Regardless of the geographic blasphemy, it helped Zep record one of their most epic movements. This song is totally majestic and awe-inspiring. Not much else for me to say about it.

Pink Floyd – Wish You Were Here

While this song is full of subtle twists, especially the full album version (which should be posted below), this one is actually pretty straightforward for a Pink Floyd track. It is a somber affair looking back on lost dreams, set against minimal acoustic passages. The song is popularly regarded as being about troubled former bandmate Syd Barrett, though Roger Waters has discounted that idea before. Regardless, it’s a masterpiece of a song.

Aerosmith – Sweet Emotion

We’ll just ignore all of the things this song could possibly be about and focus instead on how kick ass of a tune it is. Aerosmith added a few psychedelic elements to their hard rock groove and came out big winners for it. An electric jam all the way through.

What I posted is the 1991 remix video, which brought Aerosmith up straight up against grunge, and Aerosmith won that unlikely battle.

Waylon Jennings – Are You Sure Hank Done It This Way?

Every genre of music has its formulas for success and acts that were herded into the spotlight, used for a hit, then discarded for the next. But no music scene had its formula down quite like Nashville and country. While that machine keeps plugging away today, it was a group of artists in the ’70’s, spearheaded by Waylon and the creative freedom afforded to him contractually, that sparked a whole new movement in country. The outlaws were riding, and they would reshape country through the decade.

Here Waylon pokes fun at the establishment and highlights how far they’ve drifted from the spiritual father of their genre, Hank Williams. It’s not a comedy tune but some of the lyrics are low key pretty funny, like the one about the five piece band looking at his backside. But the song does carry its weight and then some, directly targeting the tired old formula of Nashville and offering a refreshing change.

That’s all for 1975. Next week will be ’76 so I’ll have to pick some really patriotic stuff to celebrate the bicentennial of my great nation. I’ll get right on that.

Anthrax – Fistful Of Metal

On By bigbadburchIn Album of the Week6 Comments

Two of thrash’s “Big Four” had already debuted before 1984. Right at the start of ’84, the third would make their presence known and also help give this newer genre its name.

Anthrax – Fistful Of Metal

Released January 6, 1984 via Megaforce Records

Anthrax had started off in 1981 in New York, with Scott Ian and Dan Lilker forming the group. I’ll skip the Spinal Tap-worthy list of members who came and went through the first few years. The lineup for this album would feature Scott Ian on guitar along with Dan Spitz, Dan Lilker on bass, Neil Turbin on vocals and Charlie Benante on drums.

Fistful Of Metal was recorded in Ithica, New York; with Carl Canedy producing. Songwriting was credited based on member contributions, with Turbin having a huge role in shaping the material. Former Anthrax guitarist Greg Walls has said he contributed parts to various songs and was left uncredited – this was just one piece of the Anthrax band drama file folder, which needs its own warehouse to store at this point.

The album artwork was done by Kent Joshpe, a friend of Spitz’s. Joshpe had already designed the band’s logo so he was also commissioned for the interesting cover art, featuring a guy being smacked with a fistful of metal. The album art was actually banned in Germany for a time, though that ban is no longer in effect.

This album features ten songs at a thrash-tastic 35 minute runtime. There are various editions and reissues from over the years, I’m sticking with the original because tracking all the various incarnations of this album is a fool’s errand.

Deathrider

First song from the first album and jump straight into one of the best songs Anthrax have recorded in their 40+ year long career. If I had to suggest one song to someone to explain what thrash sounded like, it would probably be this one. This is all pounding and speed, straight ahead with zero bullshit. There’s probably a reason Neil Turbin named his later band after this song. Grade: S

Metal Thrashing Mad

Up next is another pounding, as relentless as the first. It’s a song about racing that sits in the standard thrash template, though Turbin executes some vocals not typically associated with thrash. That would be par for the course on this album.

This song is also where the term “thrash metal” came from, the phrase was sprung by legendary journalist Malcom Dome in the pages of Kerrang! Magazine while discussing this song. Grade: A+

I’m Eighteen

Easy enough here – Anthrax covered the classic Alice Cooper song. It’s fine, they did a good job on it. I don’t consider it essential or anything but there’s nothing wrong with it. Grade: B-

Panic

This one kicks up the speed a notch and lays an all out assault. This is Anthrax’s version of a “being on the road” song, which is a fair bit different from those of Bob Seger and Bon Jovi. The road was a long grind for those others, the road is literally beating your ass in this song. Grade: A+

Subjugator

It’s another amped up thrash track about fighting. It seems as though whoever is in the way is who is getting the beating. Also it seems Anthrax’s weapon of choice in the fight is Dan Spitz’s guitar, as he wields it here for plenty of solo action. Grade: A

Soldiers Of Metal

We’re fighting again, this time we are banded together to fight for metal. Can’t get through an ’80’s metal album without fighting for metal at some point. This is a pretty standard song but solid. Grade: B

Death From Above

Another straightforward song, this time about planes and bombing and all that. Grade: B+

Anthrax

I had sorta forgot that Anthrax had their own self-named song. It’s a pretty ripping one too, though it’s hard to tell if this actually about contracting the disease anthrax or just general mayhem. Cool stuff though. Grade: A-

Across The River

A quick instrumental here, but this one absolutely shreds and could have been fleshed out into a full song. No harm, though – still totally worthwhile. Grade: A-

Howling Furies

The last track is a bit of a horror story, being caught by some pretty nasty people or things that want to cut you up. I do wonder if this isn’t, at least in part, based off of The Warriors movie as both the Furies and “come out and play” are part of the song. I’m not sure but I’d wager a guess that it’s so. Grade: A-

Fistful Of Metal hit the streets on release – though it did not chart it was a big mover in the emerging metal scene. Anthrax themselves would tour behind the release, then endure several lineup changes before prepping the next album. Dan Lilker was fired and Neil Turbin quit, as Scott Ian and Charlie Benante became the driving forces behind Anthrax’s songwriting. The new incarnation of Anthrax would go on to a handful of gold-selling records and buzz throughout the scene, solidifying their place among thrash’s “Big Four” and somewhat leaving the first album behind.

But this album is more than deserving of its own praise. While it might not sound “original” among the decades of thrash offerings in this day and age, it had very little to be compared against in 1984. This was a nice, curbstomping record more than worth the time to visit with, even if other Anthrax albums overshadow this one.

Album Grade: A

At the end of the day, nothing to do but crank this up, start some shit and recall the good times of 40 years past.

Picking Five Songs From 1974

On By bigbadburchIn Songs By Year7 Comments

I press on with my look at songs from a particular year, this time we’ve hit 50 years ago exactly as it’s time to look at 1974. And this year offered up something a bit different – I’ve previously been able to easily reference Black Sabbath and Led Zeppelin albums for songs I absolutely love, but both bands did not offer up any recorded material in ’74. Not to be deterred, it was honestly pretty easy to locate five songs I like a lot from the year.

We do see a few debuts from acts now legendary, and in the next several years things really get different with all the debuts. And also these lists get really hard to compile, to this point I haven’t had to “bump” a song from a list due to finding another I like better, but that is coming very soon. And we’re just a few years removed from where I was actually around.

But that’s all for later – for today, let’s enjoy a few choice cuts from 1974.

Kiss – Strutter

Here we have the first track from the first album from the group that would take over the world with their stage shows and theatrics. But out of the gate we get a fairly simple yet quite ass kicking rock track. Even up against the music of the time, there was something a bit different in what Kiss had on offer. And just listen to Paul Stanley’s voice from 50 years back, damn that dude could carry a tune.

Rush – Working Man

The debut surge continues with Canada’s greatest export. Rush were still not in their final form here as Neil Peart had not yet joined the band, but this first album did feature this choice cut that helped the band get their break when it got played on FM radio. This isn’t the crazy, prog-driven music of Rush to come, but it’s a nice and loud ode to the existence of the rank and file worker, which I can totally identify with in my late 40’s with shit prospects of upward mobility. But hey, great song.

UFO – Doctor Doctor

This next one came to me from less conventional means, as to this day I’m woefully uneducated on the music of UFO. But this early contribution from new and then young guitarist Michael Schenker slowly became a fan favorite after years of live performances. It starts with an epic intro but the song itself is a pretty lean and mean rock track.

What led me to this song was its use as intro music – since 2000, Iron Maiden have played this song over the PA just before taking stage. Maiden also did cover the song during the Blaze Bayley years just prior. But that’s how I came to know this song and I should get off my ass and get into more UFO.

Dolly Parton – Jolene

This time there’s no debut as Dolly had already been around. I’m also playing with the timeline a bit since this song was released in ’73 as a single, but the album of the same name was released in early ’74 so I’m running with that. It’s like the Marvel Cinematic Universe in here, I just play with time to suit my needs at any given moment.

Jolene is one of country music’s all time songs, as Dolly laments that the title character seems to be making moves on Dolly’s man. Nothing is entirely clear – Dolly thinks Jolene is on the prowl, but it’s never said if that’s really the case. But Dolly’s insistence that Jolene keep away is one of country’s crown jewels.

Queen – Stone Cold Crazy

If you had “Queen would invent thrash metal” on your 1974 bingo card, well I guess you cashed in. This short hyperblast of frantic rock featured everything that would come along in the early ’80’s – ripping guitars, pounding drums and rapid fire vocals. I didn’t hear it at the time of course, but even going back to music from before I was around, this one really sticks out as something out of the ordinary. I bet it was crazy to hear when it was released.

That does it for 1974. I guess that means there are either 49 or 50 more of these to do, I don’t know because I don’t have enough fingers to count it all. See you next week.

Laura Branigan – Self Control

On By bigbadburchIn Song Of The Week5 Comments

So I have a song from this year I want to talk about but it’s a damn headache. Even typing out the title is an exercise in supreme frustration. I’m gonna save it for next week and for today I’ll go back to 1984 and discuss a beloved song from then.

In all reality there are two versions of this song to talk about. This was originally released by Raf in ’84. Raf co-wrote the song along with Giancarlo Bigazzi and Steve Piccolo. The song was a European hit, scoring number ones in Italy and Switzerland and charting in the top ten elsewhere on the continent.

Long story short, the song also needed to be a hit in the US and everyone took a familiar turn to get there – Bigazzi had already been working with US artist Laura Branigan, a partnership that had marked the smash hit Gloria in ’82. So Bigazzi and Branigan turned their attention to Self Control, and yet another hit was made.

Branigan had previously offered up some very revised versions of songs – Gloria is not only done in a different language than the original, but the lyrics were also re-written to tell a completely different story. The music was also changed up as a 1980’s “update” of sorts. But on Self Control, Laura’s cover is honestly not far removed at all from Raf’s original. The songs are distinguishable, but not by a huge degree. I’ll post Raf’s original at the bottom of this post so everyone can compare.

Laura’s version of Self Control would be a huge hit – it reached number four on the Billboard Hot 100, and the album of the same name would go platinum. It also did some huge business in Europe – it charted at number one in several countries, including Switzerland – where it actually bumped Raf’s original version out of the top spot. The two versions flipped places a few times again, making for some really interesting music trivia. Both versions were charting all over the continent as they were not released too far apart.

As for the song, it is what is described as “dance rock” or even disco-driven. It has the ’80’s zazz to it but is certainly a dance-able track. The lyrical theme of being taken by the night is actually a fair bit darker than what you might think you’d get with a song of this genre.

This would come into play with the music video. The clip was a huge hit in Europe, but US MTV required the video to be edited, due to the risque nature of the masked personification of The Night entering Laura’s room and, well, you can figure it out in the video. Anything sex oriented was a huge no-no in the year before the PMRC came riding high horses into the nation’s capitol.

Laura would continue charting both mainstream and dance songs as the ’80’s wore on, but like many her career was largely claimed by the shifting tides of the 1990’s. In 2002, Self Control would get another big boost. Stop me if you’ve read me say this about a song before, but Self Control was featured in the soundtrack to the video game Grand Theft Auto: Vice City, which introduced the song to a lot of younger people who didn’t experience it firsthand in ’84. Laura was preparing to relaunch her career around the same time, a prospect that was tragically cut short when she passed away in 2004.

Self Control has lived on as Branigan’s signature song, reigning as her top-streamed track to this day. This would be adjusted a bit in 2019, when Gloria came out of nowhere to return to the public eye as the result of an unexpected run in sports. But that is another story for another time and is tied to one of the best sports memories of my life, so I will save it for down the line.

At the end of the day, everyone involved with both versions of Self Control scored big hits around the world. The song is totally tied to the fabric of 1984, one of the best and most unique years in music history.

Whitesnake – Slide It In

On By bigbadburchIn Album of the Week8 Comments

It’s time this week for a key album from 1984, and one with a whopper of a story to accompany it.

Whitesnake – Slide It In

Released January 1984 AND April 1984

So in 1983, Whitesnake set out to record this new album in Germany. The band was David Coverdale on vocals, guitarists Mel Galley and Mick Moody, bassist Colin Hodgkinson, drummer Cozy Powell and keyboard wizard Jon Lord. Eddie Kramer was in for production, for a moment anyway. The band were not satisfied with his work so he was replaced with Martin Birch, who’d helmed the Whitesnake catalog prior to this. It marked Birch’s last album production not related to Iron Maiden. The album was recorded and released in January 1984 after some delays.

Sounds fairly simple, right? It was until it wasn’t. The first issue was that of the album’s production. The music press was not happy with the album’s flat sound. Whitesnake were contracted in the US with Geffen Records, who also weren’t happy with the production. Geffen commissioned Keith Olsen to remix the album.

But even that wasn’t so simple – David Coverdale was also eyeballing a personnel change. On the advice of label exec John Kalonder, Coverdale began looking for a “guitar hero” type of lead player to further enhance the band’s image. Michael Schenker was approached but was either uninterested or uninteresting, depending on who you ask. Adrian Vandenberg was more interested but he declined, choosing to operate with his own successful outfit instead. Vandenberg would find his way in a few years later.

This led Coverdale to John Sykes, late of Tygers Of Pan Tang and currently with Thin Lizzy. Sykes was agreeable to the Whitesnake gig but also very reluctant to leave Phil Lynott hanging. Sykes made an ask for an absurd amount of money, which Whitesnake surprisingly agreed to. Lynott gave his blessing for Sykes to move on and Coverdale now had his guitar hero. This would shift Whitesnake away from their long-held blues-based sound and into the hair metal era, which was gaining a ton of steam in 1984.

Mick Moody was still on the Whitesnake roster, so Coverdale acted like a complete asshole to Moody, who took the hint and quit the band. Bassist Colin Hodgkinson was also fired, and former pal Neil Murray was brought back in. Sykes and Murray would re-record parts for the US remix of Slide It In.

And today I will be going over the US version of the album, as it’s what I’m familiar with. There are countless versions and re-issues of this available. For simplicity’s sake I’m going to use the old US tracklisting, which won’t match up with most versions found today on streaming. Either way, it’s 10 songs at a bit over 40 minutes.

Slide It In

The title track keeps things very, very simple – driving riff with double entendre lyrics. Honestly the song is so horribly basic that it’s like wearing a beige suit to a middle management conference. But the song also works splendidly, it’s a textbook example of a rocking track from this era. Not a bad way to mark your territory on the Sunset Strip scene. Grade: A+

Slow An’ Easy

Up next is the song Whitesnake would offer as the US single and the song that would help them finally break into the coveted American market. This one has it all – build-up and mood-shifting, with a bit extra behind the guitars and Powell’s drumming to really push it all over. It still has marks of the blues as it was co-written by Moody, but the song functions amazingly well in the ’80’s rock pantheon. It’s exactly the kind of song you’d want to write to get attention. Grade: S

Love Ain’t No Stranger

Whitesnake joined the ballad fray here, but this ballad is on steroids and totally rocks out. It had the rock for the rockers and the more melodic hook and twinge of melancholy for the ballad seekers. The song performed modestly as singles in both the UK and US, but over time it has become a staple of the Whitesnake set. Grade: A+

All Or Nothing

One of many tracks on here that showcase the “old” blues sound coupled with the updated ’80’s rock approach. This one slams right in and makes itself at home, with the organ adding some spice in the mid-section. Grade: A

Gambler

Here we have the sad tale of someone who is stuck “outside” of love, apparently struck by chance to remain loveless. Overall the song is well done, I do think maybe the two versions of the album clash here a little bit between the guitars and keyboards. But it’s a minor gripe. Grade: B+

Guilty Of Love

Now this song sounds totally like an ’80’s track. It keeps a quick pace but keeps a bright enough tone not to be a headbanging track. And yes, Coverdale is totally guilty of love, as we would all find out as the ’80’s wore on. Grade: A-

Hungry For Love

No, we’re not dealing with a concept or prog album by any means here, our themes today are very meat and potatoes for the ’80’s. This one is more of an old school boogie with a bit of sleaze on it. I do wonder if the song might have stood out more without the keyboards, I’d have just let the guitars carry this one. But no matter, still a nice song. Grade: B+

Give Me More Time

This song showcases Whitesnake’s transition perhaps better than any other. It still has some old-school underpinnings but it’s also a total ’80’s rocker too, a very good mark of what Whitesnake was turning into. It’s catchy and rocking and hits all the right notes. Grade: A+

Spit It Out

As we round the bend to the album’s close we get another total rocker absolutely fit for the time. It’s another pretty basic track but it gets the job done and then some. Grade: A-

Standing In The Shadow

The album wraps up with another well done song that highlights Whitesnake’s new approach. It’s a simple and effective mid-paced rocker that keeps the album’s quality high through the whole run. Grade: A

Slide It In would help Whitesnake break the American market – somewhat slowly. The album got to 40 on the Billboard 200 and would eventually earn gold certification in 1986. The original UK version went to 9 there are charted decently across Europe. The band toured behind the record, with members slowly dropping off – Jon Lord would reconvene with Deep Purple, Cozy Powell left over money disputes and Mel Galley was out due to injury.

This left Coverdale along with Murray and Sykes to work on the next record. The album was put together, but Coverdale was under massive financial pressure and was also not getting along with his bandmates, yet again. Murray left voluntarily (I guess) while Sykes was fired in acrimonious circumstances.

The story was far from done though, as Whitesnake’s self-title album would massively dominate airwaves and sales charts. This also floated up Slide It In, which went platinum in 1987, double platinum later and a total of six million copies sold worldwide. This album was the closest musically to the self-titled behemoth so its further success was no surprise.

All of the truckloads of drama aside, Slide It In was a wonderful rock album that stood up fine on its own merits. It has no filler and it combined the contrasting sounds of the early and modern Whitesnake eras very well.

Album Grade: A

I’m sure multiple books could be written about all of the events up to, including and after Slide It In. It’s one of rock’s crazier stories that in the end saw David Coverdale’s gambles pay off. But the album itself is a perfect testament to the rock scene of 1984 and an essential piece for any rock fan’s catalog.

For more on the grading scale, head here.

Questions, comments or concerns? Use the comment form below or head to my contact page.

Picking Five Songs From 1973

On By bigbadburchIn Songs By Year4 Comments

Time marches on and it’s now 1973 on my songs and years thing. I honestly don’t have much to say about the year – I was not around for it and nothing really jumped out at me when I was looking through stuff. I had no problem picking five songs, it does get to be a problem a few years down the line as a lot more acts started up and things get really crowded. But for today, no problem.

Black Sabbath – Sabbath Bloody Sabbath

Sabbath had issues recording their fifth album but when it came down to it they were able to belt stuff out, including this masterpiece of a title track. The song is somewhat bright and melodic (but still plenty heavy) for most of the way, then descends into one of the heaviest pieces of music ever recorded in the song’s final moments. This is truly the stuff of legend.

Pink Floyd – Time

One of the cuts from Floyd’s Dark Side Of The Moon album that took over the world and never let go. Time is a remarkable song with both atmospheric elements and also some flat out rocking all contained within. Time is the thing that rules over all our lives and also may very well not really exist outside our perceptions, but I don’t have time for all of that today. A marvelous song.

Joe Walsh – Rocky Mountain Way
Splendid stuff here as Joe was struck by songwriting inspiration while mowing his lawn in Colorado. It was the boost Walsh needed to get over his depression from leaving The James Gang and get his solo career kickstarted. Find a dive bar, get a cheap beer and enjoy this slice of rock n roll greatness.

Alice Cooper – Elected

Here lies one of the last vestiges of the Alice Cooper band, as after ’73 Coop would rebrand as a solo artist. Alice has actually run for President in most elections since this song, though obviously he hasn’t broke the threshold and been elected. But he put out this fun staple of his live set.

Montrose – Rock Candy

Montrose wound up billed as “the US’s answer to Led Zeppelin” when their debut album dropped in ’73. And this song was one huge reason why – it’s sleazy, groovy and balls out rocking. Montrose never got their commercial due, but this song was massively influential to legions of rockers who would come along later. This early version of Montrose was short-lived but they cranked out some badass music.

That does it for 1973. Nothing much else to go over, have a good weekend and we’ll get back to the grind next week.

Chat Pile – Masc

On By bigbadburchIn Song Of The WeekLeave a comment

This week let’s have a look at a preview track from an upcoming album. Chat Pile generated a fair bit of buzz on the back of 2022’s God’s Country full-length. Their new effort is titled Cool World and will be available on October 11 via The Flenser Records. If anyone is interested in getting their hands on a vinyl copy of the new album, it would be very wise to pre-order. The label has already sold out of all the first pressings and are into a second run, something that also happened to God’s Country.

I have talked about Chat Pile a time or two in the past but I figure it’s worth it to give a refresher on them. The band hails from Oklahoma and drew inspiration from the sometimes bleak surroundings to craft a crazy version of noise rock, sometimes venturing into various kinds of very noisy metal. It’s not for the faint of heart, that’s for sure.

Masc is the second song we’ve had as a preview from the new album. And Masc is a bit of a departure for Chat Pile in that it is two things – melodic and conventional. The words are sung rather than screamed and the more mellow tone is kept throughout, no sudden breaking into a shouting frenzy here. And the music is more reminiscent of some ’90’s alternative metal than anything else – a bit quirky, sure, but it’s honestly a fairly straightforward song with the usual verse-chorus structure. Chat Pile offered up the expected with the first single I Am Dog Now, here on Masc they showcase another side.

And this new take is very welcome. It doesn’t diverge greatly from the band’s sound, the underpinning is still there in the rhythm and instruments. But this is a very cool change of pace. Music under the “noise” genre is often considered to be just what the descriptor says, but here the band flex out a bit and showcase the ability to explore other waters.

Also of note is the video. It was directed by short film creator Stephen Mondics and it is very, very visually striking. Now, I can’t tell exactly what the hell is going on in there, but I can say that I like looking at it very much.

Masc is a great track from Chat Pile, and it will be interesting to hear the new album next month. This will be one of the more hotly anticipated records of the indie/underground scene this year.

1984 Overdrive

On By bigbadburchIn Uncategorized4 Comments

So the year is sort of winding down, we’re now into the final third. It will have implications on how I run things through the remainder of 2024.

I have been on a year-long quest to pay tribute to the music of 1984, I’ve discussed an album roughly every other week and also included a song on the weeks when I haven’t been doing albums. But as we are approaching the calendar flipping to ’25 I am going to adjust my approach.

As it stands, I have about enough albums I want to cover for the remaining weeks I would need to fill spots. So it will be 1984 from here until January. There is one exception baked in as I’ll have a Best of 2024 post sometime in December. And I may have one or two free slots where I might also discuss an album from this year. But beyond that I will kick the 1984 celebration up a notch to close it out with a bang.

As for songs I will still have some from ’84 that I want to talk about. But outside of that, my focus running out the year will go to this year. There are a fair few preview tracks from upcoming albums I want to discuss and also some songs already released this year, so ’24 will be my primary focus on the song front.

Now – once 2025 hits, I am closing the book on the 1984 celebration and I won’t be running any themes through the next year. I will simply choose albums I want to discuss, as I did before ’24. I won’t do another year-long theme again until 2031, which would mark the 40th anniversary of 1991. That was by far the most significant year in music to me so I will commemorate it in a huge way – that is, if I’m still running this in six years. We will see.

On another note – with the 1984 thing and also with me generally choosing albums that I tend to like or love, my reviews are often pretty glowing. I’ve probably given out more A grades than anything and in the past few weeks I’ve even handed out S’s like candy. That’s somewhat unavoidable with the 1984 thing going on – if I’m going to talk about those albums, they are often the ones with super high marks.

But next year I won’t be on any rails as far as album selection. So I will make a point to dig out some stuff that doesn’t quite clear the bar grade-wise. It will be a nice change of pace from what’s been going on lately, though again it’s understandable based on my theme and also that it’s far easier to talk about stuff you like. But I do look forward to going the other way and having at a few albums that maybe shouldn’t have been recorded.

That’s about all for this little update. Enjoy the rest of the year and I’ll see you with some bags of crap on the other side of it.