Category: Song Of The Week

Mr. Mister – Broken Wings (Song of the Week)

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I’m going back to the wonderful world of 80’s pop rock for this week’s song pick. Mr. Mister had a brief but successful career and this was one of two mega hits for the group. It was an age where synthesizers and technology were all over music, and Mr. Mister did not squander the opportunity to create something out of it.

Mr. Mister was the brainchild of Richard Page and Steve George, who had a project called Pages in the late ’70’s that didn’t gain much traction. The pair spent the next few years as session musicians for a number of pop luminaries, then formed Mr. Mister to give it another go on their own. They were joined again by their friend John Lang, who did not play in the band but provided lyrics. This time they’d garner a lot more notice.

Broken Wings hails from the group’s second album, Welcome To The Real World, released in late November 1985. While Broken Wings was released as a lead single a few months prior, it would gain hold of the top of the charts in December ’85, and the next single Kyrie would do the same.

Today’s song is a pretty simple one – musically it’s a pop rock thing, perhaps even new wave to some degree, I don’t know. It is electronic based with a lot of delays on the guitars, synth stuff and electronic drums going on. It’s not an “organic” rock song, which personally is fine by me, I’m up for something different once in awhile.

Lyrically the song is pretty easy to grasp – like, get up and fly. It does have a bit of depth to it, this isn’t some vapid pop experience. There’s a longing for a relationship and better times in the song, then the chorus with its motivational “fly again” is a pretty uplifting thing. The song does keep a pretty melancholy tone through it, which is probably why I like it.

There is an interesting quirk lyrically – the line from the chorus “Take these broken wings and learn to fly” is identical to one found in a Beatles song, Blackbird. This was not meant as an homage to the Beatles – rather, lyricist John Lang had read the 1912 book Broken Wings by Kahil Gibran and used that as inspiration. It was described as a totally unintentional aping of Paul McCartney’s lyrics. I don’t recall any controversy over it, but also I was 8 at the time so I probably wouldn’t have noticed, they didn’t air music news during episodes of G.I. Joe.

Mr. Mister scored big with their twin number one singles, but success wouldn’t linger for long. Their next album did not move a lot of copies and their 1990 album Pull was recorded but didn’t interest the label and the band broke up. That album wound up being released a whopping 20 years later. Mr. Mister did not reunite at all, though the members have collaborated on various other projects in the years since.

Broken Wings has remained on airwaves in many forms since its release, through movies and TV, as well as video games. In fact, the inspiration for this post was me hearing the song on my latest playthrough of Grand Theft Auto: Vice City, where Broken Wings takes up residence with several other pretty damn good songs on the soft rock station Emotion. After the heavy metal pounding of V-Rock, Emotion is probably my next-favorite station on the game.

This song holds up pretty well far outside of the shine of the 1980’s. Of course, that’s just my opinion. But I think Mr. Mister landed a pretty damn good tune with this hit.

For my two parter on the music of Grand Theft Auto: Vice City, check out the links below

Part 1 – The Music of Vice City

Part 2 – V Rock

Motörhead – Killed By Death (Song of the Week)

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My schedule is off because mid-week holidays are kind of a pain. But with all the Happy Birthday America stuff out of the way I can get to the Song of the Week a day late. And since it’s not the 4th of July now I’ll skip the patriotic stuff and go with some Motörhead.

Killed By Death is one of a handful of new songs recorded for the compilation album No Remorse in 1984. This one was chosen as a single, though it didn’t perform terribly well. It would cement itself as one of Motörhead’s most-beloved tracks as time went on despite its lack of commercial appeal.

The Motörhead line-up was a four piece set at the time, with Lemmy obviously in his place as bassist and singer. Phil Campbell and Michael “Würzel” Burston were the guitarists and Pete Gill was on drums.

Killed By Death is a prototypical Motörhead anthem, loaded with noise and sleaze. Lemmy oozes attitude (and makes references to his junk being a lizard and snake) and is a no-good son of a bitch to deal with up until he is “killed by death.” The song’s premise is simple and the execution is sound, as was usual for Motörhead. The song is silly in respects but brings enough sonic firepower to be taken seriously, also a general summation of Motörhead as a whole.

The song got a music video which was banned from MTV for excessive violence. The video is pretty goofy, with Lemmy riding a motorcycle through a wall in the beginning, but winds up being a bit of an ’80’s action scene with the band running from some kind of SWAT team sort of guys. Lemmy gets shot and then is put in the electric chair. His funeral is held and the scene spends a minute or so foreshadowing that Lemmy will ride his motorcycle out of his grave, which is exactly what happens.

Killed By Death didn’t light the singles charts on fire, something Lemmy seemed bothered by. But the song worked its way into the Motörhead setlists and stayed there, finishing out at number 4 in terms of the band’s most-played songs with over 1,200 noted live appearances. It wasn’t a commercial darling but it was well accepted by Motörhead fans.

While Lemmy is an immortal name in rock and metal lore, sadly he would be killed by death, or more specifically cancer, in 2015. But the legacy of Lemmy and Motörhead live on in heavy metal infamy, and Killed By Death was a large part of that legacy.

Muse – Uprising (Song of the Week)

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This week’s song is the biggest single hit from the British stadium rock outfit. This is easily Muse’s most recognizable song, if by chance a person reading hasn’t heard it, just watch a sporting event or go out in public somewhere – odds are you’ll hear it at some point.

Uprising was the lead single from the 2009 album The Resistance. The album is a bit of a “space rock opera” that overall is a fair tip of the hat to Queen. Much of the album was influenced by George Orwell’s novel 1984, a sentence I just typed yesterday for the Album of the Week. The Resistance would become Muse’s best-performing album and Uprising their best-moving single.

Uprising is nothing complex at all, in fact it follows the “keep it simple, stupid” formula very well. It’s an effective rhythm with a keyboard line thrown in and some handclaps and a bit of riffing here and there. That’s really all there is to it, yet it all feels and sound pretty expertly crafted. Muse had been on an “electro-stadium rock” path for awhile and Uprising feels like the culmination of those efforts.

Lyrically the song does go several shades deeper, it tackles the issue of governments and corporate powers controlling things and using misinformation, fear and paranoia to keep the general populace misinformed and in line. The song urges the rank and file citizen to recognize the charade and take power back. Something certainly born of both world events and the 1984 novel, though in both it would seem the powers that be won’t be swayed by popular rebellion.

As society has become more bitterly political and polarized over the years, Uprising has become an anthem for those that feel oppressed. The odd part of it all is that apparently everyone feels oppressed. I’ll refrain from going too hard into the political stuff but it would stand to reason that persecution and oppression are not visiting every person in the world. And not every dissenting viewpoint equals oppression, though in today’s political and social discourse it’s clear that many feel that way. As a note, Muse frontman Matt Bellamy disavowed the song’s use by right wing groups in the 2010’s.

While Uprising does offer bridges to these deeper, sometimes troubling and usually frustrating lines of thought, at its core it is really just a simple stadium anthem. It works extremely well over the PA at a sporting event and it catchy enough to easily earworm its way into someone’s head. No shock that this became a hit single.

Uprising did a tap-dance all over international charts, hitting singles charts in 20 countries and landing top 10’s in 7 of those, including their native UK. The song hit number 37 on the US Billboard Hot 100, marking Muse’s highest performance on that chart and in some technical sense actually garnering them “one hit wonder” status. It sold over 2 million in the US and has a host of gold and platinum certifications in 10 other countries.

But Uprising’s US fortunes can’t be summed up by just the pop chart. At the time Billboard also ran an Alternative Airplay chart and Uprising did an absolute number on that one. The song spent 17 weeks at number 1 and 52 weeks total on the chart, which at the time based on chart rules forced the song off for a week. Then it re-entered the chart the very next week. The 17 weeks at number 1 is good for fourth all time in the history of the chart, and one of the songs above it is also a Muse song.

Uprising was Muse’s call to power and also their apex in the mainstream music scene. The group has gone on to record and tour the world several times over, but their simple act of rebellion has continued to ring out across speakers everywhere. Perhaps a deeper message was lost, but the beat is pretty infectious.

AC/DC – Thunderstruck (Song of the Week)

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Before I start, I’ll address the missing Album of the Week yesterday. Simply put I ran out of time and there won’t be one this week. I had a bit of a temporary change to my work schedule this week that will result in a nice, long weekend for me this coming weekend, but I was too dumb/lazy to plan beforehand and didn’t get my intended AotW finished. I’ll just let the absence roll and pick things up again next week.

I’ve also punted today’s planned Song of the Week to next week as it has similar inspiration in theme to the AotW so it works nice to keep the two together, despite being two very different artists. But that means I can pick whatever in the hell I want for this week.

And today I’m going with a signature track from a band I haven’t talked about much at all to date on this site. AC/DC are one of rock’s biggest and boldest acts, and today I’m going with the lead track from their 1990 Razor’s Edge record that was a bit of a comeback for the group from Down Under. I don’t actually know if you’re supposed to capitalize Down Under but I did it anyway.

Thunderstruck was both the lead single and lead track from the full-length record and was a blatantly obvious choice for both such honors. The calling card of the song is the guitar that opens the proceedings. It is something Angus Young was messing around with and he and brother Malcom decided to run with it. Over time the song took shape around the brothers’ guitar work.

And there is no mistaking what is about to happen when that riff hits. It can’t be confused with anything else, at least that I know of. The song itself is a basic but banging rock track, in keeping with AC/DC’s long legacy of crafting that exact fare. The results on Thunderstruck work on a level beyond the general niceties of rock music, this song absolutely goes to 11.

Typically I like to get at least a little into a song’s meaning. But, this is an AC/DC song, that’s pretty much what it means. No hidden philosophy or sly digs at the establishment in here, just thunder and looking for women and having a good time.

Thunderstruck did reasonably well for itself on release, charting in a host of countries. In the US it landed on the Mainstream Rock Chart at number 5 and instantly became a staple of rock radio and it still sits in heavy rotation to this day. Somehow the song did not seem to even chart on the Billboard Hot 100, no issue in and of itself but there is a curious case about AC/DC and their performance on that particular chart, but I’ll save that topic for another time. It is odd that this of all of their songs didn’t break on that chart.

The album Razor’s Edge did massive business, going 5 times platinum in the US and also selling gobs in other countries. AC/DC had been flagging a bit in the late ’80’s, the prior effort Blow Up Your Video was perhaps not a critical success or fan favorite, though it did start the band back on a good sales track. But Razor’s Edge totally demolished sales figures and put AC/DC back on top of the rock mountain, and Thunderstruck was a huge part of that success.

Thunderstruck has remained a staple of AC/DC’s venerated live set since it release 33 years ago. I don’t have sources for this claim, but several websites report that the song has been a part of every concert since release. That does sound right, I don’t know why AC/DC wouldn’t play it. It ranks toward the top of many fan and journalist polls of the best AC/DC songs and is simply beloved by a lot of the fanbase as well as rock fans in general.

There’s not much more to say here. AC/DC truly caught lightning in a bottle with Thunderstruck.

Cracker – Teen Angst (Song of the Week)

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This week’s song heads back to 1992 and the alt-rock scene to dig up some old treasure. While a lot of retrospectives like to paint the early ’90’s as mired in grunge, there was a fair bit of other stuff out there to check out, and Cracker gained early notice with their debut single.

Teen Angst (What The World Needs Now) did stand out from the crowd on MTV – it’s a bright, guitar-driven song with cheeky lyrics in a video clip that features nothing more than the band playing their instruments while dressed in silly gear while standing in a field.

Cracker were not necessarily “alt-rock” in the truest sense – their music incorporated elements of country and roots, and the band’s principal members David Lowery and Jonathan Hickman were very wary of any genre tags. But Teen Angst was certainly an alt-rock tune in the alt-rock era, and even with the band’s varying tastes and influences, the song got plenty of play on the airwaves.

Teen Angst has a pretty standard and familiar for-the-time musical bent. Its lyrics also don’t reinvent the wheel but are pretty sly and smart in their own way. The world may need this or that, but kicking back with a drink is probably the safe approach to it. And I don’t know how folk singers came to take the brunt of the chorus’ wrath, but it’s pretty funny stuff. And in the end it does what a lot of songs seek to do – pick up the lady.

Teen Angst would hit the top of the Billboard Modern Rock chart and get position 27 on the Mainstream Rock Tracks chart. It did not chart on the Billboard Hot 100, in fact Cracker had very little success on that chart, even with their most-known song from 1993, Low.

That makes for an interesting conversation about “one-hit wonder” status, which is typically measured by the Billboard Hot 100 and getting one song on it to the top 40. Cracker didn’t do that at all, so what does that really make them? The one-hit wonder thing is an odd conversation, for my money it doesn’t really apply to Cracker since I feel like Teen Angst was a decent success along with Low, though this kind of stuff is hard to arbitrate.

Cracker always have been a unique entity anyway – they had some degree of success with albums and singles through the early ’90’s but never truly had massive status there. Their music does go in several different directions and each album is a bit of a journey. Their main draw has always been on the live front, where they have been a viable touring act since their formation.

Teen Angst is a nice slice of life from back in 1992 – fits the scene very well while also standing out from it, but is also a great song to check out 31 years later. Some songs just work no matter what era they’re originally from.

Slayer – Die By The Sword (Song of the Week)

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Welcome to now-regular Tuesday posting and the new home of my infant series Song of the Week. I’m sure the premise is easy to grasp – I’ll talk about a cool song each week. Sometimes the song will just be one I want to talk about for no other reason, other times the song might have some link with events, the day in question, or whatever. Today is more of the latter.

This is June 6th, which is a special day in the world of heavy metal. It is the International Day of Slayer, or International Slayer Day if you’re more concise. This was started in 2006 (6/6/6, heh heh heh) as a means to honor Slayer and also mock certain other entities. Slayer themselves called it a day in 2019, which maybe was a great time to quit a band when looking back in hindsight, but their legacy lives on and this is a day to pay respects to them.

Last year I dove into the thrash masterpiece Reign In Blood to honor the day, this year I’m going all the way back to 1983 and the debut album Show No Mercy to highlight a favorite of mine. This was Slayer’s debut which they put up the money to record. I’d say the gamble paid off after 36 years of heavy metal terror.

Die By The Sword is, much like the whole of the album, an immediate and sinister tune that’s a call to arms, but of course for the legions of the fella down under. (Satan, not Australians) Musically this is a fairly standard early thrash number, in fact maybe a bit more thrash than other songs on the debut. The verses move along at a more fast, speed metal pace while the brief chorus chugs along more in what would become familiar thrash territory. It’s a conventional song structure but the very short chorus makes its final reprise at the end a bit abrupt, though with Slayer abrupt is a household term.

Lyrically the song is full of fairly crude references to glorifying Satan and slaughtering, well, whoever; all of this was common fare among early Slayer songs. There is some actual, biblical basis for the song’s title and premise, as Jesus offered a paraphrased version of “live by the sword, die by the sword” in the Book of Matthew. Of course in the “ceremony of opposites” fashion of heavy metal, Slayer are talking up the concept as opposed to cautioning on it as Jesus did. And that concludes today’s Bible study.

Die By The Sword is a fan favorite from among the early Slayer catalog, it was the band’s 12th most-played song live and the highest placing among tracks from Show No Mercy, at least according to Setlist.fm. It makes many appearances on the several live materials released over the years and was one of the early songs played on night one of the band’s two-night finale in November 2019. While Slayer changed form well away from the sound of their early material, Die By The Sword was one that stuck around for the duration.

Iron Maiden – Alexander The Great (Song of the Week)

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It’s time for a new series. I do an album of the week so it’s obvious and fitting to also do a song of the week. It wasn’t something I originally planned on but after thinking about it a bit I figured why not? It provides a way to do some more quick content (this one will be a bit longer for various reasons) and it allows me to cover a pretty wide range of stuff the album of the week might not get to.

The Song of the Week will start running on Tuesdays next week and thereafter, this one is going live today because I wasn’t planning on starting it yet but the perfect subject for the first one fell into my lap. To the shock of no one I’m sure, the first Song of the Week entrant is from my favorite band.

Iron Maiden – Alexander The Great

Today’s song is the final track from Maiden’s 1986 album Somewhere In Time. It is a rolling epic that goes for 8 and a half minutes. The music fits the vibe of the synth-driven album pretty well but also firmly camps itself in “epic Maiden” territory with the signature galloping riffs and a few movements and changes to keep things from being stale. The song ventures a fair bit into some different moods through its run. And while I don’t think Maiden have ever fully “gone prog,” there’s a bit of stuff in here that at least borders on that territory.

The song’s theme is probably very easy to extract from the title – Alexander The Great was an ancient ruler who conquered a vast range of territory in 320-something BC. Alexander was a genius military commander who won many against the odds battles. His exploits were legendary and have been passed down to military commanders even today. His empire was insane for the time, though it quickly fell apart after his unexpected death.

One aspect of Iron Maiden’s appeal is how a fair number of fans know their history from Maiden songs. That might make a history teacher cringe, but it’s pretty well true. And this one is a great song for that – the lyrics really are a recounting of what he did, with a bit of flavor added in here and there.

The song was not released as a single though it’s held as a beloved and perhaps underrated part of the Maiden catalog. It also holds the same distinction 50 other Maiden songs do – it has not ever been played live on a stage…

This is the part where people who wish to avoid The Future Past tour spoilers should leave. I don’t really know why or how one would avoid such news, but I’ve seen people out there that don’t want the setlist spoiled for them, so here is your warning.

SPOILER ALERT

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What I just typed above the spoiler portion is no longer true – as of May 28, 2023, Alexander The Great has joined the list of songs Iron Maiden have played live. It saw its live debut in Ljubljana, Slovenia. This was largely expected as of the announcement of the Future Past tour, since Somewhere In Time was going to be a focus of the tour along with Senjutsu. It’s widely speculated that Alexander The Great is the real reason for even giving SiT some stage time, though in fairness that album hasn’t gotten a ton of live love beyond Wasted Years anyway.

Alexander The Great was the holy grail of unplayed Iron Maiden live songs. It was the popular request of many fans, dating back to 1986 honestly. It’s difficult to think of what a new number one would be for that, I doubt there will be a true consensus pick out of the remaining unplayed songs.

This does alter a few posts I did back in October of 2022 – in two posts I ran down all of the songs Iron Maiden had not played live. That number went from 51 to 46 over the weekend, as four songs from Senjutsu also got a live debut. I’ve updated those posts to include the new information – head here for part one or over here for part two of that brief series.

That will do it for the debut of the Song of the Week series. This one had a bit extra with it, future posts won’t go this hard but one might pop up now and again. Look for future SotW posts each Tuesday from here on out.