Tag: rock n roll

Album Of The Week – June 20, 2022

On By bigbadburchIn Album of the Week8 Comments

The album pick this week is one of rock’s immortal records. It is such a piece of history and lore that the album is almost beyond discussion. It is one of music’s best and most important debut albums and it redefined what could be accomplished on the guitar.

Jimi Hendrix – Are You Experienced

Released May 12, 1967 via Track Records (Reprise US)

My Favorite Tracks – Hey Joe, Purple Haze, Fire

Getting into this record does involve choosing a version – the original UK release had different songs than the US version. Today there are expanded reissues with 17 songs (on CD, though can also be found on vinyl) that bridge the gap between the two original versions. In order to keep things concise I will be going over the original North American release with 11 songs. I can’t leave off Purple Haze, Hey Joe or The Wind Cries Mary, which were not on the UK album. I’ll run through the reissue’s other tracks quickly toward the end.

Here’s the Cliffnotes version of the Jimi Hendrix story for anyone maybe unfamiliar – he toiled as a side player in R&B bands for years, then got noticed in New York nightclubs. He eventually got a manager in the form of Animals bassist Chas Chandler, who decided to give Hendrix total creative control and simply form a band around him. The Jimi Hendrix Experience would be Noel Redding on bass, Mitch Mitchell on drums and, of course, Jimi Hendrix with guitar and vocals. They got in the studio and this album happened. And since then, the name Jimi Hendrix is synonymous with the guitar and is a giant among men in music.

Purple Haze

Our version opens with what would become one of Hendrix’s signature songs. It is a showcase for his unique guitar talent as he unleashes a psychedelic trip through six strings. I don’t think anyone was playing guitar like this before it, but everyone was trying to after it. The song gives the vibe of an acid trip, though Hendrix denied that being an influence. Music really doesn’t get better than this and we’re just getting started.

Manic Depression

It’s off into a quick-paced jazzy number that keeps the beat going and retains the psychedelic vibe. The song was not about the clinical condition but rather simply being hung up on a woman, according to Hendrix. Jimi’s solo on this song is just insane. While rock music was obviously around before this, listening to this illustrates the shape of rock music to come.

Hey Joe

A song originally composed by Billy Roberts, a folk musician, the song was covered by legions of people and involved multiple legal disputes. Chas Chandler had been looking for someone to do a rock version of the song even before managing Hendrix. Once he and Jimi got together, this became the first single released by the Jimi Hendrix Experience.

The song is a murder ballad, telling the tale of a spurned lover who is off to shoot his old lady down and then run off to Mexico. This plotline was the basis for roughly 36% of songs back in the 1960’s, I think. Hendrix keeps up the guitar theatrics even on this more subdued tune.

Hey Joe was also the final song played at Woodstock. Hendrix closed his set with it at roughly 11 AM on Monday, August 18th, 1969.

Love Or Confusion

It’s jazz odyssey time for the Jimi Hendrix Experience. The song goes nuts with the riffs and the trippy vibes. It’s not one of the more celebrated tracks from the album but it’s still a nice tune under the radar.

May This Be Love

100% a 60’s song, this is a psychedelic number that is a product of its time. Hendrix isn’t changing the game on this song, which given his abilities makes this feel like a secondary song. Still a nice effort that does fit atmosphere-wise on the record.

I Don’t Live Today

A hard rock attack before hard rock was really a thing, one might even call out shades of heavy metal here. The song doesn’t go much of anywhere lyrically but the music does the talking. There’s a bit of fade out and then back in action in the last minute.

The Wind Cries Mary

It’s ballad time and Jimi Hendrix knocks this one out of the park. The words were based on relationships present and prior for Hendrix and the music evokes the sweet, somber tone of the lyrics. No need for any guitar theatrics here, the six string simply lays the atmosphere and accompanies the singing.

Fire

Another hard rocker and one of Jimi’s most-celebrated works. It’s the drums getting a workout here as Hendrix keeps the guitar in simpler territory. Still the trippy vibes ring through and the band has another hot song on their hands.

Third Stone From The Sun

It’s another trippy jazz number that’s mostly instrumental, with a few half-speed spoken parts about alien invasion. It’s not so much a departure as it is further exploring one tangent that influenced Hendrix’s playing.

Foxey Lady

Back to the more straightforward rock and one of Hendrix’s signature tunes. It’s a widely known and celebrated song that doesn’t require an introduction. It’s all riffs and red hot action in the lyrics and has been used many times in movies and other such fare. It’s often been voted one of Hendrix’s best songs and also one of the best in rock in general.

Are You Experienced?

The title track closes the original version of the album. Hendrix apparently recorded the guitar and drums backwards for the song, giving it an odd movement. Whatever the case, the song gives another trip to ride off into the sunset with.

While this concludes the original US version of Are You Experienced, these days the reissued versions include six additional songs. They aren’t just throwaway tracks either – Stone Free is a monster jam that easily fits on the record and was originally used as a B-side. Red House is a somber blues number that was on the UK version of the record and was a glaring omission from the original US cut. The extra songs bring the album’s runtime to an hour and the modern reissue is certainly the definitive version of the album worth owning.

Note – there are several newer vinyl reissues that are single LPs. Both the US and UK versions have been reissued and have their original track listings, a 2008 vinyl reissue does have two LPs with all 17 songs. The CD reissues all have the 17 tracks as well as bonus DVD material.

No matter the configuration, Are You Experienced was a red-hot debut from one of the most important musicians to pick up a guitar. The legacy of Jimi Hendrix started on this album and would run for a few more years until his untimely death in 1970. His legacy is immortal and very few have really even come close to doing what he was capable of.

The album is a guidebook to rock music and has held up amazingly well in 55 years since its release. Roughly half of the songs across all the album’s versions are staples in Hendrix greatest hits sets and many of the songs are featured across his bountiful live recordings.

I could keep typing for hours about how amazing this album is but the point has already been made. I’m sure I’m preaching to the choir in most cases anyway. If, by some odd circumstance, someone who has never heard this record happens to be reading, well, stop whatever you are doing and get to it.

A Story And A Song – Angels In The Outfield

On By bigbadburchIn A Story And A Song2 Comments

This time around, the song has almost nothing to do with the story. My reason for going with this song will be evident soon enough.

Our song today is Your Love, the big hit from The Outfield. It’s a very nice power pop offering that I’m sure most people have heard. It’s one of those ear candy songs that settles in and doesn’t go away, but I can live with having it stuck in my head for awhile.

And our story involves baseball. It does also involve music. This also isn’t so much a “story” as it is a news recap of stuff that happened last week.

Back last Wednesday on June 8th, the Los Angeles Angels found themselves mired in a 13-game losing streak. It was a franchise record for losing consecutive games. After a pretty hot start to the year, the Angels were getting beaten left and right. They fired their manager and were flailing for anything to reverse their fortunes and get back to winning.

In baseball it’s fairly common for players to have walk-up music play as they go to bat. It’s a bit like a pro wrestler’s entrance except not as dramatic. In fact, Charlie Blackmon of the Colorado Rockies uses Your Love as his walk-up song and the Rockies fans get pretty into it when he goes to the plate.

The Angels back over a week ago decided to change up their walk-up music while playing against the Boston Red Sox. Every single Angels player came out to a tune from the same band.

The band? Noted slump-breakers Nickelback.

Yes, every Angels player that night came to the plate to one of Nickelback’s many hits. The usual suspects were there – Someday, Rockstar, How You Remind Me and Animals were all accounted for. Other players used songs I honestly haven’t heard. And Shohei Ohtani, one of baseball’s best players and the face of the game, used Photograph. (not my favorite song).

The idea apparently came from someone on the team’s coaching staff. According to this NBC Sports article via Yahoo! News, Angels quality assurance manager Tim Buss is a huge Nickelback fan and offered up the idea to get something going.

So did the ploy work? No. The Angels lost the game 1-0. The team had no extra-base hits and it appears they never got a runner past second base. A lot of things could be blamed for the Angels’ woes – like the lack of roster depth beyond two of the best players in the game, one of whom was injured that night. But it’s far more fun to blame Nickelback.

Nickelback’s Twitter account got in on the action, tweeting an inspirational sports message to the Angels. Wrong sport, but hey, whatever works.

The Angels would end their suffering the next night – they beat Boston and ended their losing streak at 14 games. Since that time they’ve gone 2-4, not a great run but winning a few is better than not winning at all. The team doesn’t appear poised for a playoff run but could sneak in if they could generate a hot streak.

I’m not horribly invested in what the Angels do on the field, I’m a Cardinals fan. It is fun to watch Angels games on occasion to see what two of the game’s best players in Shohei Ohtani and Mike Trout get up to, but the team as a whole can’t seem to get the job done.

As for Nickelback? I mean, I do think the band takes far more shit than they really deserve. It doesn’t lead me to seek out their music, I have no real need to hear any of it again after being bombarded with it in the early 00’s when they were ever-present. And I do think Photograph is an pretty cringe song, that one always did rankle me.

But that’s all neither here nor there. I’ll keep jamming to The Outfield’s hit song. But it does appear that Nickelback doesn’t bring any good luck to the sports scene.

The Song Remains The Same – Hysteria

On By bigbadburchIn The Song Remains The Same7 Comments

Time again for that fun little game where I line up a bunch of different songs with the same name and see what’s what. The first one I did was a total no-contest but this time around we’ve got a fight on our hands. I’m personally familiar with two of the songs and have been discovering some other stuff as I’ve searched around for more with the same name.

Our song today is Hysteria. One entry will be ultra-obvious and another almost as evident. But beyond those this is a decently-used song title so I had to sort them down a bit. We have a range of contenders from different parts of the music spectrum to choose from today.

As always with these, this is not a complete list of artists who’ve recorded a song with this name. There are quite a few for this one and I’m not including everyone.

Ceremony

I’ll lead off with a new-to-me band that I found by searching “hysteria” on Spotify. This was the first unfamiliar result that came up and, well, I guess I’m the one who has been missing out. Ceremony are a punk rock outfit from California and are noted for changing their formula across albums.

Ceremony’s version of Hysteria comes from their 2012 album Zoo and was a single release as well. This is a really nice song and I’ve been jamming out to more of the band since running across them for this post. And this tune will bear consideration in the final voting even with the heavyweights it’s up against.

Def Leppard

Likely the most known variant of this song, it’s the title track from the 1987 album where the British rockers literally took over the world. This album was all-conquering and was everywhere for eons. Hysteria is one of the album’s seven (!) singles.

Not much to discuss here, this is one early favorite to win the contest. They do have obvious competition and some not-as-obvious, but winning this would just be another day at the park for this monstrous song and album.

Poppy

This one is interesting – it’s from an artist who started on YouTube by acting like an android or something then eventually wound up doing her own music. Her version of Hysteria is from her 2021 album Flux.

This cut is honestly pretty cool. Poppy appears to operate somewhat in the dreampop/shoegaze space, stuff I’m cool with but not radically familiar with either. While I don’t think this song has what it takes to win this little contest I can say I didn’t mind at all checking it out.

Gothic Sex

This name showed up when I looked on a website that catalogs this “different song, same name” stuff I’m looking for. Just imagine what you’d get if you searched for “gothic sex” on Google. The band was active in the 1990’s but does not appear to have been active since the turn of the millennium and information about them is far more scarce than people engaging in the activity.

Hysteria is from their 1994 album Divided We Fall. The song is kinda cool, kinda goofy. I don’t mind it but I don’t think this new-to-me entrant will be walking away with the trophy today.

Muse

The other known quantity in this exercise, the other British rockers are here with a hit song from their hit album. It comes from their 2003 album Absolution, regarded by several to be their best.

Hysteria features one of music’s most well-done bass lines and is a dark descent into falling apart over being into someone who can’t be had. The video features Justin Theroux having a shirtless shitfit. This version of Hysteria is right up alongside Def Leppard’s as a favorite to win the contest.

Scooter

This German outfit is apparently very successful, is described as a “happy hardcore” rave/techno outfit, and I don’t want to talk about them anymore or go over any of this shit so here’s the song that’s clearly not going to win my award chosen by me.

I’ll go ahead and cut off the entries here because I’m not doing any more of that. Out of six contestants there are three worth considering – Ceremony, Def Leppard and Muse. Ceremony’s entry is nice but I’ll have to pass it over in favor of one of the two British rock acts.

But now I have a much bigger decision on my hands than it may seem to some. Yes, Leppard’s title track is part of one of music’s most celebrated albums. But the Muse effort is from what’s widely recognized as their best albums and it’s also, at least on my list, close to the top of their best overall songs.

I went over both tracks for a little while and I even thought about calling it a tie. But that’s a cop-out. After much deliberation, the winner is Muse.

It does seem odd to pick against the titanic Def Leppard track, but Muse does edge it out for me. Maybe it was shirtless Justin Theroux who put it over the top.

Congrats to the winners and all of the entrants (except Scooter wtf was that) and I’ll be back later for another battle of different songs that are the same.

Album Of The Week – May 30, 2022

On By bigbadburchIn Album of the Week9 Comments

I’ve been at this blog about nearly 10 months now, something like that. I’ve done an album of the week almost every week, besides a few that I took off. While I’ve covered a wealth of stuff, from classic rock, hair metal, Britrock, death metal and points elsewhere, each album I’ve covered so far has a common thread – I like the albums. Every single one is an album I’ve played and enjoyed to at least some degree.

Today that changes. For the first time in my album of the week history, I will discuss a record that I honestly almost can’t stand the existence of. It has a few (very few) redeeming qualities, which generates enough interest for me to give it the AOTW treatment. It is a record that is infamous for being bad among the group’s fanbase, though like anything it does have its supporters. I’m not one of them.

Motley Crue – Theatre Of Pain

Released June 21, 1985 via Elektra Records

My Favorite Tracks – Home Sweet Home, Louder Than Hell

This isn’t a case of “well, everyone else hates this album so I will too.” It’s also not a case of “everyone hates this album so I’ll be contrarian and proclaim my love for it.” I never was able to get into this record and I’m not sure if I’ve played the whole thing through 10 or more times in all my decades of listening to the band. I’ve played the other 80’s Crue albums thousands of times each. I just don’t really like this one. The production is crap and most of the songs aren’t worth the time.

But there are a few worthy tunes here so I’ll have a go at running through them.

City Boy Blues

A decent but pretty uninspired album opener. It doesn’t set a great tone to start things off.

Smokin’ In The Boys Room

Here we have what became a massive hit for the group – a cover of a 1970’s Brownsville Station song that the Crue did up their way, made a funny video for, and laughed all the way to the bank. The song is performed well and is a highlight on the album. It’s also one of those that was overplayed to death in its era and I don’t seek out to hear on that basis. It’s something I liked but wasn’t looking to hear five times a day for a year straight.

Louder Than Hell

Up next we find a bit of civilization, it’s a proper Motley Crue song. It sounds like a leftover track from Shout At The Devil and in fact it is. The song works great despite the lame ass production. It would sound even better if someone turned the knobs more competently.

Keep Your Eye On The Money

This song is ok, it’s a cut above other things on the album but is still a bit down overall. Seems like the band was flailing a bit for ideas during recording.

Home Sweet Home

It’s new territory for Motley Crue – a proper ballad. Rather than go the sappy love route, the group composed this sweet yet somber tune. It was a drastic shift for a group that went balls out in the metal end of the pool for their first two records.

And it works magnificently. It’s easily the best ballad the group ever did and it’s the standout of this album. It sounded even better outside of the shoddy production of the album – both in the single cut that was sent to radio and the 1991 remix. But the band got the job done here and did so in grand fashion.

This would’ve been a decent EP if it ended here…

Tonight (We Need A Lover)

Mick Mars is really good on this. That’s about all I can find to say about it. The song does decently enough until after Mick’s solo where it goes into some bad territory for a moment.

Use It Or Lose It

A nice riff here but that’s about it, besides that the song is just fluff. It’s an ok rock tune but it’s also a few minutes of nothing.

Save Our Souls

Suitably heavy in the verses but the chorus is too much. Save my soul from the second side of this tepid album.

Raise Your Hands To Rock

Well, I raised my hands, where’s the rock? This is total fifth-rate hair metal filler. It also doesn’t even sound like a finished song, like they just threw some shit down and said “we’re good.”

Fight For Your Rights

Sure, I guess? A solid sentiment but there’s nothing going on with the song. A real dud of a closer on a second side that doesn’t have much of anything going on.

Theatre Of Pain would be a success for the Crue. It sold four million copies and its singles got significant airplay. It shifted the tone of music from a headbanging riot to a rock approach, something that would play out in force as the 1980’s wore on. The band morphed their own image from leather rebels to glam dolls to suit the style, something that became a calling card for the hair metal scene as image overtook musical substance in importance.

For me I found a few awesome songs, a couple that were ok and then a bunch of filler. Many of the tracks here just don’t have anything to them beyond some good guitar work. Again, this was not an album I played much at all. I’d get my Home Sweet Home fix from the Decade of Decadence compilation in 1991, and Louder Than Hell could be added to a mix tape or burned CD, then later digital playlists. My vinyl copy of this album is in pristine condition, played one time. I didn’t seek it out, either – it came in a box set.

Some might say it’s hard to argue with success, and Motley Crue did commercially well on the record and also shifted the music landscape. But that doesn’t make this a good album. It’s so uninspired that I don’t feel like bothering with the umlauts in the band’s name. The scene from The Dirt movie where Vince Neil tells Doc McGhee that the album sucks is spot on.

Van Halen – Runnin’ With The Devil

On By bigbadburchIn S-Tier Songs5 Comments

This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.

Today it’s finally time to touch greatness. It’s a famous cut from one of the best debut albums ever recorded and from rock music’s most important and influential bands. The song is heavy, thunderous, totally absurd and completely amazing.

Van Halen – Runnin’ With The Devil

Our song today is the opening track from the self-titled debut that would set the music world on fire and reinvent rock for a new decade. Van Halen would conquer stage and charts for a very long time and they did not dawdle around on their first album.

Runnin’ With The Devil opens the illustrious Van Halen career with a slower-paced affair that riffs along and pounds its message home through one of music’s tightest rhythm sections and the signature vocals of one David Lee Roth. It is a party song and headbanger rolled into one and it truly gets the party started on one of rock’s ultimate albums.

Everything that would come to define Van Halen is present on Runnin’ With The Devil. Of course there is Eddie Van Halen, six-string extraordinaire and on the Mount Rushmore of guitar. Eddie keeps most of his work to rhythm here, noodling around a bit during the verses then slamming home the point on the chorus. Of course the song features an EVH solo, what Van Halen song doesn’t? It is the first official notes of the guy widely considered to be (at least) the next most-important player to Jimi Hendrix.

But the band Van Halen was never just about Eddie, even if discussions about EVH could last from now until the end of humanity without treading worn ground. Another signpost of the Van Halen sound was the interplay between bassist Michael Anthony and drummer Alex Van Halen. Alex brought the pain to the drums, completely evident on this track. And Michael Anthony pinned down the rhythm with the bass.

Of course, on Runnin’ With The Devil, the bass part doesn’t get any simpler. You could take a person who has never played an instrument and have them playing this part of the song in 15 minutes, no problem. But that isn’t the point. When Michael’s bass gets going with Alex’s drums and also Eddie’s rhythm playing, it generates this fucking unreal heaviness and drive that bands have been trying and largely failing to replicate ever since. It is present on many Van Halen works over the years, yes even the Sammy Hagar records, but is in abundance on our song today.

And all of that, a trademark of Van Halen’s rock dominance for nearly two decades, takes a back seat to the star of this tune. It is David Lee Roth who sings and scats his way to an all-time classic performance. The verses go by without anything to get carried away by, but then the band takes up the chorus proper while Dave lets loose on whatever the hell he feels like doing. On the first chorus he adds his own thing in his soaring voice. On the second chorus he goes to another planet and pulls out a rant that has nothing to do with anything but just fits the song perfectly. His diatribe has led to circulation of the isolated vocal track for the song and it lives on in rock fame and infamy.

And Dave fills the song with various shrieks in whatever places he feels they should go. It’s something not just any singer could do, but Dave just fooled around in the studio and threw them in wherever he pleased. It’s one of several points of comparison between DLR and Michael Jackson, who was a huge fan of Van Halen and Roth. People the world over sought to play guitar like Eddie Van Halen with varying degrees of success, but there isn’t a long list of singers who could touch what David Lee Roth was doing in his prime. It took no less than the King of Pop to perform on par to Roth.

And as with any song, the words have their meaning. Well, except this one. No one really knows what the hell Roth is singing about and no one really cares. It might be about choosing to live that nomadic lifestyle as a rock star out on the road all the time as opposed to choosing a “stable” at-home life, but who knows? I don’t.

Why is this an S-Tier Song?

Runnin’ With The Devil is an assembly of talent and performance without peer, both in 1978 and even to this day. It lays the groundwork for a decades-long sound executed by the brothers Van Halen and Michael Anthony. And it features the nonsensical, over the top yet fantastic vocal stylings of David Lee Roth. It is one of many songs from the group that would go on to inform and influence the Los Angeles rock scene into the early 1980’s and define the music for the decade. Van Halen would cause the world to rock out with them, but the group stood alone in terms of talent and execution.

Upcoming New Releases – The Heat Is On

On By bigbadburchIn Upcoming Music5 Comments

We’re getting to the end of the school year and into summer around here. In terms of new music it seems like acts are hitting the road in droves and the interesting upcoming albums list is maybe dwindling a bit. But there are still some new albums queued up for release so I’ll have a look at some lead singles from upcoming albums. Not a ton this time but some compelling stuff.

Behemoth – Ov My Herculean Exile

Leading off with the Polish extreme metal stalwarts Behemoth, whose new album Opvs Contra Natvram arrives September 16. The provided video is pretty intense fare, though nothing unusual for Behemoth. It’s a bit of a mini horror movie.

The song is interesting but not particularly dynamic in terms of Behemoth. The group have been one of extreme metal’s bigger draws for several years now. In that time band leader Nergal has dealt with various controversies, including being charged with blasphemy by the Polish government multiple times. He has also muddied his own puddle a time or two, like when he invented a story about being thrown out of a gym for wearing a Darkthrone shirt for reasons unclear to anyone beyond him.

The new album is inspired by Nergal’s hatred of social media and “cancel culture,” a statement that hasn’t been playing well on social media. Will a pointed outlook and a less-than-stellar album see Behemoth’s time at top come to an end, or will the album proper offer up enough to keep the group afloat? Guess we’ll see this fall.

The Chats – 6L GTR

Australia’s punk sensations are back with a new album, Get Fucked, out August 19. The band has just wrapped up a US tour, getting out post-pandemic a few years after their 2017 viral smash hit Smoko took over the Internet.

The new song is really good and pretty much just what you’d expect from The Chats. I will certainly line up to get fucked this coming August.

Grave Digger – Hell Is My Purgatory

The venerable German institution is back with their 21st (!) studio album Symbol Of Eternity, out August 26. The band sound in fine form here after all these years, not that anything has been stopping them anyway. Grave Digger often do theme-based albums and appear to be on a Knights Templar kick here. I’m sure the new record will be a fine addition to their stupidly huge discography.

Iconic – Fast As You Can

Hey everyone, it’s another Frontiers Records throw-together group. Michael Sweet is in this one, along with Tommy Aldridge and some other folks from around the rock universe. The music is fine but of course there is a fair bit of Frontiers fatigue these days. Will this project stand out from the mountain of others? Second Skin is out just around the corner on June 17.

Municipal Waste – High Speed Steel

It’s been quite some time now since Municipal Waste helped put thrash metal back on the map and they have returned for another round with Electrified Brain out on July 1. It’s business as usual for the group and sounds like another must-have record on release. Usually these retro metal waves come and go, but this thrash one has been around for eons now and shows no signs of going away.

Chat Pile – Slaughterhouse

No you’re not seeing double – Chat Pile is distinct from The Chats. This group is an Oklahoma-based noise rock outfit that put out a few EP’s and are now prepping their full-length debut album for release. God’s Country will be released July 29. It is dark, noisy and fucked up, which is often just how I like it. It sounds like the world looks right now, which isn’t good for the world but is great for Chat Pile.

Lorna Shore – Sun//Eater

The main event is here and is the first track from the most hotly-anticipated extreme metal release of 2022. Last year Lorna Shore took over the internet with their three-song EP And I Return To Nothingness on the strength of To The Hellfire, which wound up with my 2021 Song Of The Year Award. Now the deathcore collective has the unenviable task of following that up with a full-length. That comes in the form of Pain Remains, which will see release this October.

While To The Hellfire generated unseen amounts of hype, it also set a bar very, very high for whatever comes next. Sun//Eater delivers the symphonic, “blackened” deathcore that Lorna Shore showcased on last year’s EP. It’s a fine addition that showcases vocalist Will Ramos and the band’s dynamics without resting on the laurels of …Hellfire. Time will render verdict on the new record but the hype train for Lorna Shore is chugging along now with the full-length on the horizon.

That does it for this month’s edition of upcoming releases. Conspicuous by its absence is any new Megadeth material even though the new album has been ready “any day now” for like three years and is supposed to be out in July. It feels like Ben Stein’s iconic scene in Ferris Bueller’s Day Off where I’m standing in the front of class calling out “Mustaine? Mustaine?” over and over again when I type these. Maybe next month…

The Song Remains The Same – Breaking The Silence

On By bigbadburchIn The Song Remains The Same4 Comments

I’m gonna start a new series today. This is one that has been on my mind for quite some time but I just never got around to fiddling with it. The time is now, I suppose.

The premise is simple – in music, there are a lot of different artists and bands. Many of those artists record songs with the same title, though the songs themselves can be radically different. The goal here is to have a look at some of these songs and see which one I’m into the most (if at all). It will also introduce songs from genres I don’t typically listen to (not today, but in the future). Note that this is NOT about cover songs, these are all original artist recordings going up against each other.

This is really meant for fun more than anything – there are more piles of different songs with the same name than I can practically get to in my life time. Ones like today are pretty easy, while stuff like “I Want You” or “I’ll Be There For You” could have books written about them.

To get this series kicked off I’m going with one that sees four different artists having the same song title. All of the bands are in the general category of metal, though they take on different forms. Three are groups I at least appreciate, if not enjoy and one is a group I haven’t listened to in almost 20 years and wasn’t chomping at the bit to hear again now. But a project is a project so press on I must.

A perpetual disclaimer for this series – this should not be taken as a complete list of songs with the same name. I’m using the first few websites I find in Google for my “research” on this and this isn’t a scholarly exercise. Feel free to mention anything missed on these if you know of one or more that got missed.

Today’s inaugural Song Remains The Same, uh, song? Breaking The Silence

I have found four different recordings of a song called Breaking The Silence. Two are from bands I am familiar but not well acquainted with, one is from a group I am vastly familiar with, and one is from a band I never fell over myself to know in any capacity. Let’s have at it.

Breaking Benjamin

This group is a 2000’s alt-metal outfit from the US. I’m sure they are pretty well known, they were all over early 2000’s radio and I saw their name around a lot. They aren’t a group I’ve ever sought out to listen to and, save for this exercise, I doubt I ever will. Let’s see what we get here. The song comes from their 2015 album Dark Before Dawn.

The song is generally pretty good. Pretty decent clean passages, I’m not personally into the “rappy” bits but they don’t ruin anything. It isn’t my thing but I’ll give credit where credit is due and say that I think it’s alright.

Firewind

This group is one I’m familiar with. I’ve heard their stuff before but I’ve never owned it or been heavily invested in it. The group is from Greece and is helmed by guitarist Gus G, the same guy who did a stint with Ozzy Osbourne. The cut is from their 2006 album Allegiance and the song was released as a single in Greece in 2007.

The song is fine. It’s in a style of power metal that isn’t entirely for me but I can appreciate what they’re doing. I suppose it’s indicative of why I never got into the band in the first place. But they definitely know how to play and to put a song together.

H.E.A.T.

This is a Swedish hard rock group that probably needs no introduction across most of my readership. Their take on Breaking The Silence comes from their 2012 album Address The Nation, which was the first to feature vocalist Erik Gronwall. Of course, Grownall has now gone on to helm Skid Row. I’m personally not overly familiar with them and have only heard them in bits and pieces.

This is really good. I like what I’m hearing here. Just a very nice rock anthem. This is clearly a band I’m going to have to give more attention to, I have been missing out.

And if this whole thing ended here, we’d have a clear winner. As it is, the boys will have to settle for silver today.

Queensryche

Let’s be real – this was never a contest. Also, is this a good time to mention that Operation: Mindcrime is my favorite album of all time?

Even though this could be taken as a set-up, I don’t think there was any real chance the other contenders were going to topple Queensryche here. It’s the Seattle outfit at the height of their creativity in the late 80’s and a well-known cut from their acclaimed masterpiece. They just nailed everything on this album, including this track that sees the story’s protagonist out in the wind after the death of his lady friend. Perfectly executed, perfectly produced, it’s all there.

And that does it for the first installment of The Song Remains The Same. This one was in the can from the moment I decided to do it (and it wasn’t actually where this was supposed to begin, a story for another time). In the future I’ll try to provide a bit more suspense to the results but there was no messing around with a cut from my favorite album ever.

Spinal Tap Two

On By bigbadburchIn Uncategorized4 Comments

A short post today but one to confirm some very welcome news that came down the pipe last week. I had just discussed Spinal Tap a few weeks prior – I dug into the music as part of the Album Of The Week and I gave a post to the immortal film.

Last Thursday some earth shaking Spinal Tap news came out – Rob Reiner has confirmed that a second Spinal Tap film is in the works. This is a proper sequel to the 1984 film, in contrast to the 1992 offering that was mostly a live show. Spinal Tap II (or whatever it will be called) is intended for release in March 2024, which will coincide with the 40th anniversary of the original film.

This is very happy news, of course. Fans have clamored for a sequel ever since the original gained its cult-like following decades ago. The principal actors refused, saying they would only do it when they felt they had a good premise and the time was right. Apparently they found their premise and here we are, a shade under two years away from a Spinal Tap sequel.

Reiner has given some details about the film’s plot – the band, having been splintered apart for years, reconnects with Marty DiBergi after being unhappy about the documentary he filmed years ago. The band are on the hook for one more gig – in their contract with manager Ian Faith there remains one legally binding performance. Ian has passed on but his widow is calling in her owed performance, so the group must reunite for one more show.

It sounds like the troupe have a solid idea for a film that should tick many of the same boxes as the original. The cynical cash grab reunions of many legacy acts has been a long-running joke in the music world for a long time now, and it’s perfect fodder for Spinal Tap’s deadpan delivery.

I’ve notice a fair bit of negativity towards the announcement, but that’s not something I’ll really bother with. The cure for cancer would be shouted down online these days. I see no reason why a new Spinal Tap movie can’t work. It might not be the masterpiece the first one was but with the key players still involved there’s no reason it can’t be good.

We have a ways to go before this movie hits in March 2024. Hopefully society doesn’t collapse before then, it is a real possibility. But it’s great news that we’ll get to visit this glorious movie and band one more time and I have every hope for another killer masterpiece.

And one more thing – hopefully the reunion gig is booked in Cleveland.

Blur – Song 2

On By bigbadburchIn S-Tier Songs5 Comments

This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.

Today’s song is very well-known, in many cases it’s the band’s only known song in America. Many people know the song without knowing who the group is at all. It’s only two minutes long, it’s the second song off the album and my only blogging regret is not making it the second entry in this series.

Blur – Song 2

Blur entered 1997 in a curious position. They’d been crowned kings of Britpop in 1994 after their triumphant Parklife record and tour. In 1995 they seemed poised to build momentum with The Great Escape and their initial single Country House, but then the British press went mad for Oasis and left Blur in the dust, even going so far as to change reviews of the album. Oasis went on to become the biggest band in the world for awhile as Blur sat at home wondering what happened.

By 1997 Blur were ready to get back at it, and this time they were leaving behind the Britpop elements they had previously worked so hard to be known for. The group convened around more lo-fi and grunge sensibilities and released their self-titled album to a new world that was about to move on from the Britpop scene.

While Blur would become internationally celebrated for the self-titled album as a whole, it was Song 2 that would take on a life of its own and become the band’s most recognizable hit. And, of course, as the story goes with many of these hit songs, the whole thing was a joke and an accident.

The above video outlines the origin story of Song 2 as told by Blur guitarist Graham Coxon. The song began as an acoustic piece on Damon Albarn’s guitar, featuring whistling in place of the song’s now-immortal “woo hoo” bit. Coxon suggested adding a bunch of noise to the tune and actually playing it for the record company as a gag. Albarn obliged and the band turned in the fully-formed, distorted as all hell Song 2 to the record company. Instead of being met with a sour reaction, the label execs loved the tune and Blur were off the to the post-Britpop races.

Song 2 was a well-received hit in Blur’s native UK and it also did something the band had been previously unable to do – it broke in the rest of the world. Song 2 charted on the higher end in many countries and became a staple of college and modern rock radio in the United States. Britpop as a whole hadn’t fared massively well on American shores, save for Elastica and Oasis. But now Blur arrived with a grunged-up tune just in time for the post-grunge era to truly take over rock radio. The song has been a part of sporting events, video games and other media ever since its release 25 years ago.

Background and reception are all well and good, but what really is Song 2 on about? Well, it’s a two minute song full of lyrical nonsense. The most noteworthy lyric is “woo hoo,” it’s the signature part of the song and the one many folks know the tune by. A fair few people couldn’t tell you who Blur is or the name of the song but they know “the woo-hoo song” by heart. And nobody, including the people who wrote it, can tell you what any of it means.

And that’s the beauty of music – not everything has to have a pinned-down, easy to digest meaning. Song 2 is a total lark through the English language and its only memorable words aren’t even really words. The whole thing from lyrics to instruments is just noise being made and it all works splendidly together. That’s not to say no thought went into it – as Graham Coxon outlines in the interview video, he was looking for specific sounds. And he got far more than he bargained for, with the song often cited as his greatest work.

Why is this an S-Tier song?

Song 2 is a monument to absurdity and noise and it tackles its premise extremely well. The song was a huge hit for a band reeling in an identity crisis after the events of 1995. Their response was to shrug off the sounds of their given genre and explore new areas, which led to a new legacy for the group that would far outshine the Britpop movement. It’s a simple song with no comprehensible theme and it’s just a bunch of noise, but it captured the attention of people all across the world.

Revisiting The Legacy Of This Is Spinal Tap

On By bigbadburchIn Movies3 Comments

On Monday I talked about the soundtrack to the movie This Is Spinal Tap. Today I’ll talk about the movie itself.

Of course, before I get into the main event, rest in peace again to Ric Parnell. Parnell played Mick Shrimpton in the movie and was the drummer for the 1984 album as well as the 1992 effort Break Like The Wind. Parnell died just a few days ago at age 70.

In terms of movies about music, there honestly are not many that measure up to This Is Spinal Tap. The “mockumentary” was a battle to get funding for and film, and then was a slow-burner that edged its way to cult classic and then eventually immortal status. While there are a handful of music films that are held in the highest regard (The Last Waltz comes to mind), there are few, if any, that do for rock and metal what Spinal Tap did.

The movie is a laugh riot, but the jokes aren’t the kind of setup-punchline thing. Much of the movie was done improv style and the jokes are left in a deadpan form for whoever wants to pick them up. Anyone else saying some of the stuff in the movie would come off just plain dumb, but it’s the most brilliant comedy when delivered in the movie.

And of course the film’s greatest legacy is that it’s almost not really a parody. There are many tales of rock stars seeing the movie and not finding humor in it – Steven Tyler of Aerosmith and The Edge of U2 are a few who thought the movie was so spot on that it wasn’t funny. Many musicians have recalled their own “Spinal Tap” moments on tour, the fake band’s name is now a term for real life happenings. And even the idea of having a black album cover would come to fruition – while Spinal Tap’s Smell The Glove didn’t get traction in America, Metallica’s “Black Album” seven years later would be the best-selling album of the 1990’s. That probably has more to do with Metallica than with Spinal Tap, but the parody band were openly cited as inspiration for Metallica’s cover.

And that’s really the thing about Spinal Tap – they’re pretty much just another band from the era of rock and metal. They informed the scene as much as they provided commentary on it. Rob Reiner went to see Judas Priest live as part of his homework to make the movie. And tell me that you don’t see Iron Maiden all over Spinal Tap, they’re almost the same damn band. Spinal Tap provided legitimate influence to countless bands over the years, and every big band has their “Spinal Tap” story of some absurd event almost too silly to be real.

This Is Spinal Tap is a movie that has entertained many rock denizens in the 38 years since its release and it has also bore real influence even as what was originally a mock band. The movie just rolls from start to finish with a completely packed guest list and absurd gag after absurd gag. It entered the general pop culture lexicon in many avenues – Harry Shearer’s gig on The Simpsons led to a Spinal Tap episode, Fran Drescher reprised her role as Bobbi Fleckman on her hit 90’s sitcom The Nanny, the esteemed Mick Fleetwood actually risked life and limb to become a Spinal Tap drummer for a spell in the early 2000’s, and Christopher Guest has helmed a series of award-winning mockumentaries in the same style of Spinal Tap. This led to a huge mash-up in 2003 on A Mighty Wind, where Guest mockumentary regulars Eugene Levy and Catherine O’Hara joined the other Spinal Tap primary players and a host of other Hollywood talent in a folk revival mockup that garnered a similar reception to Spinal Tap.

There is no questioning the legacy This Is Spinal Tap has left on the rock landscape. To wrap up I want to recall three of the movie’s most famous scenes. This isn’t a list of “my favorites” per se, honestly the whole movie is my favorite. But these scenes are the ones that people go back to and that people who don’t even know Spinal Tap at least have heard of the references.

Hello Cleveland!

This scene is an absolute laugh factory – the band are getting ready to go on stage to a very energetic crowd in Cleveland and begin their journey from backstage. The only problem is that backstage to stage is a journey longer than one of Skyrim’s longest dungeons. The band get lost at multiple points and have to ask for directions from an employee, but even that doesn’t get them on stage. The band are lost in a broken down labyrinth.

This is one of the many scenes that have happened to countless musical acts in real life. I can’t locate the exact text now but the scene might have been inspired by a similar gaffe by Tom Petty. Even if not, rock stars and luminaries from every genre of music have their own Hello Cleveland! Stories.

These Go To 11

This scene doesn’t need much exposition – I’d imagine it’s the most famous line from the movie. Nigel is showing Marty an impressive guitar collection (the sustain!) when the Marshall head that goes to 11 is shown.

And it’s not just the concept, it’s also in the delivery – when Marty suggests that 10 could be made louder, Nigel simply chews his gum for a moment and then remarks “these go to 11.” Just amazing delivery.

This is the phrase that people know from the movie even if they don’t know the movie. It’s the signature line and it’s why we’re all here.

Stonehenge

It’s all there – the band break into their epic, brought out to revive flagging attendance numbers on tour. Everything is going great, then a Stonehenge monument falls from the sky that isn’t big enough to use as a footrest. The aftermath sees manager Ian Faith quit the band and a path to oblivion unfolds – that is, until Sex Farm hits the charts in Japan.

Stonehenge is everything that goes wrong with stage props, something that happens to bands all the time. But Stonehenge actually did happen to a real band, just in the opposite fashion – in 1983, Black Sabbath had to cancel several Canadian shows on their Born Again tour because their Stonehenge replica was too big to fit in venues. And the funniest part is that one didn’t influence the other – Spinal Tap had a draft version of their Stonehenge gag before Black Sabbath’s tour. It’s just one of rock’s freaky coincidences. Spinal Tap would twist the bit and do the “too big” version in 1992 at their Royal Albert Hall performance.

Any time I go back and watch the movie, it’s always the Stonehenge scene that has me on the edge of my seat. It’s the movie’s most pivotal moment and the biggest turning point for a band slowly flailing away on a tour that isn’t working. Everything before builds up to Stonehenge and everything after is a result of what happened. The whole scene, sadly not entirely represented in the clip, is really the point of the movie.

And there we have it – one of the greatest movies of all time and one of rock and metal’s most important moments. I’m sure I’ll have more to say about the film in the future, this is a well that there is plenty more to go down before hitting bottom.

After all, what’s wrong with being sexy?