Tag: rock n roll

Upcoming Music – May the Fourth be with you

On By bigbadburchIn Upcoming Music4 Comments

The title has absolutely nothing to do with the post, but it’s time to look at another pile of lead singles for upcoming releases. There is more music coming out than I can keep up with but that’s a good problem to have.

Skid Row – The Gang’s All Here

Skid Row were promising new music last month and have delivered. This is the title track to the new album due out on October 14. It marks the band’s first full-length album in 16 years.

It was pretty anticipated to see how Skid Row would sound on record with former DragonForce singer ZP Theart on vocals – and well, that anticipation will continue because the band have jettisoned Theart and replaced him with Erik Gronwall. Apparently Gronwall made waves awhile back with a cover of the Skids classic 18 And Life and now all of a sudden he’s fronting the band.

The song is a nice tune, it’s a cut from the cloth hard rocker that does recall the band’s glory days. Gronwall is the fourth singer for the group since the departure of classic-era singer Sebastian Bach in the 90s. I’m as curious as anyone why the band decided to switch singers yet again but it might be a while before anyone gives detailed accounts to the music rags about whatever went down.

Without detailed information, the singer switch feels like an attempt to capitalize on the buzz generated by Gronwall’s cover song performance. Maybe the band heard him and thought he’d be a better fit, I don’t know. If only there were a suitable singer around who could live up to the past performances of Sebastian Bach…

But anyway, the coming fall promises a new full-length and we’ll see what the band can get up to with another entry in their revolving door of singers.

Hank Williams Jr. – .44 Special Blues

The venerable Hank Jr. is releasing a new album of blues cuts. Produced by Dan Auerbach of the Black Keys, Rich White Honky Blues is due for release on June 17.

Taking on blues standards is an interesting choice for Bocephus, but it’s not at all far removed from his own roots. The blues were a big influence on country and Jr. has been vocal about his appreciation for the blues in the past. Now he is offering up a full album of the blues and he certainly sounds like he knows his way around the genre.

IV and the Strange Band – Inbred

If Hank Jr. wasn’t enough, June 17 will see the debut release of his grandson Coleman’s band. Southern Circus is the first album from the next in line of the Williams family legacy. The son of renegade outlaw Hank III was preparing a fully self-released effort last year before reconsidering in the wake of the considerable buzz he generated. This new, fully produced effort represents a more polished first step forward.

Inbred is a song about the Fugate family of Kentucky. I’ll link the Wikipedia for anyone curious, though the title should give you a clue. The song is fine, it won’t set the world on fire or anything but I like the direction this seems to be going. It’s imperative for a Williams to go their own way and it sounds like Coleman and company will be doing their own thing. It has a polished southern rock/maybe “hipster” country feel to it and that’s fine by me. It’ll be very interesting to see how the musical path of IV unfolds. Even with going his own way, it is most likely to be his father’s fanbase that will line up early to see what Coleman has to offer.

Note – the group have released a newer single since I began this post, I decided to retain my original text.

Emma Ruth Rundle – Imbolc Dawn Atop Yns Wydrn. Ice Melts As The First Resplendent Rays Of Spring Pour Over The Horizon

Ok, that was a mouthful. This is a new track from my favorite artist in recent memory and is in advance of her new instrumental album EG2 – Dowsing Voice, releasing soon on Friday the 13th. The album is being released in physical form but its digital presence will be kept exclusively on Bandcamp, hence the unusual preview format.

This song, as with surely everything else on this instrumental (though with voice being used as an instrument) work, features the use of atmosphere and texture to create soundscapes. It is a different listening experience from the standard verse-chorus structure of standard songs but it’s musical direction I’ve been leaning more into in the past few years, probably with Emma being my shepherd to that. Emma conceived the album while in Wales in early 2020, just before the world broke apart. It’s also great timing for a release, even an unusual one, as Emma just performed at the Roadburn festival a few weeks prior and her performance was a hot topic of conversation from the fest.

Billy Howerdel – Poison Flowers

The A Perfect Circle guitarist will be releasing a solo album titled What Normal Was on June 10. The song is a nice example of gothic alt-rock or whatever it is, I’m not entirely sure. But it’s a pretty cool song and will command attention as Billy launches a solo tour through the same month as his album’s release.

Oni – Secrets

Newer metalcore brood Oni are preparing to release a new album Loathing Light on June 17. “Brood” may be a deceptive term as the band proper is comprised by a sole member, vocalist Jake Oni. Oni receives help in recording with longtime friend Mark Morton, guitarist of Lamb Of God. Morton’s bandmate Randy Blythe supplies guest vocals to Secrets, as does another unexpected guest, punk legend Iggy Pop. The track is a star-studded romp, we’ll see what the full album holds next month.

Septicflesh – Hierophant

The long-running Greek symphonic death metal outfit have prepared their eleventh album Modern Primitive for release on May 20. Septicflesh have become leaders of the symphonic element in death metal and from the sounds of Hierophant they will likely keep their momentum going with their new release.

Lamb Of God – Wake Up Dead

This new track from LoG is not a precursor to a new album or anything – it is a standalone release and a cover of Megadeth’s iconic song from 1986. Lamb Of God have been touring with Megadeth on the “Heavy Metal Tour of the Year” for a few years now (COVID-delayed, of course).

The band handles the song in true-to-the-original fashion, executing it with thrash precision rather than translating it into LoG’s groove-oriented approach. The band had a helping hand in the effort – Dave Mustaine joins in on vocals and guitar. It is a nice effort and also a placeholder for that new Megadeth album that Dave says is supposed to be out in July yet we haven’t heard anything new about in awhile, much less a teaser track.

Dylan Gers – Moon Rise

This single marks the debut from Dylan Gers, who is the son of Iron Maiden guitarist Janick Gers. The song is a minimalist piece that is not at all related to his father’s work. It’s a different sort of listen but something I can stand to hear more of, it’s not out of place with other things I’ve been getting into as I get on in years. There is no word about an album or anything else yet from the younger Gers.

Liam Gallagher – Better Days

I’ve already previewed one song from Liam’s upcoming May 27 album C’Mon You Know, but I figured I’d drop this third single from the record considering that we’re getting a double-dose of Liam on the 27th. Not only does the new studio album drop but also seeing release is a live 2020 set Down By The River Thames, which Liam and company recorded on a barge floating the river as a means of holding a concert during the COVID lockdown era. The event was filmed then released as a limited streaming event and will now be available on wax and digital.

That live set will feature Liam solo as well as Oasis tracks, though the bulk of the focus will be on Liam’s new studio effort. Better Days is an interesting tune that, to me, stands out more than the other preview tracks from the new record. The video is extremely well-done and so far this song appears to be a highlight from the new album. Liam is gearing up for a headlining set at the upcoming Knebworth festival, the site of Oasis’ great triumph almost 26 years prior (my thoughts on that set’s official release here). While he will revel in the glory days of Oasis, he now will also have plenty of his own songs to insert in the set as well.

That does it for this month’s edition of upcoming releases. Time keeps flying and so do the new songs and albums. Perhaps the next edition will finally feature a new Megadeth song, we will see.

Album Of The Week – May 2, 2022

On By bigbadburchIn Album of the Week5 Comments

I finished this post last Wednesday and got it all put together and scheduled yesterday, May 1. Just as I was about to head off to bed I checked my socials one last time and got unfortunate news very much related to my post today.

On May 1st, 2022, long-time drummer Ric Parnell passed away at the age of 70. Parnell was involved in a large variety of projects over his 50-plus year career, including Atomic Rooster and also being the drummer on the hit song Mickey by Toni Basil. But Parnell’s most well-known work would come as one of many to occupy the drum throne of British heavy metal legends Spinal Tap. Parnell played on the soundtrack I’m discussing today and also portrayed drummer Mick Shrimpton in the motion picture. Parnell would outlive his fictional counterpart nearly 40 years.

Condolences to the family and friends of Ric Parnell. Today I’ll do as I originally intended to, which is look at his most celebrated work.

I’m back after a bit of time off. I took some time to acclimate to a new work schedule. That’s pretty well sorted now and I’m ready to get back to business.

This week is the first time I’ll be offering up a movie soundtrack as the AOTW. Of course, this is a bit more than just a soundtrack. It’s not a compilation of songs with a few highlights and a lot of filler like most soundtracks. It’s a full-on offering of songs written for a movie and also performed by the cast. The band is fake but also became very, very real and are one of the rock and metal’s defining legacies despite being conceived to make fun of the scene.

There is none more black, and none more iconic

Spinal Tap – This Is Spinal Tap

Released March 2, 1984 via Polydor Records

My Favorite Tracks – Hell Hole, Stonehenge, Tonight I’m Gonna Rock You Tonight

It’s not totally unusual for a band to be contracted to record songs for a music-centric movie soundtrack. It is very unusual for the same actors in the movie to be the ones to also record the music. It worked in the case of Spinal Tap, who featured Michael McKean and Christopher Guest, who had already played together for several years and had conceived the Spinal Tap idea for a TV show pilot in the late 70’s. Harry Shearer, who had worked with McKean through the 70’s in another comedy group, joined in along with director Rob Reiner to give life to the Spinal Tap concept. The band was rounded out by some musicians – drummer Ric Parnell (again, RIP) and keyboardist David Kaff. Both Parnell and Kaff would assume roles in the movie as Mick Shrimpton and Viv Savage.

For simplicity and lore’s sake, I will be referring to the band members by their stage names in this discussion.

The original release of the This Is Spinal Tap soundtrack comprises 11 tracks (mostly) from the motion picture. A 2000 reissue offers a bonus track and is available on Spotify (I will not be covering the song today). A 2009 release called Back From The Dead does feature many of the songs in re-recorded form but should not be confused with the movie soundtrack.

Hell Hole

Opening the track is a song that was actually released as a single, complete with music video. Hell Hole is a great mid-tempo rock track that outlines the ups and downs of “making it,” then wishing for the simpler pleasures of being a pauper. The grass is always greener on the other side. The song features Nigel Tufnel handling the verse vocals while David St. Hubbins tackles the chorus.

Tonight I’m Gonna Rock You Tonight

The song that opens and closes the movie finds its spot as the second track of the record. It’s a splendid rocker that doesn’t seem like it has any business being as good as it is. The guitars, lyrics, keys and rhythm section are firing on all cylinders through this high-octane tune that gets both concert and film crowds going.

Heavy Duty

A proper heavy metal tune from Spinal Tap, this song goes hard and heavy and is all about the rock. It is totally one of those cliched “rock” songs which is so silly yet so good, something that serves the band and movie doubly well. They just want to make some eardrums bleed, and have accomplished the goal. It does seem to be pure coincidence that this Heavy Duty and Judas Priests’ song of the same name were both released in 1984. One probably couldn’t have taken from the other given the concurrent timelines and the obscurity of Spinal Tap pre-film. It’s certainly fitting but by no means is there any greater link.

Rock N’ Roll Creation

A track that feels NWOBHM-inspired or perhaps a “precursor to power metal” cut. It plays a role in the film when bassist Derek Smalls cannot release from his pod in time and has to hang out inside for most of the performance, only getting out when the others get back in at the end. The song is the genesis of rock and roll so of course it is cannon to me.

America

One song that did not make it into the movie, America is simply about the awe of a British band discovering the size and scope of America for the first time. The tune begins very slowly, perhaps betraying the actors’ future participation in another mockumentary as a folk outfit. As the song builds it suddenly shifts into a riff that 100% sounds borrowed from the first two Iron Maiden albums. Nothing says America like …, uh, anyway, on to the next song.

Cups And Cakes

This tune got a brief airing in the film on the radio that also put the band in the awkward spot of being in the “where are they now?” file. The song is utterly goofy and doesn’t really move the needle on the soundtrack but was a pivotal piece of the movie.

Big Bottom

One of the movie and by proxy album’s signature cuts, the song features both guitarists wielding bass guitars along with usual bassist Derek. It is probably the only time in recorded music history that guitar players actually sought to be bass players.

Big Bottom is a favorite of many from the movie and is a laugh riot through the praise of ample rear ends. It’s probably a pointed shot at the heaps of sleazy love songs populating the 1980’s but it’s a damn good time no matter what it is. The all-out bass assault with Viv’s keyboard embellishments just throw the whole track into overdrive. Big Bottom was the b-side to the Hell Hole single and, looking back, probably should have been the lead feature.

Sex Farm

I almost called Cups And Cakes the dumbest song on the album but I quickly held up because that isn’t true. Sex Farm is crude, rude and – well, pretty damn good. Not every good rock song needs to be a thesis statement or a pithy philosophical musing – some great rock songs are about the dumbest shit. The song that saw Spinal Tap rebound from a near-fatal end in the movie also lifts the soundtrack with its dumber than dogshit quips about sex and farms.

Stonehenge

While not “long” by any practical measurement, Stonehenge serves as Spinal Tap’s “epic” song. It tells a story and builds from a haunted intro into a full-out rock attack outlining the lives of those Britons who lived at ancient Stonehenge. It’s also one of the movie’s most memorable scenes, a topic I’ll save for a near-future post.

The song has elements of NWOBHM and what would come to be known as power metal. It builds from a quiet, haunting intro and launches into a melodic, rollicking tune that puts historical and fantasy elements on display. The song stands fine on its own but really can’t be separated from one of the movie’s signature events.

Gimme Some Money

This song is an offering from the band’s past before Spinal Tap was christened. The band performed as The Thamesmen in the apparent height of the British Invasion, as this song is absolutely cut from the same cloth as The Beatles, Rolling Stones and the whole 60’s British scene. It’s quite well-done, another one of their works that doesn’t feel like it has a right to be as good as it is. And of course it’s absolutely hilarious.

Also – The Thamesmen is a great name, someone should get that together if it hasn’t been done already.

(Listen To The) Flower People

The final song on the album is also the first offering from the properly-dubbed Spinal Tap, who jumped into the late-60’s psychedelia phase before charting a course for rock n roll. One one hand it’s not my favorite tune of the collection but on the other it’s a pretty well-done effort that does recall the music of the time (though not my most well-versed period of music, admittedly). This one does feel a little too on-the-nose humor-wise where the jokes in the movie and other parts of the soundtrack are allowed to land on their own. But again, still a nice song to round it all out.

This Is Spinal Tap stands on its own in the realm of movie soundtracks. Of course there are iconic soundtracks out there, they were huge especially in the 80’s. But to have the actual actors in the film record their own music and make it work and also fit in to the film is just an unbelievable feat.

The songs work in the movie, of course, but they also stand on their own. Though Spinal Tap’s legacy will always be the now legendary film, the songs have been talked about worldwide and covered by a who’s who of rock greats over the past 38 years. Spinal Tap themselves have toured and recorded again and again since and have become their own part of the institution of rock.

I’ll have a different post on Wednesday but on Friday I’ll do the obvious and discuss the movie This Is Spinal Tap in more detail. For all of the talk about rock and often the 80’s scene that I and others do, so much of it was informed by this off the wall and at the time obscure mockumentary that wound up taking on a life of its own and being its own influence on the life and times of 1980’s rock and metal. But in the wake of that discussion, the music of the film can’t and certainly shouldn’t be ignored.

Album Of The Week – April 18, 2022

On By bigbadburchIn Album of the Week2 Comments

This week it’s a look back to 1994 and the height of what came to be known as “alt-metal.” It was a strange time where a lot of different sounds got airplay as the fallout from 1991 left room for a variety of acts to get a moment in the sun. Our subject today would see his most commercially successful effort here. It would divide long-time fans and those who came on with the album but also serve as a point where he entered the wider public consciousness, a place where he has hung out in various forms since.

Rollins Band – Weight

Released April 12, 1994 via Imago Records

My Favorite Tracks – Volume 4, Disconnect, Divine Object Of Hatred

Weight was the fourth album from Rollins Band and came after a complete reconfiguration of the band, save namesake frontman Henry Rollins. Henry had done a lot to this point as the former vocalist of punk icons Black Flag, as well as a series of books and spoken-word albums on top of the Rollins Band.

Nothing about Henry Rollins screamed “put me on MTV and make me a star” but that is exactly what happened in 1994. Weight and its hit single would lift Rollins’ profile into the mainstream, where he remains a figure across several mediums to this day. Between acting, novels and his renowned spoken word tours, Henry Rollins has become a wizened “aging alternative icon” (his own words), and Weight is where the spotlight would first shine.

Anyone looking for Weight on Spotify will be disappointed, for reasons unknown to me most of the Rollins Band catalog isn’t there. It does appear in full audio form on YouTube, its digital presence is otherwise scarce.

Disconnect

Leading off is one of the album’s two singles and the lesser-celebrated one. No matter, the song is still worthy and one of the album’s highlights.

Disconnect is an anthem about getting away from all the information and chilling out. The notable thing about it is that it was written in 1993 and released in 1994, when the Internet was just getting out there. This isn’t a disconnect from the Internet, it’s a disconnect from the general shit of society that was still ever present even before the ‘Net.

The music employs a groovy feel along with a heaviness that stands out from the crowd and flows throughout the album. Henry Rollins and his talk/shout style of vocal delivery might be unconventional but works very well across the soundtrack to the shit that goes through his head.

Fool

The second track tells the tale of getting caught up in the wrong kind of lover and the feelings of uselessness and shame that come with that. It’s a well-versed song that communicates a message far too many of us have learned the hard way, sometimes more than once.

Icon

A fast-paced banger that outlines the rise and fall of a musical celebrity. I don’t know the backstory of the song so I’m not sure if it was just something Henry came up with or if it’s actually about someone in the industry. Around the time of the song there were many rock stars falling from grace so it can be seen as a look at how things really went even if it’s not based off anyone in particular. And the song is another shining example of how metal and groove can work together well, a lesson we’ve learned a lot about since.

Civilized

This harsh track sees Henry lamenting the life of crime and gun culture. It’s a topic close to home for Henry, who lost his best friend Joe Cole in an armed robbery outside their Venice Beach house in 1991, which Henry was able to escape from.

The song does not hold back and equates the armed criminal to the vulgar slang for that which hunts the criminal. For an album full of hard-spoken moments, Civilized is one where Henry is speaking straight from hard-earned experience.

Divine Object Of Hatred

It’s a masochistic turn into being the whipping boy here, as Henry is torn apart by people who can’t stand his existence. No telling where this song came from but it’s a pretty grisly and hard look at being a scapegoat. It’s also a very groovy tune for its hardcore subject matter.

Liar

This was a song that the band would jam out to in rehearsal as a warm-up. Someone from the record label told them they had something there and should make a full song out of it. After doing so, Rollins and company figured they had a b-side at best. The label disagreed and fought for Liar to be released as the lead single.

The label won the argument, of course. And the label was right.

The song keeps it quiet in the verses as Henry outlines how he takes advantage of someone’s fragile psyche and becomes a personal messiah. Then the very simple yet iconic chorus kicks up the volume while Henry screams “I’m a liar!” It’s the little twist in the adversarial relationship – Rollins is often talk/shouting about being on the “good” side of such things but in Liar he is playing the villain. And Rollins plays his part well. The third verse especially is a great example of acting in song, going from the plea for forgiveness into the inevitable result is just great song-work.

The song hit the Billboard charts and the video was a constant showcase on MTV. I’d wager that the video’s influence far outshines any charts or sales figures, everyone was abuzz about Liar in 1994. It’s odd to call a punk and alternative icon like Henry Rollins a one-hit wonder, but in the case of Liar, he truly was.

And for Rollins he wishes the one hit was anything else. Liar has become a bit of a pariah in the Rollins Band lexicon. I can understand it – the song was conceived in a jam session and was aired out as a warm-up joke, then it becomes the one song out of a long career that breaks mainstream. It goes to show the unpredictability of music and hit making. It also took someone who was a figurehead of the DIY punk ethos and made him a mainstream darling, something that did rankle long-time Rollins fans while also exposing him to a whole host of people who hadn’t previously heard of him. Damned if you do, damned if you don’t.

For my money, I think Liar is a great song. I’ve never been one to feel a band should be ashamed of making a hit or of more public exposure. Rollins can, of course, feel however he wishes about his art, but the merits of Liar and Weight have been something I’ve argued with others about on this here Internet many times over the years. And I don’t apologize for liking it more than other stuff he’s done that 35 people saw live in a bowling alley parking lot.

Step Back

This is a super heavy tune about confrontation and adversity. It’s basically Rollins punking someone out and it works very well. It’s a great song to get pumped up for working out or, uh, confronting someone I guess.

Wrong Man

The song deals with the issue of dating life and specifically not being like other guys who have been shitty to women. The song is fine but I’ve honestly never got that much into the subject matter. Back then I didn’t care because I’d never experienced anything like that. In these times the song feels a bit off – like, if some woman doesn’t want to date you for whatever reason, just go date someone else. I don’t know that a song-length treatise about how “I’m not that man” is really necessary. But here it is just the same.

Volume 4

This is a doom-influenced, plodding number that explores everyone’s favorite topic, the futility of existence and the existential crisis. The song is sometimes titled “Volume” as opposed to Volume 4 in some mediums. I don’t know why, I would hazard a guess that Volume 4 is used for the Black Sabbath reference as Henry is a huge fan.

The song stands apart from the rest of the album – here the groovy heaviness pounds the hopeless lyrics into the listener’s head. It is a wonderfully orchestrated dirge that culminates in the savage line “I walk around from day to day and wait around to die – like He did.” The capitalized “He” being an obvious reference and really bringing the brutality of the song home.

Tired

Things chill out for a moment, at least musically. It’s a trippy, sort of psychedelic jam that seems a bit out of place for the straightedge and straightforward Rollins. Lyrically it is the same sort of vibe as the prior track and being tired of stuff is a pretty universal thread.

Alien Blueprint

The album ends with two motivational or self-help tracks. This song outlines the futile grind of trying to fit in with a crowd that doesn’t want you. It’s better to be yourself and move on from the problem. It’s a pretty nice song and it switches direction quite a bit after the doom and gloom of the preceding few songs.

Shine

Another “self-help” track that gets into how there’s no time to mope around and the time is now to get it done. Though it’s odd subject matter for the sort of music I’m into the song does work well.

Weight would be the one true brush with success for the Rollins Band. It placed far higher on the Billboard charts than the band’s other work and Liar was a mega-hit on the airwaves. The group would not equal the feat with any future material and Rollins would eventually lay the band to rest in later years. Rollins himself would go on to acting roles, being a frequent contributor to music-related TV shows, hosting a long-running radio program and expanding on his spoken-word touring. To date he has remained in the public eye through many avenues.

No matter how Henry feels about his hit song, Liar and Weight fit right in the 1994 scene, with rock and metal going in every different direction after the cataclysm of 1991. You truly can just yell over your music and make something of it, provided you actually have something worth yelling about.

When The Line-up Changes – Motley Crue

On By bigbadburchIn Lineup Changes8 Comments

One big part of being a music fan is enduring line-up changes. Bands break up or members quit or get fired. Other times it is tragedy that forces a band member change. Sometimes the change is not even very noteworthy – person x is in place of person y behind the drums of that thrash band that’s good but no one is up in arms about. But other times the line-up change is world-shaking and causes intense amounts of speculation and drama.

Numerous line-up changes have occurred over the years in bands I like and listen to. I’m going to begin a new series where I look at changes that have had a great impact on the band in question and my fandom of said band. There are enough of these that I can go on about them for quite awhile.

For my first look at a band’s member changes I’m going to look at Motley Crüe. The group have only had a few member changes but one especially was a nuclear bomb that changed the course of the group immeasurably.

Motley Crüe had no lineup changes for 11 years, only having jettisoned a second guitar player before the band was named. The same line-up of singer Vince Neil, bassist Nikki Sixx, guitarist Mick Mars and drummer Tommy Lee would go on to terrorize radio, hotel rooms and women for over a decade unscathed.

While 1991 saw a new form of rock overtake hair metal as the new format of choice, Motley Crüe were one of a few 80’s bands that seemed poised to make it through the mess with a career still intact. The group released a greatest hits compilation in October 1991 called Decade Of Decadence that offered highlights from the group’s career. It also feature a scorching, heavy as hell new track Primal Scream. That song gave the appearance that the band could regroup and offer a more gritty, heaver version of their sound that might still resonate in the new music climate. Decade sold well and Primal Scream was a much-talked about song in the Crüe legacy.

But it wasn’t to be. In February 1992, the band announced that Vince Neil was departing. It’s still unclear if he quit or was fired – the consensus seems to be that both happened. Either way, the Crüe were now in uncharted waters.

Neil went on to record two decently received yet commercially unsuccessful solo albums, while his former band hired The Scream mainman John Corabi to helm a new record. 1994’s Motley Crüe came out the gate decently enough but then floundered. The band would see the financial writing on the wall and reunite with Vince in 1997 for the equally unsuccessful and, well, bad Generation Swine.

So what was it like at the time? The music landscape was shifting, of course, but it was still a bit of a shock that Motley Crüe were parting like this. Like I said, they seemed like they might be able to crank out something viable to keep up with the times. Primal Scream had a fair bit of grit to it and the band were certainly capable of delivering above the standard hair metal line. As much ink has been spilled about the changing face of rock in the early 90’s, recall that one of the best-selling groups of those years were Aerosmith. Even with the arrival of grunge and alt-rock, there was room for Motley Crüe.

The singer change in 1992 was one that just did not bear fruit. Yes, John Corabi is an excellent musician. The band updated their sound for the times and let Corabi inform their recording, and honestly that was probably too much. They made a record that sounds great with John but it really just isn’t Motley Crüe. It didn’t have the sneer and sleaze that defined the band up to that point – the early indications in 1991 were that the classic outfit could update their own sound. The self-titled record proved too much for fans to bear, even if the album is good or even excellent in its own right.

The band was knocked off course through the 90’s and wouldn’t get right again for quite some time. Their other major line-up change would come in 1999, just after the failure of Generation Swine. Drummer Tommy Lee, by this time far more of a tabloid star than a rock drummer, would leave the band due to frustrations with Vince Neil. And if you heard the dredge that Lee released as a solo artist, he must have been very angry to leave his signature band behind and release that crap.

Lee was replaced in Crüe by former Ozzy Osbourne skinsman Randy Castillo, who helped the group record 2000’s New Tattoo. Castillo was beset by health problems before the tour began and was replaced by Hole drummer Samantha Maloney. Castillo would unfortunately find himself in a losing battle with cancer, passing away in 2002.

New Tattoo was a better offering than their prior effort but did not move the needle for the band. In 2004 the group decided to put their differences aside and reunite. This time the classic line-up would stick for eight years, through a new album and several tours. The tours attracted a lot of attention and the band would ride a wave through to their “retirement” at the close of 2015. Of course they would famously reunite for a 2020 2021 2022 stadium tour several years later.

In most line-up changes I can accept whatever caused the rift or loss and I can set my feelings aside and allow a band to move on. But in the case of Motley Crüe it just didn’t work out with Corabi. The band seem fine ignoring the time period – Nikki Sixx had long been complimentary of the Corabi period but recently turned on his former collaborator in interviews. The songs from that era are left alone in live sets and the album doesn’t even get the reissue treatment.

Motley Crüe the album probably ought to see a revisit. I have no problem citing its worth, though I can see why so many fans turned on the band. But enough others hail it as one of the band’s best and would cough up the necessary cash for the much-needed repress. Hell, the other two albums from the band’s “dark” period could also see new issues – neither was ever officially pressed on vinyl.

But Motley Crüe seem to be happy to retrofit their career to 1981-1991, and 2004-2022. It’s probably a wise choice given the poor reception to the line-up change despite the merits of the replacement singer. It’s the case of one band where line-up changes didn’t work out. The Tommy Lee departure in 1999 might not have been terribly impactful – by then the damage had already been done. And they’re the only line-up changes the band has had in its history. Sometimes a group has to stick with what works, and that is certainly the case with Motley Crüe.

Album Of The Week – March 28, 2022

On By bigbadburchIn Album of the Week9 Comments

This week I’m taking a dive into the album that really hooked me into music. I talked about it in an older post, now it’s time to get specific and go over the album in greater detail. I got the cassette as a Christmas gift a few months after its release and I played it over and over and over again, literally wearing out the tape and burning the album into my 12-year old brain. The results would have me chasing music all over and shape my pursuit of sound into a new decade while in my formative years.

Motley Crüe – Dr. Feelgood

Released September 1, 1989 via Elektra Records

My Favorite Tracks – Kickstart My Heart, Dr. Feelgood, Don’t Go Away Mad (Just Go Away)

Dr. Feelgood was the fifth studio album from Motley Crüe. The album would be a smash success for the group, topping charts and selling several times platinum. The group had been instrumental in starting the hair metal era of the 1980’s and would end the decade with a massive triumph. The album spawned five singles which were in constant rotation on MTV. Hair metal as a whole was winding down as the calendar turned to 1990 but one of its most important acts was still running hot.

Dr. Feelgood

After a brief intro to set the scene, the album kicks off with the title track and lead single. Dr. Feelgood is a massive, heavy song that outlines the highs and lows of Jimmy, a fictional drug dealer. The full, bombastic production of Bob Rock was a welcome change from the thin sound of the band’s two prior albums. It went a long way to reminding everyone that the Crüe had the chops to play a harder brand of rock than what the L.A. Scene had largely devolved into in the late ’80’s.

Dr. Feelgood did great as a single – it was the band’s first top ten hit on the Billboard Hot 100 and also their only gold-certified single.

Slice Of Your Pie

Moving on to one of the many songs on the record about sex, here we have a song full of euphemisms and sex talk that skirts the lines between clever and explicit. Even as one of the perhaps secondary tracks, this song still provides a sleazy thrill ride with the band’s rediscovered chops and improved production. The end of the song borrows from the Beatles track “She’s So Heavy” because that’s what everyone was expecting from a Motley Crüe album in 1989.

Rattlesnake Shake

Another sleazy rocker that glorifies the evils of lust and fornication. Jesus wept.

Kickstart My Heart

This song was on offer as the album’s second single. Nikki Sixx wrote it about his infamous heroin overdose in 1987 where he was apparently injected with multiple doses of adrenaline to revive him and was dead for a few minutes. The story is disputed by some but the song remains.

Kickstart My Heart quickly caught fire on release and became noted as one of the album’s standout songs. It has gone on to become the band’s signature anthem. We aren’t simply talking about a good song here – this is possibly the best song the band ever recorded, and is easily in the conversation even if not. It is a blistering effort with an interlude that perfectly sums up the Motley Crüe experience. The song is a shot of adrenaline and is found on millions of workout playlists worldwide.

Without You

It’s not hair metal without a ballad and Dr. Feelgood hosts a few. The first is this decently crafted tune that is every sappy love stereotype possible shoved into a song. The song is noted to have been written by Tommy Lee about Heather Locklear. The song did well as a single, providing the band’s second top ten showing on the Billboard Hot 100.

This is one of those songs I can go back and forth on. I’ll admit that I probably liked it a lot better when I was 12 than I do 32 years later, but it’s not a song I feel a need to skip over when I play the album. It’s a bit much but I can generally live with it.

Same Ol’ Situation

We thankfully pick the pace way back up with what was the fifth and final single released from the album. It’s a hot, fun rocker about falling for a gal who ditches the guy for another gal. The video was a performance clip, showing the band at the height of their popularity. While some might argue that people only remember the singles more because they were aired out more, I’d say this is a case of picking the right singles to air out. The song is not necessarily any “different” than several others but it packs a harder punch and gets the listener’s attention.

Sticky Sweet

Another ode to the glorious activity of hooking up. It’s simple, to the point and well executed. The lyrics offer a bit of a reference to the earlier Crüe song Ten Seconds To Love.

She Goes Down

One more sleazy number, it’s blatantly obvious what the song is going for.

Don’t Go Away Mad (Just Go Away)

This quasi-ballad and top 20 single brings a change of pace and another signature track from the Crüe. Nikki Sixx lifted the title from a movie he doesn’t remember, though many speculate that it’s a line from Heartbreak Ridge that he his using.

While the title invokes a snarky vibe the song itself does not take that path and instead sticks to the high road. This is a quintessential break up song that celebrates the love found and then parts on fond terms. The song builds to a driving conclusion that uses the title to great effect. It’s another well-done effort.

Time For Change

I’ll just get straight to it – I hate the song. I think it sucks. It’s a shitty hair metal attempt to do The Greatest Love Of All or something like that. It has always bothered me and I can’t help but wish the song would somehow fall off the record. But it’s there, and here we are at the end of the album.

Dr. Feelgood was Motley Crüe’s best-selling album, having been certified six times platinum in the United States. It provided the biggest hits of the group’s career and defied the times to put an exclamation point on a genre of music that many were bemoaning at the time and whose death was just around the corner. Motley Crüe themselves seemed poised to survive the specter of 1991 and would only join the list of hair metal casualties due to their own problems a few years later.

The album was a success for more than the band, too. Producer Bob Rock had reinvigorated the group’s sound after two albums that left something to be desired in production. A lot of people noticed his work on Dr. Feelgood, including Lars Ulrich. The Bob Rock-Metallica meetup in 1991 would alter the face of music forever.

Is Dr. Feelgood the best Motley Crüe album? Some critics think so. I would agree that it’s in the conversation but it’s also hard to ignore the sheer ferocity of those first two records. This album is a career-defining effort though and was a huge victory lap for the band at the end of the decade.

As I’ve said, this is the album I played over and over again and that set my music fandom off the scale. I had been following along with music for several years before as a young tourist, but with Dr. Feelgood I became obsessed and had to have more. My own course would go every which way and much heavier as 1991 loomed on the horizon but this album is near the top of a list of the most important albums to me. It kickstarted me into the path I’m still on today, with piles of music in multiple formats and the thing I spend a great deal of my time discussing.

Upcoming Releases, Further Into 2022

On By bigbadburchIn Upcoming Music5 Comments

The month of March is winding down and music acts are offering up new albums left and right. It’s a mixed bag this time around with no central focus on any one sound. Some big boys are coming out to play in the later stages of the pandemic and it looks like tours might fire off for real this year so out comes a whole trove of new music.

Def Leppard – Kick

The legendary British rockers are back with a new album Diamond Star Halos, due May 27 and marking their first release in seven years, which seems to be the new norm for the group. The album also hits just before the band head out on the much-hyped and delayed stadium tour with Motley Crue across the US this summer.

The new song Kick is a simple rocker that throws back to eras in rock even before Def Leppard first hit the scene. It is very hard telling what we will get with a new Def Leppard album in 2022 but the lead single is a nice, simple number to kick off the proceedings. It doesn’t entirely excite me but I am curious about what they’re gonna get up to.

Muse – Compliance

I covered a new Muse track a few months back but now we have a second single as well as full album information. Compliance is the second single from The Will Of The People which will see release on August 26.

The song is an electric-pop number that indicates Muse is going to offer a mixed bag of sounds on the new album. They have done work across several styles over the years so it might be a good approach and offer a bit of something for everyone. The song and the theme of the album as a whole have a danger of being interpreted in strange ways in today’s nasty political climate, but it wouldn’t be the first time Muse tunes have been co-opted for shitty political movements.

Blut Aus Nord – That Cannot Be Dreamed

The French avant-garde black metal unit are back with a new album Disharmonium – Undreamable Abysses, which will see release on May 20. This song is much in line with their prior work, which is nasty, atmospheric and mostly inaccessible. It’s the soundscape of nightmares and horrors, meaning the group have done their job well yet again.

Talas – Inner Mounting Flame

A bit of a surprise entry here from a band that has been inactive longer than many people have been alive. Talas were a 70’s and 80’s rock outfit featuring the talents of renowned bassist Billy Sheehan, who just celebrated his 69th birthday last Saturday.

Inner Mounting Flame is not a new song, Talas apparently played the track at live gigs just before Sheehan left the band to join with David Lee Roth. This song might be a recording from a planned yet unreleased album from that time period. It is nice to hear something from yesteryear and also from a bit of a hidden gem band like Talas. The outfit and their record label Metal Blade promise more news soon, perhaps that unreleased album will finally see the light of day.

Weezer – A Little Bit Of Love

Apparently Weezer are still an active recording group.

Joe Satriani – Pumpin’

One of the guitar’s most brilliant masters, Joe Satriani is preparing the release of his 18th solo album The Elephants Of Mars. It is a quick turnaround for the record which hits on April 8.

It has been more than a minute since I last checked in on Satriani. There isn’t a lot to say – he is one of the best axe wielders out there. Pumpin’ is a nice little jam that keeps it short and seems to be having fun.

EMF – Sister Sandinista

A big time throwback is coming seemingly out of nowhere to release a new album. EMF released 3 albums in the early 90’s and had a massive hit with the single Unbelievable. The group has toured off and on in the time since but Go Go Sapiens will mark their first new material since 1995. The album releases on April 1.

Some fans in the YouTube comments on this video are disputing how much of EMF really did the new album but I’m not up on their lineup history so it’s not a huge concern for me. It is pretty cool to hear something from a group who hit a long time ago and I figured were long gone. We’ll see how their electro-alt rock plays in 2022 but the single sounds nice.

Cave In – New Reality

A welcome surprise came last week when legendary post-rock outfit Cave In announced their reformation and new music. Heavy Pendulum will arrive on May 20. The band had been active in the past few years in order to pay tribute to fallen bandmate Caleb Scofield but were largely dormant in most of the 2010’s.

New Reality is an apt title for our present state. Cave In are joining the pandemic era with their heavy blend of post-rock and post-well, everything. It is a stellar tune that predicts good things for the upcoming new record. And in the video they get to have some fun turning Kurt Ballou’s studio into a playland.

The Scorpions – Rock Believer

On By bigbadburchIn Reviews10 Comments

Last Friday the Scorpions released Rock Believer, their 19th studio album in a storied career spanning over 50 years. It also marks their first studio effort in 7 years.

The Scorpions have been hit and miss a bit with their albums in the past long while. Some of their 2000’s output didn’t quite hit the spot, though with decided variances in quality. The early offerings from Rock Believer seemed to indicate a return to form for the legendary group.

I’m just going to go through this with some quick thoughts about each song and wrap it up at the end. This is one of the releases I’ve really been looking forward to this year so I wanted to give it a bit of extra attention. I will say that on my first few listens through I am really impressed with what I’m hearing. I’m only going to cover the proper album and omit the bonus disc on this sweep through the songs.

The Scorpions – Rock Believer

Released February 25, 2022 via Vertigo

Gas In The Tank

The opener hits with a nice rocker that seems to be a mission statement from the group. There still is gas in the tank and the Scorpions can still rock with the best. The lyrics are dripping with sly references to their own catchphrases and past songs as well as a small nod to Motorhead in the second verse. It’s a great opening track that sets the tone for more to come.

Roots In My Boots

Silly title aside, the songs keeps the pace going with a song that would have fit very well on their seminal 1990 outing Crazy World. It’s got melody for days and as a great solo section to put a stamp on everything.

Knock ‘Em Dead

Three tracks in and it’s looking like we have a winner of an album. It’s another signature Scorpions rocker that hits all the right notes. The party is going strong in 2022.

Rock Believer

This was the second single released ahead of the album and obviously also the title track. The song starts in ballad-like territory but then the song kicks it up a notch. This serves a reaction to the oft-cited “rock is dead” cliché. Sure, rock isn’t what it once was and isn’t likely to be again. But here are one of the pioneers of the format still at it many years after rock was declared dead.

Shining Of Your Soul

Here we see the band pick up a bit of a reggae beat. It mixes things up a bit but still keeps the hard rock alive and flowing. The band doesn’t tackle too many love songs on this record but this one keeps the band’s long-storied career of educating its fans on the nuances of love going.

Seventh Sun

This slow burner pounds its way through some heavy riffs and a marching-like pace from Klaus Meine, who is sounding especially vibrant on this track. The band have not let up at all through this record and are on pace for a classic. It recalls China White from Blackout, one of the band’s best.

Hot And Cold

The pace kicks back up for yet another hard rock gem. Lyrics and music are kept simple for this one as the band gets hot and sleazy, they aren’t breaking new ground here.

When I Lay My Bones To Rest

Klause Meine and the band go off the rails on this barn burner. I had thought by the title that this might be the signature Scorpions ballad but it’s the exact opposite. The song recalls drummer Mikkey Dee’s old band Motorhead, this song just drips with Lemmy’s influence.

Peacemaker

This was the first song we were given the chance to hear in advance of the album. It is a massively heavy track that laments the state of war, a topic the band have handled many times over the years. Sadly this album comes to us in a very troubling time on that front but the song itself is magnificent.

Call Of The Wild

The Scorpions kick down the tempo a notch but keep the heaviness going for this new entry into their extensive catalog of songs about getting with it. The man may get older but the thoughts and desires don’t change.

When You Know (Where You Come From)

The album concludes with a ballad, a song type the Scorpions have excelled at over the decades. This tune is an uplifting song about keeping your head up and believing in yourself. It’s a nice message for these pretty dark times and another winner in the band’s long history of knocking it out of the park with ballads.

Rock Believer is a massive statement from the Scorpions. It stands out head and shoulders above their past several albums, I have to go back to 2010’s Sting In The Tail to recall the last one I’d begin real comparisons with. I’m not ready to say what I could say, which is that this is their best since Crazy World, but it’s a thought going through my head right now. I’ll give this album more time to settle before going out on those kinds of limbs.

No matter – Rock Believer is rock done right. The Scorpions sound great on this record and this album is a triumphant statement from a band many thought were well past their prime. The album is unreservedly great and is a fine addition to their catalog. Everyone into old rock stars knows that age is a debilitating factor in performance, but that is absolutely not the case here. The Scorpions came out swinging on this effort and there’s really no excuse for anyone else who can’t execute at a passable level. Rock isn’t dead, it’s right here.

Upcoming Releases Spring/Summer 22

On By bigbadburchIn Upcoming Music5 Comments

The year is winding on and we’re about out of winter in this part of the globe. Music is still coming out hot and heavy as artists pent up from pandemic tour disruptions have turned to recording to get their fix. I’ve got a bit from several walks of the sonic aisle to cover this time around so let’s have at it.

Kreator – Hate Uber Alles

The German thrash legends are set to release their 15th studio album bearing the same name as this lead single on June 3rd. There is one change in the band, as former DragonForce bassist Frederic Leclercq makes his studio debut with the group.

The bassist may have changed but all else seems to be the same with camp Kreator. This song offers the same thrash with Gothenburg-accented metal the band reinvigorated themselves with over 20 years ago. This song fits in well alongside past title tracks like Enemy Of God and Hordes Of Chaos, joining the tradition of strong title songs and singles from Kreator. It’s hard to imagine that the upcoming album will be anything but the same style on offer here – thrash with topical themes dealing in the dark side of life and society.

As a note since I’m talking about them anyway – the band’s 2001 opus that reignited their career and perhaps the thrash scene as a whole, Violent Revolution, will be the album of the week this coming Monday.

Amon Amarth – Put Your Back Into The Oar

The Swedish Vikings are back again with a new single. This is apparently a standalone single and does not indicate a new album on the horizon.

In the past several years there has been a bit of a “hipster Viking” fad, fueled in no small part by Amon Amarth as well as hit TV shows like Vikings. Just as the trend came about it found many detractors and today it’s easy to find people bemoaning the presence of Viking cosplayers.

Rather than slide away from the now frowned upon trend, Amon Amarth have leaned 1000% into it. Put Your Back Into The Oar is a full-on Viking row song. It sits in fine with the group’s legacy that has seen them become one of the most visible extreme metal bands in existence. It will also no doubt stoke more flames among the detractors who have grown weary of the band’s Viking image, but that’s always part of the fun.

Brennen Leigh – If Tommy Duncan’s Voice Was Booze

It’s time to go country for a bit. I first encountered Brennen last year when she opened for Charley Crockett on tour. She put on a great set and I began exploring her catalog of absolutely old-school country.

Brennen is preparing to release a new album on May 6 titled Obsessed With The West. The album will explore Western swing and features swing legends Asleep At The Wheel backing Brennen. This is the lead single from that effort and it beckons another excellent set from Leigh. I haven’t been keeping up with country near as much as I used to but it’s nice to be reminded of the finer points of the genre now and again.

Destruction – Diabolical

We didn’t get enough German thrash yet, so long time act Destruction have been kind enough to present their new effort. This song is taken from the album of the same name and is due April 8.

The song is signature Destruction and indicates that we are in for yet another thrash gem. The video gives screen time to the band’s Mad Butcher mascot as he, uh, enjoys a snack. It seems as though Germany might make a huge impact on metal this year, what with Destruction, Kreator and Blind Guardian all with albums in queue.

Dream Widow – March Of The Insane

This new thrash act came out of nowhere with a blistering track that recalls Midnight and Toxic Holocaust, very dirty and gritty thrash which is a sound right up my alley. This band should rocket straight to the top of the metal scene ….

… except that they’re already very popular. Dream Widow is actually the Foo Fighters. Dave Grohl and company recorded this and an entire album’s worth of thrash for their upcoming horror-comedy film Studio 666. This album is getting a release “any day now” according to Grohl and may see the light of day by the time this post goes live on Wednesday, February 23rd. However exactly it goes down I’m quite impressed by this and will look forward to hearing what they got up to in terms of a full album.

Robin Trower – No More Worlds To Conquer

The legendary British guitarist is back with a new single sharing the name of a new album releasing April 29. Trower has release over 20 solo albums and that count doesn’t include his time with Procol Harum or his collaborations with Jack Bruce and others. This song offer a mellow groove and sings of someone who had it all but what he really wanted. For Trower it’s another gem in his extensive collection and it’s nice to see him still going, he’ll be 77 when the album releases.

Dorothy – Rest In Peace

This a new song from one of the 2010’s more interesting new rock prospects. Though she has yet to formally announce a new album she has released a few singles from what are presumed to be included on Gifts From The Holy Ghost, a previously announced title. The single is released just ahead of a major nationwide tour.

The song is a pretty epic and powerful tune that sees Dorothy again having at somebody, a theme she’s used to a fair bit of success on past albums. She is really, really not into whoever she is laying to rest in this song, the lyrical fare is pretty brutal towards her target. The song is well done and bodes well for the album we’ll hopefully get more news about in the near future.

Kurt Vile – Like Exploding Stones

This preview song is ahead of Kurt’s new album (watch my moves) which is due April 15. This is totally new territory for me as I haven’t heard a note of his before playing this song, I haven’t heard his stuff or his prior work with War On Drugs.

This is a very interesting track, I dig the chilled out vibe of it. It’s not something I always seek out but in the right mood I can appreciate something like this. It’s a bit hard to keep up with the enormous indie scene some times. I’ll keep an ear out for the full album when it’s out.

Halestorm – The Steeple

Halestorm are back with a new album Back From The Dead due May 6. This is the album’s second single released as the title track saw play last summer.

I have not previously been into Halestorm that much. I’ve heard great things about them from a lot of different circles but for whatever reason their music hasn’t taken with me. This song might be the one that gets it done – I’m absolutely enjoying this track. I don’t know if they’re doing something different or if I’m just in a more open place mentally or what, but I’ll be on the lookout for when this album hits.

Liam Gallagher – Everything’s Electric

On offer is the lead single from Liam’s long-announced third solo album C’Mon, You Know, out May 27 and destined to be Liam’s most-used Twitter hashtag for the next year.

The song marks Dave Grohl’s second appearance in this post. Liam had his album pretty well finished when Grohl rang with this song on offer. Liam went back to the studio and cut the track and it’s now the album’s lead single.

The song is well done and a pretty chill and “vibe-y” track. It’s not quite the all-out banger Liam was discussing months ago, so perhaps he had a different song in mind for the lead single before Dave got a hold of him. At first the tune doesn’t stand out as much as the singles from his prior release Why Me? Why Not but the song is growing on me with multiple listens. Liam will certainly want to go into the summer well-armed with songs as he is preparing a headlining set at Knebworth, the site of Oasis’ historic triumph 26 years ago. While plenty of Oasis standards will certainly get time I’m sure Liam also wants to have his solo songs stand on their own as well, if for no other reason than to keep up the perpetual sneering contest between he and his brother.

That’s a wrap on this huge edition of upcoming music. As the temperature warms up it seems like a massive amount of new music will be heading our way. Hopefully these and other acts will get to air their songs out on stage out of the shadow of the pandemic and the industry can start making up for lost time and money.

Scorpions – Blackout (Album of the Week)

On By bigbadburchIn Album of the Week2 Comments

In music, as in life, things end. Bands split up, people pass away, movements come and go. It’s an inevitable thing we all have to reckon with in both music fandom and in our lives.

Except the Scorpions. They don’t go away. The German rock and metal juggernaut is due to release a new album soon. I figured today I’d look back at one of my favorites from their prime. It’s not an album most anyone versed in rock needs an introduction to but sometimes it’s nice to pull out the favorites and get back into them.

Scorpions – Blackout

Released March 29, 1982 via Mercury Records (U.S.)

My Favorite Tracks – Blackout, No One Like You, Dynamite

The band had a major issue while recording Blackout – singer Klaus Meine had surgery on his vocal chords. Such an issue brought forth the risk of Klaus being unable to sing again. While Meine recovered the Scorpions brought in Don Dokken to record guide vocals for their songs. Meine did make a full recovery and was able to track the album.

Blackout

The album leads with the title track. The song is an absolutely blistering attack with some splendid guitar work from Rudolph Schenker and Matthias Jabs. Klaus Meine lets his voice rip at the end and ensure everyone that he his indeed recovered from vocal surgery. Blackout is a highlight from across the entire Scorpions catalog and certainly one my favorite bangers of theirs.

Can’t Live Without You

Another quick rocker that gets the job done magnificently and is one of the Scorpions’ many, many offerings to pontificate on the subject of love and romance. The song has an old school rock feel but also maintains the frenetic pace established by the title track. The band is totally on fire on this record and out to make their mark on rock and metal world wide, a feat they would certainly accomplish.

No One Like You

This song was the lead single for the album, at least for everywhere except Japan. It became the big hit from the album and is one of the band’s most recognized songs to this day. It would hit number 1 on Billboard’s Rock chart and is a staple of the band’s concert sets as well as their many greatest hits compilations.

The verses chill things out a bit and bring in that signature Scorpions ballad vibe, but then the chorus amps it all back up and rocks out, in line with tone established for this album. It’s easy to see why this song caught on in the early ’80’s, it is a prime specimen of hard rock greatness.

One bit of trivia about this song – this is my girlfriend and I’s “song.” No real huge story on how that came about – when we first got together way back when it was still somewhat customary to assign songs as ringtones and this is the one I set for her. That’s really all there is to it.

You Give Me All I Need

This song breaks more into power ballad territory, the area which this band excels at and have few peers. It is a very straightforward track that keeps the Blackout ball rolling. The chorus picks up the intensity again and has that driving hard rock the band would exemplify through their career.

Now

Now was released in Japan as a single but kept as an album cut in the rest of the world. The song ups the ante for tempo and even goes beyond the pace set earlier by the title track. It is, very simply stated, time to rock out. Nothing much more needs to be said.

Dynamite

Blackout’s second side kicks off with another barn burner of a track. This song goes for the throat with a full on heavy metal assault. In a moment of lyrical diversity for the band, Dynamite is about kicking ass and hooking up. It did take both the singer and drummer writing words to come up with that. But the song is a spectacular cut from the record that keeps cranking out the hits.

Arizona

The pace chills just a bit for this rocker about, wait for it – getting with someone. It makes me wonder if there really was some story from Arizona that happened to inspire the song, or if the group simply wrote the tune and thought that Arizona was a cool song title. Musically the song keeps everything going just fine, total hard rock and guitar work.

China White

The Scorpions have a long history of offering multiple versions of albums. This sends collectors scouring record bins and puts budgets into fits. While normally the issue is controversial cover art, China White offers a different kind of chase for multiple versions. Rudolph Schenker could not decide which solo take he liked the best so the U.S. and European versions of the album have two different solos. This is one I haven’t hunted down yet as I only have the U.S. version so I can’t speak too much to the contrast.

The song turns the beat down a bit but still slams with the same rock intensity found throughout the rest of the record. The music’s downright nasty tone belies the anti-war subject matter. Though it still very much sounds like Scorpions, they were definitely flirting with doom metal on this song. The curveball is very welcome and it’s not hard to find people who cite this as their favorite tune from the record.

When The Smoke Is Going Down

As a later hits compilation would attest, the Scorpions are a band of rockers and ballads. Blackout concludes on one of the latter and a fantastic example thereof. The guitars are just beautiful on this and Klaus evokes some haunting vocals that aren’t even about anything melancholy. While I’m not really in any position to rank their ballads right now I would certainly have to consider this one of their top efforts.

The Scorpions scored a complete triumph with Blackout. The album sold well across the world and carried forward the momentum they’d gained from their prior two efforts. The band were poised to break world wide and would do so through the rest of the 1980’s. I’m nowhere near ready to begin the massive task of ranking each Scorpions record but I do know that Blackout is one of my favorites and will see a place toward the top when that time comes.

Blur – Parklife (Album of the Week)

On By bigbadburchIn Album of the Week6 Comments

Sometimes I know well ahead of time what the AOTW is going to be. Other times, like this current edition, I don’t really decide until I sit down to write. For some totally unknown reason not all related to last week’s music news cycle I’ve had Blur on the brain so now I’m going to visit one of the high points of their eclectic discography.

Blur – Parklife

Released April 25, 1994 via Food Records

My Favorite Tracks – Parklife, End Of A Century

Parklife represents the second of a trilogy of Blur records that would come to shape and define the emerging term Britpop. In fact, if one were to wonder why the term was called Britpop as opposed to the seemingly more suitable Britrock, Blur and Parklife would be the signpost for why.

The album is a collection of varied styles that examine the British life through many different lenses. While it is a musical hodgepodge, they exploration of styles does well to convey the mostly sardonic look at typical British life and style. Everything from dance beats to jangly riffs can be found as the record plows it course through England.

The album opens with a dance party on the hit single Girls And Boys. The song has a simple point – Damon Albarn was inspired to write it after watching people get drunk and hook up in night clubs. The song is not praise or criticism of the practice, rather just observation. I’d see the scenes described in the song play out a few year later when I was in Europe as part of the US military. And yeah, Girls And Boys pretty well nails it on the head.

While the musical stylings of Parklife are overwhelmingly upbeat in nature, the topical fare isn’t always a party. London Loves and Jubilee both take aim at the corrosion of substance in culture. The chill vibe of Badhead belies the heavier subject matter of falling away from a loved one. Tracy Jenks observes a man’s midlife crisis, while Trouble In The Message Center handles the inevitable hangover after a night of partying.

While the 16-track album is a wonderful listen in whole, I find my two personal favorite tracks toward the record’s beginning. The third song End Of A Century is a guitar-driven roll through the “late stage” phase of long-term relationships as well as a nod to the winding down of the 20th Century. The song hits at the mundane nature of life while also looking toward the new millennium. It’s a very identifiable vibe and also makes me want to scream at them to stay put and avoid 2020 especially. The refrain “it’s nothing special” truly defines the song’s context.

For all of the contemplation of British life and culture to be found through the album, nothing hit the nail on the head like the album’s title track. Parklife became the defining song from the album and its cultural significance rings true still nearly 30 years after its release. Blur recruited actor Phil Daniels to deliver the song’s verses in spoken-word fashion while Albarn handled the sung chorus. The bright and cheery tune masked a bit the absolutely sarcastic sneer at British park life.

The song hasn’t lost its touch in the decades since release. Left and right it’s easy to find people who still point to Parklife as the “ultimate British song.” It’s become a celebration of that aspect of Britain even while many can acknowledge the sneering intent behind the track.

Parklife the album would be a huge success for Blur. They sold a few million copies of the record in the UK and across the European continent. The band would line up for awards left and right, basking in the newfound acclaim as the “it” band in British rock. Their more artistic approach won out among the populist masses.

At least for one album.

Blur would get about a year to enjoy the accolades brought forth from the success of Parklife. The “Battle of Britpop” was just on the horizon, and while Blur won that battle, the downslide just after when the British music press turned on them would mark another uncertain chapter for the group, one ended when the band jettisoned the concept of Britpop and embraced alternative and garage rock instead.

None of that is the story of Parklife, however. The album remains a high water point for the Britpop movement and marked the point where Blur shook off their early failures and became a successful, noticed band. While the group weren’t working class stiffs themselves, they were able to offer up a view of British life that connected with a wide audience. Both the record and the title song are offerings whose significance outweighs even their successful record sales and awards. The album peered into British life and as a result became a foundation for Britpop to continue building on.

On Wednesday I’ll get into the Damon Albarn versus Taylor Swift thing that happened last week and dominated the news cycle until Neil Young came along.