Let’s go way back in time – to 2014 and recall a fiasco that’s been making the news again due to an upcoming memoir.
The memoir in question is from Bono, the singer of U2. And the fiasco is the 2014 deployment of the U2 album Songs Of Innocence, which saw the iTunes platform distribute the album for free to all users. What seemed like a great idea to Bono turned out to be a complete shitshow, as many iTunes users flipped out over having something distributed to them without them asking. In cases where users had automatic downloads set up, the album would load on devices and even start playing without the users knowing about it until it was too late.
As it turns out, the “gift” of the U2 album wasn’t free – Apple actually paid U2 for it. And all of this was at the suggestion of Bono. This Ultimate Classic Rock article outlines what Bono stated in his book about the incident – he pitched the idea to Tim Cook, who was against the concept of giving away music. Somehow, Bono got Cook to agree to actually buy the album from U2 and then send it out to all users for distribution. It’s not certain exactly how much Apple paid for the album but that was a clever idea on Bono’s part to pocket a bit of cash out of the deal.
The album’s release did not go over well. People were mad – some were upset purely at the thought of having a U2 album on their devices at all. Others hit on what was the likely core of the issue – the idea of tech companies just pushing out whatever they want to their users. While the U2 album may not have been a massive breach of privacy by big tech compared to other stuff, it did raise flags with many people.
Artists were also unhappy about the push – they felt that the album distribution devalued music. It was the same argument Tim Cook initially made. It’s an interesting thing to look at, especially in the wake of streaming taking over the concept of buying digital music. It was a big argument at the time, but the idea of the digital marketplace was about to be obsolete anyway.
In retrospect, Bono has used the opportunity afforded in his memoir to take responsibility for the album snafu. While greater sins have been committed for sure, this didn’t wind up being good PR for U2 or Apple when it happened. I doubt Bono’s contrition really matters much in the end, the issue is eight years old now and a lot has happened since then, but it’s cool he can own up to it.
And it’s worth noting that not everyone was mad about it – plenty of people gladly took the freebie, and over the years people have told stories of getting new Apple devices and playing the only thing in their libraries, which was this album. There was some measure of success in the distribution method.
For me personally the U2 album wasn’t a big deal. I think the band’s ’80’s stuff is cool and all but I’m not really a true fan of the band and I haven’t listened to them in a dog’s age. I did use iTunes at the time and I simply left it in my library, not downloaded to my PC or iPod. In truth I have never listened to anything on the album until I played the video for the song posted below, which was about ten minutes before writing this post.
I do understand why people had reservations about a tech company pushing stuff on people like that. But it really wasn’t my battle. On a scale of things that have happened before and since with “big tech,” the U2 album doesn’t move the needle for me. At worst, some people had an album they didn’t know or want auto-play and scare them.
It was fun to see this controversy pop up in the news again. I honestly hadn’t thought about it since it happened, and recalling the angst over the promotion is pretty cool. It’s a nothing burger in the end, at least to me, but it sure did get people stirred up.
Bono’s memoir Surrender – 40 Songs, One Story releases Tuesday, November 1st.
I’ve been up against it on posts lately, but the old reliable upcoming releases rises again. We are about to enter a holiday in the US, which I actually don’t have off. I’ll get paid handsomely for my time so it’s all good. I might even buy records with my excess money. Or, with the price of vinyl these days, I might buy record. We’ll see.
Anyway, there is some cool stuff lined up and some of it is straight out of a shotgun and coming out very soon, so let’s get into it.
Clutch – Slaughter Beach
I remember being “in” on Clutch in the beginning, which I guess was around 1993 and their full length debut Transnational Speedway League. They have always been a different and interesting proposition, and now here we all all these years later with the quasi-title track to their 13th studio album Sunrise On Slaughter Beach, due just around the corner on September 16.
This is a very accessible version of Clutch, who I think are one of time’s less heralded and, dare I say, underrated bands. I very much like what I’m hearing here and will be on the lookout for the new album just a stone’s throw away. The second half of the year is picking up steam in a big way.
Nita Strauss – Summer Storm
The badass shredder, apparently having stepped away (but now down) from Alice Cooper and linking up with Demi Lovato, has released a new instrumental song. Nita has a 2018 solo album but this new single does not offer any new album info, at least at this time.
This song is straight fire, it’s a monster guitar track and a showcase of someone who knows how to fly on the frets but also compose a listenable song. Whatever is going on, I’ll assume a full solo album would be a 2023 release, Nita nails everything here. A fantastic tune.
Autopsy – Skin By Skin
In 2022, many of the masters of death metal have departed or gone on to other things. Autopsy, who gave up in the mid 90’s when shit got bad then came back to us in the 2010’s, are back in the new decade. Also I just talked about them a bit yesterday.
This is a lead single from their upcoming album Morbidity Triumphant, due on the 30th of this month. This is a total banger band for me and I’ll be totally at attention when this hits.
Ellefson/Soto – Vacation In The Underworld
Here is the title track from the long-awaited collaboration between Jeff Scott Soto and Dave Ellefson. The project was in the works for a long time but got delayed in the wake of Ellefson’s scandal and dismissal from Megadeth last year. The album sees the light of day on October 7.
The song is suitably heavy, this project seemed destined to shade that direction. I’m curious to see if we get more of a “grab bag” of songs and styles or if the album has a more unified focus, press material leads me to think it’ll be the first one. Not long before we find out.
Witch Fever – I Saw You Dancing
This band is totally new to me, I found them a bit ago when this song and video released and came across my radar. The group have been working out of England for roughly five years now and are about to release their full-length debut Congregation, out October 21.
The band have been described as coming from the punk scene, but this song is total doom/noise and also totally amazing. Their earlier singles do seem more punk in nature but still backed with a massive fuzz in the riffs. At any rate, this awesome song and very well done video accompany the new album that is now very much on my want list.
That does it for this shorter but still impactful list. I feel like I forgot something but quick scans of music sites don’t seem to offer anything. Still no word on Kerry King’s post-Slayer project yet, I expect something in the near future with the information that’s been trickling out the past few months. Maybe next time.
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.
Bruce Dickinson – Tears Of The Dragon
Today’s song is from Bruce’s second solo album Balls To Picasso. It was also Bruce’s first album after his infamous exit from Iron Maiden in 1993. Bruce had made a few attempts to start the record with other bands and producers, but he scrapped those efforts and hooked up with Roy Z and Tribe Of Gypsies. That band would back Bruce on this effort and the partnership with Roy Z would yield great results over the ensuing years.
Tears Of The Dragon is generally viewed as the best song from Balls To Picasso. The song has over 40 million streams on Spotify, which basically obliterates the totals from any other Dickinson solo tune. While none of the solo catalog did massive numbers sales-wise and The Chemical Wedding is widely hailed as a masterpiece, it is Tears Of The Dragon that is the first song recalled when talking about Bruce’s solo career.
Our song today is not a blazing metal scorcher. It would fit quasi-ballad territory – the song opens with soft, somber verses that build to a powerful chorus suiting The Human Air Raid Siren’s voice. It is replete with the standard fare you’ll find in any good hard rock/metal song, including a fast-paced solo and also a jazzy sort of interlude that, well, I guess you don’t find in every hard rock or metal song. And yeah, the very first time I heard the song I was really thrown off, but I’ve gotten used to the bit and now I can’t imagine the song without it.
Lyrically the song deals with the idea of overcoming one’s fears to “throw myself into the sea” and see what happens. The song revolves around Bruce’s decision to leave Iron Maiden and throw himself into the sea, to experience what else might be out there that he was missing. I can’t readily access the source material for this, but Bruce gave the info in an interview with Rolling Stone when he was promoting his biography in 2017. It was a huge gamble to cast off from Iron Maiden and go at it alone. And while it might not have been a lucrative prospect, in the end Bruce does have an acclaimed solo catalog from his endeavors.
And the song’s greatest strength is that it wasn’t specifically couched in the terms of him leaving Maiden – it was a song for anyone who was unsure about a course in life, who needed that push to go ahead and jump into the sea of doubt. I think music in general will grab people at places and times, be the right song in the right place for someone. That much doesn’t consider genre or form – people have benefited from a song bringing the right message at the right time.
But I think we know rock and metal have long been the refuge of the loner, the doubter, the unsure of foot. And Tears Of The Dragon is a call to anyone feeling those kind of emotions – metal is often at its best when it appeals to the outcasts, and this is a song for those on the margins that need a push for that motivation to succeed and overcome when the odds aren’t good or even known.
It’s the overriding reason why many of us chose this kind of music as our own. We didn’t fit, we didn’t like the same things as those around us, or whatever it was, we faced life with doubt and trepidation. It was shit like this that got many of us over the hump, just as this song did when I was just before the age of 17 in 1994.
While life wasn’t exactly great for Iron Maiden-Bruce Dickinson-hard rock and heavy metal fans in 1994, we still found our own way. And a fair bit of that had to do with the mainstays like Bruce offering viable product, updating with the times yet still staying the course. It would only come to pass years later that staying the course was the true line to walk, even in the turmoil of the early 90’s, and the greater turmoil of the years beyond.
Why is this an S-Tier song?
Tears Of The Dragon is a magnificent ballad of conquering self-doubt that offered its artist an early signature hit in a period of great uncertainty. While charts and sales figures weren’t entirely kind to Bruce’s solo efforts, the talk of the time and also the retrospective analysis paints his work away from Maiden in a fantastic light, and Tears is one of the main calling cards for his time in the 1990’s wilderness. It’s a song about conquering fears and embracing the unknown, which Bruce did by word and deed in a period where many thought rock and metal as we knew it was lost forever. Yet, by simply executing what he knew, we would be led back to a new legacy we couldn’t even begin to imagine.
This week it’s anniversary time again, as the album in question was released on August 25 a very, very long time ago. The record had an immediate impact and became a huge success, still standing in the US today as the second-best selling debut album of all time.
Boston – self-titled
Released August 25, 1976 via Epic Records
My Favorite Tracks – Foreplay/LongTime, Peace Of Mind, Smokin
There is a fair bit of lore behind the first Boston album, but for sake of space I’ll do a Cliffnotes version. Guitarist Tom Scholz recorded much of the album as demos in his apartment studio. Scholz hooked up with singer Brad Delp in a covers band under a different name, then sent the demos out to record labels. The record labels rejected the original demos, including Epic Records, who later released this album.
Scholz worked up the demos over the years and tried again, this time getting the attention of higher-ups at Epic. He recorded the album, pretending to record it all in California due to an Epic union mandate but actually still using his home studio in Boston for most instruments. Brad Delp did record his vocals in Epic-approved territory, the band changed their name to Boston on advice, and the album became an instant success on release.
It’s a fairly standard and even short album to talk about – 8 tracks with a 37 minute album length. Of course there is so much more to talk about, as the album is one of rock music’s defining legacies.
More Than A Feeling
This was the lead single for the album and thus the world’s first exposure to Boston. Given how quickly the album sold and how many trillions of times the song has been played on the radio in the decades since, I’d say it worked out.
The song was inspired by a love affair Scholz had that ended, though the track isn’t specifically about it. It is a bittersweet song that imparts a melancholy feeling in among a bright, triumphant instrumental composition. There isn’t much more than needs to be said about it – the song is immortal and has lived on for nearly half a century since its inception.
Peace Of Mind
Another of the album’s singles and also a big hit that reverberates to this day. It’s a tune about finding something more in life than the typical pursuit of what was the American Dream in the 1970’s. The acoustic strumming that leads into the song’s arena rock renders it instantly recognizable when it comes on the radio, as it frequently does.
Foreplay/Long Time
A 2 in 1 affair comprising the instrumental Foreplay and the vocal-laden Long Time. Long Time itself was released as a single but the song is usually presented with Foreplay attached to it. Foreplay is a very well-rendered work that holds interest, it is not the meandering kind of instrumental usually encountered. Long Time gets into the heady issue of leaving the past behind, again while a topic with huge gravity, the riffing and arrangement propel the song to massive heights. Like with most of this album, find a rock radio station on the dial and you’ll hear this song before too long.
I’m pretty sure most people know this song, here’s a live version
Rock N Roll Band
This track lays out the rise of a young band who cut their teeth in the bar scene and finally get discovered by a record label. This wasn’t actually the story of Boston, who hadn’t played a show before being signed, the song was just one Scholz decided to record. While not a single, the song was in constant rotation at radio during the AOR days and, yes, they still play it all the time.
Smokin
A small bit of creative departure here, as Scholz did not compose this song alone – Brad Delp co-wrote the track. This track also foregoes a bit the polished “arena rock” approach of the album and gets more into a old-school rock n roll jam. And that’s what the song is about – getting high and jamming out. Like everything else, this one was all over the airwaves and still is.
Hitch A Ride
Our final three tracks don’t appear as often in classic rock radio playlists as the others. They can still be found, just not nearly as often. Hitch A Ride has a bit of 1960’s folk rock feel to it but still fits the band’s AOR/arena rock sound. It’s another one that romanticizes leaving it all behind.
Something About You
A tune about a guy finding feelings for a girl, it’s a bit more high-minded expression of that sort of thing than was commonly found in rock music. It’s also a pretty rocking number in what is now Boston’s standard beat by this point in the album.
Let Me Take You Home Tonight
The album closer is distinct in that it was solely composed by Brad Delp. It employs quite a bit of acoustics and even a little twang. It’s also about being into someone, a fairly common rock refrain.
From 2004, when Brad was still around
Boston was a huge success and it started right out of the gate. FM radio, a generally album-focused format, ate up the record and the band were popular before they set out on their first tour. The record went gold in a few weeks and got its first platinum certification just under 3 months after release. It would not stop selling, either – to date the album has 17 US platinum awards and has sold over 20 million worldwide. It is the second-best selling debut album in US music, behind only Appetite For Destruction. It is also tied for the eighth-best selling album in the US overall, locked with Elton John’s Greatest Hits.
The record also had a huge effect on rock music. The sheen and polish found in the production would inform rock acts going forward, as “power-pop” would become a central sound. The shift out of a blues-based sound of rock’s old school was a massive defining moment in music history.
There are a few performances to highlight when talking about this album. The fact that Tom Scholz could record this in his damn apartment studio is just crazy. It’s beyond mad genius stuff and is like Marvel superhero territory. And Brad Delp’s voice was among the finest in rock music. He could carry a tune the way the song needed to go, but he could also belt it out and showcase some truly astonishing vocal prowess too. Most likely an underrated voice in rock music.
Boston would go on to carve out a legacy over the decades, though the shadow of this first record would always loom large. More success would follow, though the band worked in spurts and fits, eventually being sued over their lack of timely album offerings. Scholz won that lawsuit and continued running Boston through the mid 2000’s, where the terrible suicide of Brad Delp left a dark mark on the group. Scholz still pressed on, enlisting vocal help that included Michael Sweet for a time.
Boston’s debut made a massive, immediate impact that reshaped rock sounds and launched one of rock’s most successful careers. The album is ever-present in classic rock lore and was even one of the main influences on the creation of the radio format. Its intertwining of somber, bittersweet lyrical themes with flowing guitars, vocals and organ arrangements brought in audiences hook, line and sinker. Like it or hate it, there is no escaping the monolith that is Boston’s debut.
Yesterday, August 21, marked the 25th anniversary of a monumental album. While the band’s first two records would be known as worldwide sensations, their third one was a bloated mess that sold like hotcakes on release but quickly soured among the fans. It would be the final nail in the coffin of the musical movement the band had helped bring to international attention.
Oasis – Be Here Now
Released August 21, 1997 via Creation Records
My Favorite Tracks – D’ Ya Know What I Mean?, Stand By Me, Don’t Go Away
Oasis came into the recording of Be Here Now off the high of their historic live sets at Knebworth in August 1996. With their public visibility came the attention of paparazzi, and the Gallagher brothers made rich targets for the tabloid hounds. Add in a healthy dose of cocaine, and the table was set to record the third album.
It’s easy to see the one of the primary faults of the album without even playing it– 12 songs clocking in at 71 minutes. This isn’t a prog album and nothing justifies that kind of length. It’s coupled with curious production choices, such as excessive layering of instruments, that bog down what truly are some quality song ideas.
Nevertheless, we have this chonk of an album to get through.
D’ Ya Know What I Mean?
The lead single also opens the record. It’s one song that seems too long by its near 8 minute runtime but for some reason actually works. It’s also another of many Oasis songs that really aren’t about anything – this is just a rock in and rock out tune, not offering much in the way of discourse. Sure it has lyrics, but good luck analyzing them.
I do still quite enjoy this song even with apparent faults. It’s one of a few from the record that don’t throw me off and holds places in playlists I make today. The single did extremely well for Oasis, charting well in many different countries.
My Big Mouth
This is one of two songs from the record that were aired out live at the Knebworth gigs a year prior. It was a highlight of that live set but studio choices made render the studio version somewhat lesser. Here, Noel decided to layer his guitar a lot, and it did not enhance the song. It’s kind of a mess to listen to, even though a very good track is hiding under all of the guitar. The version on the Knebworth live recording is much more worthy than the studio cut.
Magic Pie
A song title that came about because Noel misread the word “magpie.” This track is interesting, in that it both sucks and is really good. The messy production suits the song well and the overall vibe is a melancholy affair that gets my attention. But the song is WAY too long and also there are a few stupid lyrics thrown in. Very much a mixed bag here.
Stand By Me
The album’s second single and one that sees a decent runtime at 5:55. Noel apparently wrote it after getting food poisoning but Noel at times also states that he doesn’t remember writing it, so who knows. This is one of Oasis’ strongest songs after the first two albums and it’s one from this album that works well without needing any real editing.
I Hope, I Think, I Know
For all the criticism of the album’s length, it’s a song that comes it at a very acceptable 4:22 that is a total castaway. The song isn’t “bad” per se but it’s totally forgettable. Should’ve been a B-side.
The Girl In The Dirty Shirt
Noel wrote this about his then girlfriend, who was ironing a dirty shirt because she didn’t bring enough clothing along for a tour. It’s a decent track that sounds good and isn’t burdened with overproduction.
Fade In-Out
A bluesy rock anthem that would be fine for most bands but does sound odd coming from Oasis. Overall it’s a pretty cool song, though. Johnny Depp played slide guitar on it.
Don’t Go Away
The album’s final single, released only in Japan and North America for whatever reason. It could easily be called the album’s best track, everything works here and there isn’t any room for criticism. It’s a sad affair about not wanting to lose someone close and might have been influenced by cancer scares among mothers of the band members around the time.
Be Here Now
The title track offers a pretty good rock tune with some annoying sound choices with whistling and a cheap piano (apparently Noel wrote the original piano line on a toy one belonging to Mick Jagger’s kid). The annoyances are minor though and the song is overall solid.
All Around The World
The album’s third single clocks in at over 9 minutes. The song is fine but not really needing that long to run. It’s a definite “homage” to the Beatles, something Oasis have been accused of being time and again. It’s not one I play very often.
It’s Getting Better (Man!!)
This was the other song played at Knebworth a year before seeing a studio release. The studio version has some sloppy production and is over a minute longer than the live version, another case where the live cut wins the battle. It’s still a decent offering.
All Around The World (Reprise)
We close out with another two minutes of All Around The World, because we needed to I guess.
Be Here Now was initially a massive success for Oasis. Out of the gate the album sold everywhere and cracked the top of the charts in 17 countries and an impressive number 2 in the US. The album went platinum in Britain within 24 hours of release and was the nation’s fastest selling album until Adele many years later.
And then people listened to the album they just bought in droves. Be Here Now quickly became the album most sold back to music stores. The critical reception was tepid and the band had fallen far short of delivering a masterpiece worthy as a follow-up to (What’s The Story) Morning Glory? Noel Gallagher would begin the process of re-producing the album in the mid 2010’s but abandoned the concept after only working with the first song.
Oasis would live on for another 12 years after the record, but the era of Britpop was now dead. Other influential acts like Suede, Blur and Pulp had intentionally abandoned the sound, while Oasis tried and failed to recreate the anthem rock magic of their first two records. The band would live on through reputation and a few scattered hits in the 2000’s, but the golden era of Oasis was over.
I do have a hard time truly summing up what I think of the album. There are good songs on it, and I think a few other songs would benefit from more attention to detail in the studio. But – I don’t think the album is a hidden goldmine of great music either. Many of the songs are secondary tracks and even some of the stuff that works doesn’t touch the heights of the first two records. The songs that stand out were the album’s singles and those are known quantities among the fanbase. The songs didn’t outshine the massive hits the band had in their early stage.
I could say that Be Here Now is one of their stronger albums when compared to the rest of the catalog, but that’s honestly saying more about the records that came after than it is finding strengths about this album. In the end I don’t think a better production job would have raised the album’s bar a whole lot, but a few tracks would benefit greatly from it. This is still a middling affair, even if more care had been taken to shape it sonically.
This was the end of the road for Oasis as a world-conquering entity. The past few years have seen a great deal of retro appreciation for the works that put the band on the map, but now we’re into the 25th anniversary of the work that marks the stopping point. The band is still broken up with little realistic odds of getting back together, and even that would be a celebration of hindsight as opposed to a new creative era. England itself would be no worse for the wear in the absence of Britpop, as Radiohead were queued up to command the music world’s attention just as Britpop was being laid to rest.
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.
Motörhead – Ace Of Spades
This homage to gambling would not just serve as a band’s hit, it would become the signature song associated with one of heavy metal’s most influential acts. Motörhead would not find massive commercial success, but after decades of recording and tearing up the pavement all the world over, they would become a stud in the crown of metal music.
Ace Of Spades was a single release a month ahead of the band’s fourth album of the same name. The song got noticed and hung out on the UK charts for a few months, it would also receive a UK gold certification for sales in excess of 400,000. The album Ace Of Spades would chart modestly well throughout Europe and also go gold in the United Kingdom for sales over 100,000.
And those fairly modest sales figures would be one of the biggest commercial successes of the band’s 28-year career. Motörhead were never a super popular or financially successful act, yet they endure as one of the heavyweights of the metal genre. Bassist and vocalist Lemmy Kilmister, praised in many circles as God, would make far more money writing songs for Ozzy Osbourne than for his own band.
Yet, when all comes due, it is Lemmy’s vehicle Motörhead that remains as a bastion of heavy music.
And even among the “great unwashed” who aren’t radically familiar with the music of Motörhead, it’s a damn safe bet that a lot of people have heard this song. It’s known far and wide as one of heavy metal’s greatest tunes.
The song is pretty simple in its premise – it is a buzzsaw, but with enough subtlety to distinguish it from the later-to-come death and black metal. It embodies rock, punk, speed and thrash, the latter two terms not even yet existing when it was released in 1980. Motörhead were already an edgy gambit in the few years leading up to this release – this song would cement a young legacy.
The tale of the song’s construction is fairly simple, and told in great detail in this 2017 article by Louder Sound. Drummer Phil “Philthy Animal” Taylor and guitarist “Fast” Eddie Clark were jacking around in the studio with producer Vic Maile, who was familiar with Lemmy from the latter’s time in Hawkwind. A series of riffs had been thrown around and the band worked them up while Lemmy was out on the prowl.
The lyrics would come from Lemmy later – he truly just slammed a bunch of gambling references together. It might have been in the back of a van while speeding along a freeway as he recalls, or it might have been on the shitter, as Phil Taylor would guess. Either way, the band had their title track down.
And in the wake, one of heavy metal’s immortal songs was born. Again, there is no mentioning Motörhead without Ace Of Spades. And there isn’t a lot of what we call heavy metal without Motörhead – everyone was influenced by the speedy, punkish outfit. This blend of nasty, noisy rock would give way to thrash in just a few year’s time, and by the end of the 1980’s, extreme metal was well on its way to being more than just a footnote in history. And much of all this noise owes its presence to Motörhead and principally Ace Of Spades.
It’s fair to say that this is Motörhead’s most famous song. Hell, their second most famous song is probably a pro wrestler’s theme song that the band didn’t even write. The group never really “got their due” in terms of huge success, yet they are almost without exception mentioned as a forefront influence on the music that has come from the decades since 1980. And while the band have a hefty catalog with several worthy albums and songs to choose from, there is little doubt that Ace Of Spades is the calling card that rallies all points home. When anyone mentions Motörhead, no doubt it is this gnarly riff and Lemmy’s gruff vocal delivery about losing your ass at cards that first enters one’s mind.
Why is this an S-Tier song?
Ace Of Spades is the banner by which Motörhead flew under for decades. It is a barnstormer of a song that both used and defied the music of the time to offer a new construct upon which much of the heaviest music of the ensuing years would be based off of. Everyone knows that Lemmy and Motörhead kicked ass, and everyone knows that Ace Of Spades is the signpost for the ass kickings.
I set this aside for a moment as the new stuff wasn’t coming out with as great a frequency, but of course I wait a little more than a week and it all hits at once. Plenty from across the spectrum to talk about this time around.
Dieth – In The Hall Of The Hanging Serpents
An interesting and unexpected opening salvo here. Two-thirds of the lineup makes sense – Gullherme Miranda, formerly of Entombed AD and Michal Lysejko, late of Decapitated, have formed a band. One would expect death metal, of course, and one would get just that. What one probably wouldn’t expect is for Dave Ellefson to be throwing down on bass for this. I know Dave has been involved in a wide variety of projects over the years, but to take up death metal after his dismissal from Megadeth? That’s pretty big.
There is no album information yet but it appears they’ve already been in the studio. They sound like they know what they’re doing, it’ll be interesting to hear what a full project sounds like. Dave Ellefson has several other projects coming up, including an album with Jeff Scott Soto, but I’ll wait until new music from that comes out before getting into it.
Sammy Hagar And The Circle – Crazy Times
This fresh new song is the title track of a new Circle album due September 30 (later on vinyl). Sammy and this outfit of Michael Anthony, Vic Johnson and Jason Bonham had a pretty big hit album in 2019 and are now back after pandemic-related shutdowns. This incarnation of Sammy sees him get back to rocking out and leaving behind his Jimmy Buffet-like persona of earlier years. Not that there was anything wrong with that, Sammy can do whatever the hell he wants, but it’s nice to hear the Red Rocker back at it.
Taipei Houston – As The Sun Sets
This new indie-ish rock offering is a standalone single for now. The new band is a two piece of brothers Layne and Myles Ulrich, who do also happen to be the kids of Metallica drummer Lars Ulrich. It’s a curious call to go in as a two-piece but hey, I’m not here to tell people how to run their bands. The song is pretty good and does leave me interested in hearing more. It’s certainly its own entity and now owing to Lars’ gig in any way.
David Lee Roth – Nothing Could Have Stopped Us Back Then Anyway
Another standalone single, this is a track John 5 recently put out as a tribute to Van Halen. It’s a sappy, sentimental song with a video showing photo highlights of Van Halen’s career. It’s not a song that will feature on DLR best of list but it also works well for its intended purpose. There were some recording sessions that were supposed to be a new DLR album, no telling if the complete sessions will ever see the light of day.
House Of Lords – House Of The Lord
A name I know but couldn’t tell you a lot about, the melodic hard rock outfit is back with their eleventh studio album. The record is called Saints And Sinners and will be out September 16. These guys have stuck true to a sound that became dated just a few years after the band started out in 1988. It’s not the sort of thing I would fall all over myself to get but it’s also pretty good execution and I know these guys have had a fair share of buzzworthy albums over the years.
Goatwhore – Born Of Satan’s Flesh
The New Orleans extreme metallers are prepping to release their eighth studio album, Angles Hung From The Arches Of Heaven, on October 7. Goatwhore have made quite the name for themselves in recent years and it sounds as though they are ready to get back on the attack after a five-year recording absence. They are firing on all cylinders here.
Charley Crockett – I’m Just A Clown
The hardest working man in country music is inevitably releasing his second album this year (and fourth in two years) with The Man From Waco, due September 9. This single from the new album dispenses with pure country and offers some boogie, swing, soul, I don’t really know. It’s a pretty cool track and we’ll see what the full album has in store in a few weeks.
The Cult – Give Me Mercy
Ending today’s list with a new track from one of rock’s most enigmatic bands. The Cult will be back with their first album in six years – Under The Midnight Sun hits on October 7. Give Me Mercy offers some of the same atmospheric alt-rock the group have been employing in the second half of their career. I’ve enjoyed the past several Cult releases so I don’t expect this to go down any differently.
That’s all for this month. We’ll see what’s up in the next installment of upcoming releases – quite possible that Kerry King’s post-Slayer band will be among them.
I’m going to debut a new series today, though it’s one that might not stick around in written form for too long. My original intent was to do these as videos but time to make them proves ever-elusive, and I’m tired of sitting on this content that I originally compiled a year ago.
This will be just as the title says – album rankings of a band’s discography. My rankings aren’t based on any scores, though I do intend to go back through and score each album later on. I prefer to do the rankings based on other factors and then see how differently things come out later based on scoring. There are other factors that can influence where to rank an album that doesn’t reflect in a score, and this first one will give a vivid example of that.
I’m starting out with Motley Crüe – nine total studio albums and it’s a fair shot that this is their final discography. Doesn’t matter either way, let’s get to the rankings. Of course we run from worst to first as most any sane person’s rankings do.
#9 – Generation Swine
The 1997 reunion with Vince Neil did not deliver anything I found worthwhile. I didn’t like the album when I first heard it and last year I played it for the first time since the ’90’s. I was expecting to take to more of the album this time, or at least find some songs I could call quality. I did not. There’s just nothing here I can get into and I don’t really know what they were doing here.
#8 – Theatre Of Pain
I talked about this one awhile back and I didn’t have much nice to say about it. A few songs I thought were really good, a few that were ok but lifeless production and a lot of filler make for a fairly miserable listening experience.
#7 – New Tattoo
This 2000 offering was the only Crüe record not to feature Tommy Lee. It was a pretty good return to form album, it got back to basics and offered up some good cuts. It is consistent throughout but it doesn’t have, to me, any truly breakout or defining moments. It’s a high-floor, low-ceiling kind of thing. But from here and for the rest of the list we’re talking about albums I can enjoy listening to.
#6 – Girls, Girls, Girls
The 1987 album was a success for the band and was certainly better than its predecessor. It has one of the best tracks they’ve ever done in Wild Side (already an S-Tier song), a great title track, and honestly several other songs that I found better than I remembered them to be. Its production wasn’t great but there was a lot more to like here than on that prior one.
#5 – Motley Crüe
The 1994 self-titled effort spelled the end of the band as we knew them up to this point. Vince Neil had been fired and was replaced by John Corabi. The sound was something apart from the band’s prior output but it is still well-executed and has some great moments. It’s a record that gets (I think) unfairly maligned for not having Vince, though I can understand the sound is a departure from what we were used to.
#4 – Saints Of Los Angeles
The band’s final album from 2008. It seems to be a bit overlooked, from my standing this is a fantastic album and I don’t know why people didn’t give it more of a chance. This is the sound that I thought the band would get into after hearing Primal Scream in 1991. And it’s the band not giving a damn about radio play and just saying whatever they want, it’s truly Crüe uncensored. The grit and attitude just drip from this album. If this is what happens when Sixx AM bandmates write Motley Crüe records, then do more of it.
#3 – Too Fast For Love
The debut that kicked off a whole damn scene in Los Angeles and the official beginning of this crazy band. This is raw, ferocious and just great music. Not a weak track in the bunch. There honestly isn’t much more for me to say about it – it’s just a damn great record.
#2 – Dr. Feelgood
The Crüe closed out the ’80’s in style with their biggest success. A honed and polished affair saw several huge singles and perhaps their best song ever with Kickstart My Heart. While many bands were feeling the end of the hair metal train, this group rode into the ’90’s in style.
As for why this one ranks so high, I covered the reasons when it was the Album of the Week. It was the album that flipped a switch for me and made me massively obsessed with music. It’s a super important album in my listening history and there was a strong argument that this should be number one. But…
#1 – Shout At The Devil
Their second album is just unbeatable. This is packed from top to bottom with fantastic songs and some of the best moments of the band’s career. This stuff is loud, heavy and dangerous and the band gained massive notoriety from both the music and the album imagery. Nothing here misses or is even of a lower cut than the rest, even the cover of Helter Skelter fits both musically and image-wise.
That does it for my first-ever edition of album rankings. Let me know where you agree or disagree in the comments. It might be a minute before my next round, depending on who I choose to go with.
I figured I would jump in with what a lot of other bloggers do and start going through my collection of music singles. It’s a pretty easy way for me to add another post each week – just pick out something and talk a bit about it.
For the first few months I’ll go over one a week, these are not related to each other in any way other than they are singles in my collection. I think there’s roughly 17 to look at, that number could go up by a few after I have another look through my collection.
If my count is right, this should conclude my “general” singles series in November. At that point I’ll get into the one band’s singles collection that I do have a fair number of – that being Iron Maiden. (shocking, I’m sure). That series will run for at least half a year at a once-a-week clip and will grow by at least a little bit in the time before and during it.
But enough exposition, let’s just get to it. The first one I’m gonna go over is the one I most recently acquired. As the title suggests, it is the Guns N’ Roses Civil War “EP.” This was released in a variety of configurations, I opted for a cheap CD version with three tracks – two songs and an interview with Slash. This version was a European release – while other parts of the world got versions of the EP, nothing was distributed in the US.
The song is a little bit odd in history as it was originally released as part of a charity compilation about a year before its appearance on Use Your Illusion II. This EP was released in several countries in 1993 though in some odd way it doesn’t technically count as a single released from the UYI albums. I don’t know why and the distinction isn’t really important.
I previously discussed the Use Your Illusion albums in great detail back last September – here’s a link to the first of four (!) parts of that where I went about turning the two albums into one. In the final portion I talked about my five favorite tracks on the albums and – spoiler alert – number one was
Civil War
The song is the reason for being in terms of this single. I wrote about it before – it’s an amazing work. It’s a gripping look at the tangled threads wove in society from the 1960’s until 1990, and it’s not any less meaningful today. Sadly, it’s probably more poignant. Civil War might have gotten a bit overlooked in the wake of the bombastic singles from the records but over time it’s gotten due recognition as one of the best tracks from those albums, if not the best. I really don’t need to say much more about it since I’m almost positive this song will turn up in another series of mine…someday.
Garden Of Eden
This song appears on some configurations of this EP and not on others. Since it’s on my CD it’s what I’ll go with. The song is a short one and pretty good. It does pretty well on sequencing here since it’s a fast and loose song that is a bit of fun to contrast the heavy subject matter of Civil War. The song has a punk-ish edge to it and, although I didn’t select it for my “final cut” of UYI songs, it’s one I’m happy to hear.
Interview with Slash
The exclusive content to this EP is a small interview with Slash. It runs seven minutes and there is no one asking Slash questions. I assume the questions were edited out and that Slash didn’t really talk for seven minutes straight but I honestly don’t know for sure. Slash talks about how the band’s mega success wasn’t entirely clear to him as it was happening and goes over a few other things through the interview. It doesn’t have any dirt or jaw-dropping revelations but it’s a nice listen from a few years before he would originally leave the group.
All in all this was a neat little single to add to the collection. It doesn’t offer any alternate versions or anything, both songs are album cuts. The interview stands as the exclusive content. Not a red-hot collector’s item but not a bad pick-up.
This week I’m time traveling back to 1998. I was just kind of listening to whatever at the time, I was far more pre-occupied with “grown up” business than I was music. But of the handful of things to catch my ear, this alt-rock gem really grabbed my attention. It also grabbed the attention of a lot of music fans at the time, being the first major success of a newer record label and offering an outsized hit the band is still known for to this day.
Fastball – All The Pain Money Can Buy
Released March 10,1998 via Hollywood Records
My Favorite Tracks – Which Way To The Top?, Fire Escape, Charlie The Methadone Man
Fastball had signed to Hollywood Records, a subsidiary of Disney that had yet to score any real success. The band had released one album that didn’t make any waves and they regrouped for this sophomore effort.
Fastball took a different approach to their second album – the band featured two principal musicians in Miles Zuniga and Tony Scalzo. Each wrote a song and did the lead vocals for their effort. While Zuniga would get one more song on the record over Scalzo, it would be Scalzo who composed the massive hit.
The album’s run time is fairly concise at 42 minutes but there are 13 songs on the original release. I’m going to switch up my typical format today and discuss a handful of highlight tracks in detail, then run through the rest briefly. This post would be massive otherwise.
The Way
The album opens with what became the smash hit single. The song charted at or toward the top of several US and Canadian charts and was ever-present in early 1998. The Way was released a few months ahead of the album and it propelled the album to platinum status in a few months. Fastball members were working regular shift jobs when The Way began taking over alt-rock radio.
The song depicts a pair who leave their lives behind and head out on a journey. The destination is unspecified and even unknown. It is a great song that hits the vibe of just leaving and setting out for adventures unknown. Without any understanding of the song’s inspiration, The Way works fantastically on its own.
But the song does have a story behind it and it’s a pretty dark one. This article discusses the news story that inspired Tony Scalzo to compose the track. An elderly couple in Texas set out for a festival at a town very near their own, yet wound up missing. Their car and remains were discovered in Arkansas a few weeks later. The couple’s disappearance was a big news item in Texas while they were missing and Scalzo wrote most of The Way before the couple were found. The song would immortalize the couple even in spite of their sad fate.
Fire Escape
The second track was also the album’s second single and placed within the US Top 40. The song is a bright, poppy alt-rock number about being into someone. It’s accompanied by a pretty funny video. It, like many songs on the record, have a polished sound without delving into jangly riffs or other simple tricks. It is simply recorded and executed and kept clean.
Which Way To The Top?
On to the fourth track that features a special guest on vocals. 90’s alt-icon Poe contributes her voice to the track. The song asks the ages-old question of how to climb out of one’s rut and get to the top. It’s a pretty ironic song for Fastball, since their way to the top was literally The Way. This song does a great job of conveying the melancholy vibe of being at the bottom while also sounding hopeful for more in the future.
Slow Drag
A bit of a dark turn here, the song itself slots right in to the rest of the album musically but the lyrics get really dark. The song’s narrator is in a dark, quiet place and wants someone dead. No elaboration is given on who or why. It’s a bit of a vague murder ballad and is a curious and unsettling tune.
Charlie The Methadone Man
A weird and interesting tune that has a look at just what the title says – a fella named Charlie that’s into methadone. The song doesn’t really either lionize or pass judgment on Charlie and his habit, rather it simply observes his movements. No clue if this was based on someone real or if Miles Zuniga just cranked it out off the top of his head but the song is a great one from the album.
Out Of My Head
The album’s third single and another hit that got into the top 20 on the US chart. It’s a sadder tune that looks at one’s own bad behavior in a relationship. It’s a far more introspective and honestly practical song about such things than what is normally churned out in that regard.
The song would get a second life decades later when Machine Gun Kelly used this song’s chorus for his song Bad Things. Camila Cabello guested on the track. Tony Scalzo reacted positively to the song’s use by MGK.
Damaged Goods
The last song I’ll look at in full is a quick number that looks over a past long-distance relationship. There isn’t a ton going on lyrically, just a few verses that offer a bit of background then a one-line chorus simply stating “I know I should just leave you alone.” While still fitting the album’s overall pop-alt vibe the driving chorus does provide a heavy moment.
Six other songs slot in at points on the record. Better Than It Was and Sooner Or Later are more upbeat tunes on the first half of the record. Warm Fuzzy Feeling is a fun song about “making it,” something the band wrote a lot about and also accomplished here. Good Ol’ Days is a horn-driven nostalgia trip. The album closes with two somewhat vague and darker-themed numbers in Nowhere Road and Sweetwater Texas.
All The Pain Money Can Buy was a huge success for Fastball. The album hit platinum in both the US and Canada and The Way was a huge hit single. It was also the first major success for Hollywood Records, which would later go on become a hit factory based on the various Disney TV personalities who recorded songs.
The album was a masterstroke from a band who thought they were going to be dropped by their label and who faced an uncertain future in the music business. While never replicating the success of this album, Fastball are still at it today now with eight albums under their belts. While the group came and went from the mainstream consciousness, they left a massive impression during their time there.
The Crooked Wanderer 