Jerred's Music Blog

Ronnie James Dio diagnosed with stomach cancer

2009-12-05T19:45:00Z

Earlier this week, I found out Ronnie James Dio was diagnosed with stomach cancer. Right now, he's going through treatments at the Mayo Clinic. The last time I saw Dio was in 2007 with Heaven and Hell (Black Sabbath's Mob Rules lineup). He was 65 then and still going strong. When I heard about his diagnosis, I immediately thought to play his music so I went to my iTunes library and played, Black Sabbath's "Children of the Sea". I could go on and on about how many great songs he's made.

These are my favorite:

Rainbow - "Man on the Silver Mountain" (1975)
Black Sabbath - Heaven and Hell (The entire album) 1980
Black Sabbath - Mob Rules (The entire album) 1981
Dio - "Holy Diver", "Rainbow in the Dark" - Holy Diver (1983)
Dio - "The Last in Line" - The Last in Line (1984)
Dio - "Rock 'N' Roll Children" - Sacred Heart (1985)
Black Sabbath - "The Devil Cried" - Black Sabbath - The Dio Years (2007)

If there ever was a time to play Dio's music, it's now so if you have any Dio in your music collections, play it!!!

Get well soon, Ronnie!!

Source:
http://www.ronniejamesdio.com/

Metallica's induction into the Rock and Roll Hall of Fame - April 4th, 2009

2009-04-04T21:02:00Z

Today, Metallica will be inducted into the Rock and Roll Hall of Fame and deservingly so. No other metal act has sold more records or done more to popularize the metal genre. Metal purists may cry foul at this accomplishment, citing the band as sell-outs who watered down their style to sell more records. This viewpoint, however, is deeply cynical and oversimplies the band's rise to fame. It is inconceivable for me to imagine James Hetfield and Lars Ulrich planning the success that followed the release of the Black Album. Metallica's music progressively became more complex with each release, culminating in their 1988 release, "...And Justice For All." Their follow-up self-titled, "Black Album", however, broke with this pattern, returning to a streamlined approach that was more reminiscent of their 1983 debut, "Kill 'Em All". This is where all comparisons to their debut end. The Black Album had greater resources backing it, starting with big-name producer, Bob Rock. The band was also warming up to the idea of embracing the MTV format and was benefiting from their well-publicized loss to Jethro Tull in 1989's Music Grammy Awards for Best Hard Rock/Metal Performance Vocal or Instrument Award. By the time the Black Album was released, Metallica was a rising metal band with a growing profile in the public eye. One after the other, each of the album's singles resonated with MTV viewers which had a snowball effect on album sales and ultimately made Metallica musical celebrities. This would have not been possible if the songwriting had not been there. Tracks like "Enter Sandman", "Sad But True", "Wherever I May Roam", "Nothing Else Matters" and "The Unforgiven" sound as fresh and relevant today as they did when they were first released. Even if the Black Album is not one's favorite Metallica album, you still have to respect how it changed the musical landscape. Before 1991, you would be hardpressed to find a rock radio station that would play Metallica. Nowadays, you can hear songs like "One", "Master of Puppets", "For Whom the Bell Tolls" and "Fade to Black", all songs from the pre-Black period without apology from rock stations.

Guns N' Roses - What's in a name?

2009-03-06T01:45:00Z

As I was reading through Blabbermouth.net's news articles today, I ran into one in particular that caught my attention called, "Ask Guns N' Roses a question". As I read the article, there was a glaring omission. The one person who would not be accepting questions was none other than frontman Axl Rose, the lone original member of Guns N' Roses and flag bearer of the GNR brand. Axl has been relatively quiet since the release of the band's long-awaited album, "Chinese Democracy" on November 23rd, 2008. Seemingly out of nowhere, he appeared on several GNR fan websites from Dec. 11th - 12th, 2008 to answer questions and more recently, he agreed to interviews with Billboard.com, "Axl Rose Speaks" (Feb. 6th, 2009) and Spinner.com, "Axl Rose Insists Original Guns N' Roses Lineup Is Dead and Buried" (Feb. 27th, 2009). As the Spinner article title suggests, there is a great deal of interest regarding the classic Gun N' Roses lineup. Yet this interest always gets shot down by Axl who has been plagued with questions over why he is using the Guns N' Roses name. The greatest hurdle that Axl has to overcome is redefining and re-creating a brand that was already a smash hit worldwide. Axl's predicament is not without precedent. In 1985, Coca-Cola changed their formula to a "new" version of Coke, but due to public backlash, the old formula was brought back. While both versions were available at the same time, the classic formula ultimately prevailed. That is not to say that the "classic" version of Guns N' Roses will reunite. As Axl's recent interviews suggest, the level of therapy needed before a reunion could take place would make Metallica's "Some Kinda Monster" documentary look like child's play.

Links:

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=115574

http://www.billboard.com/bbcom/specials/axl-speaks/interview.shtml

http://www.spinner.com/2009/02/27/axl-rose-insists-original-guns-n-roses-lineup-is-dead-and-burie/

The Weather

2009-02-18T03:30:00Z

I always like checking out the lunch hour theme on 107.7 The Bone, one of the local rock stations in the Bay Area. Usually, the host Steven Seaweed will pick a theme and invite listeners to make requests based on that theme. Given today's constant rain, today's theme was appropriately, "The Weather".

As a listener, here are my top 3 songs relating to the weather.

Stevie Ray Vaughan "Couldn't Stand the Weather" from his 1984 album of the same name. Stevie will always be one of the greatest blues guitar players ever. Always humble, he never wanted to take credit for his own guitar playing or talent. Instead, he always deferred to the blues greats before him like Albert King, B.B. King, Freddie King, and Buddy Guy. While it's true he learned by listening to the greats, he took the blues to a whole new level and added his own signature sound to the genre. Whenever Stevie played, you knew it was him.

Vinnie Moore's "Rain" from his 1999 album, "The Maze" - Known for his highly technical albums through various rock labels in the 80's, most notably Shrapnel Records, Moore enjoyed high popularity throughout the guitar community. Unfortunately, for Moore and guitar fans alike, this popularity was short-lived due to changing tastes in the music industry. Most within the guitar community would agree that Grunge served as the catalyst for this shift, pushing technically-oriented guitar music to the wayside. After the rise and fall of Grunge, Moore returned to Shrapnel Records in 1999 to record an all-instrumental solo guitar album called "The Maze". While there are plenty of instances throughout the album where Moore demonstrates his technical prowess, "Rain" provides a glimpse into Moore's soulful and emotive side, making it easily one of the album's strongest tracks.

Uli Jon Roth's "Thunder Cadenza" from his 2003 album, "Metamorphosis". Rock fans may remember Uli Jon Roth as the former lead guitar player for the Scorpions in the mid to late 70's, but he has been anything but idle in his post-Scorpions career. Today, he leads seminars through his Sky Academy and keeps a busy touring schedule. "Metamorphosis" was initially inspired by classical composer Antonio Vivaldi's "The Four Seasons". As Roth began to play "The Four Seasons", however, the music took on a new character and evolved into what later became "Metamorphosis". Played on his custom Sky Guitar, "Thunder Cadenza" demonstrates Roth's remarkable tone and technique. As you listen, your ears will tell you it's an electric guitar, but that it could also be a violin. The marriage of these two sounds creates a very unique listening experience.

The Brazilian Metal Scene: From Angra to Andre Matos

2007-12-03T23:12:00Z

There is a certain phenomenon that happens every time a Brazilian metal band breaks up. The remaining members keep the band name and reform around a group of musicians who unexpectedly elevate the band's previous legacy. In 2001, Angra guitarists, Kiko Loureiro and Rafael Bittencourt did the unthinkable. Following the departure of singer Andre Matos, bassist Luis Mariutti, and drummer Ricardo Confessori, Angra continued with a new lineup featuring Edu Falaschi on vocals, Felipe Andreoli on bass, and Aquiles Priester on drums. Matos, Mariutti, and Confessori, meanwhile, formed a new band, Shaman, with Luis Mariutti's younger brother, Hugo, on guitars. With the break-up of the classic Angra lineup, the biggest question was whether the two camps would be able to work independently from each other, yet still make music on par with Angra's best work? If there is one lesson of rock history, it's that band break-ups usually do not work out.  In the instance of Angra, however, the break-up proved to be a blessing in disguise. Both camps reformed with a new energy and purpose, producing albums which easily surpassed the classic Angra lineup's last offering together, "Fireworks". The challenges created by the break-up also played a key role in the new music direction taken by each camp.   Shaman's debut, "Ritual" is a natural progression from Angra's 1996 album "Holy Land". The music is unmistakably influenced by frontman, Andre Matos' love of Brazilian and classical music. Angra's "Rebirth", on the other hand, retains the classical influences of classic Angra, but downplays the Brazilian influences. The Brazilian influences are there, but are less prevalent. In this way, "Rebirth" is closer to Angra's "Fireworks".  "Rebirth", in fact, is not that drastic of a departure from "Fireworks" which shows a more progressive side of Angra. Stylistically, "Metal Icarus", "Mystery Machine" and "Speed" would fit well on the "Rebirth" album.

The success of each camp following the break-up can be attributed to certain differences. For Shaman, the decision to regroup around guitarist Hugo Mariutti was key in establishing a separate musical identity from Angra.  The difference can be heard almost immediately from the first notes of Shaman's "Here I Am" from their debut, "Ritual". Mariutti offers a style and approach that is closer to Zakk Wylde and Jon Schaffer while the guitar duo of Loureiro and Bittencourt may best be described as John Petrucci meets Dave Murray and Adrian Smith.  As a fan of Angra and as someone who respects the Angra legacy, it would be sacrilegious to imply that Loureiro and Bittencourt replaced Matos, Mariutti, and Confessori. They are musicians who cannot be "replaced". Rather than seek "replacements", Loureiro and Bittencourt reformed around musicians who stand out on their own musical merits. In this light, Edu Falaschi, Felipe Andreoli, and Aquiles Priester are "additions" to Angra.  The musical chemistry under the new lineup is also a much better fit given the progressive direction the band has taken since "Fireworks".

While Angra is working on their follow-up to their 2006 album, Aurora Consurgens, the history of Shaman has taken a surprising twist.  In October '06, Shaman announced they were disbanding. Soon afterwards, frontman Andre Matos announced he would be recording his first solo album. What came as a surprise, however, is that Ricardo Confessori decided to keep the Shaman name and reform under a new lineup. The results of each venture have proved to be successful. The new Shaman featuring Thiago Bianchi on vocals, Fernando Quesada on bass, and Leo Mancini on guitars has put out a new album entitled "Immortal" which is much heavier and progressive than Shaman's previous efforts.  Mancini's guitars are fast and furious while the voice of Thiago Bianchi soars. "One Life" and "In the Dark" feature some of the best vocal performances I have ever heard within the rock/metal genre.  One could argue that with the departure of Matos and the Mariutti brothers that it is not the "real" Shaman, but as Confessori's former Angra bandmates, Kiko Loureiro and Rafael Bittencourt have proven, it is possible to be as good if not better under a completely different lineup.

After twenty years in the music industry as frontman for Brazilian metal heavyweights Viper, Angra, and Shaman, Matos' trajectory towards solo stardom now seems inevitable. He is not only a brilliant frontman and vocalist, but a gifted composer and writer as well. While Matos' solo effort is under his name, it is still very much a group effort. Just as he did in Shaman, Matos wrote all the lyrics to the songs. This time, however, he shares writing credits with a more varied host of collaborators including Pit Pasarell of Viper, guitarist Alberto Rionda from Spanish metal band, Avalanch, keyboardist Fabio Ribeiro, guitarist Andre Hernandes, the Mariutti brothers, and Roy Z. Matos' new lineup closely resembles the original Shaman with the Mariutti brothers, Hugo and Luis, on guitar and bass, respectively, and Fabio Ribeiro on keyboards. The biggest difference from Shaman is the addition of Andre "Zaza" Hernandes on guitars. Matos' collaboration with Hernandes goes all the way back to the beginning of Angra. Hernandes was the guitarist in Angra before Kiko Loureiro and helped compose parts to songs such as "Carry On" and "Time" from Angels Cry. The addition of Hernandes also brings back the energy and dymanic of having two guitar players in a band. The chemistry between Mariutti and Hernandes often recalls classic era Angra (1991-2000). The drumwork is impressive as well. Rafael Rosa's style often reminds me of Neil Peart, but under a metal context. It's varied and dynamic, but always within the song.  Overall, "Time To Be Free" builds upon the strengths of Andre Matos' previous efforts, Angra's "Holy Land" and Shaman's "Ritual." The album's greatest strength is that it never falls under the trappings of a true solo project which can tip the balance in favor of one person's voice at the expense of others.  The entire band shines, not just Andre Matos, and that allows the music to shine. The result is not just one of the best metal albums of the year, but one of Andre Matos' best offerings to date.

Essential Listening:

Angra - Holy Land (1996)
Angra - Temple of Shadows (2004)
Shaman - Ritual (2002)
Shaman - RituaLive (2003) DVD
Shaman - Immortal (2007)
Andre Matos - Time To Be Free (2007)

Interview with Talking Metal's Mark Strigl

2007-11-18T18:46:00Z

Mark Strigl is the co-host and creator of the Talking Metal Podcast, the number-one heavy metal/hard rock podcast on iTunes. The podcast began as a hobby and extension of Strigl's Music News site which featured news articles and reviews. As Mark points out in the following interview, there wasn't really a need for another music site. After listening to other podcasts and noticing a lack of coverage in the metal genre, "Talking Metal" was born. Since inception, The Talking Metal podcast has grown in popularity, averaging 100,000 downloads and 1-2 million hits per month to its website.

Jerred: I want to take listeners and fans of the show all the way back to the beginning. If you go to the website, Talkingmetal.com, it's still striglsmusicnews.com Before there was a Talking Metal podcast, what was on Strigl's Music News?
Mark: Strigl's Music News was my personal site that I started probably about two years before we started the podcast. It was a just a site where I did reviews of bands and little news type of stuff. It was a music news site. That's it and I realized that there wasn't really much need for another music news site. I wasn't updating it much. The buzzword in the media was "podcasts" and I felt that there weren't a lot of good metal podcasts out there. I was listening to a podcast called The Rock and Roll Geek Show which I was really a big fan of which is done by Michael Butler who played bass in Exodus for awhile. I was influenced and inspired by that. His show was more rock n' roll. It was a guy talking about his love of rock n' roll, doing some interviews and it was exactly what the title claimed - a rock n' roll geek show for geeks. I was really into that so he was definitely the influence that made me think, "let me do something like he's doing, but with more of a metal spin on it because he, of course, was doing more of a rock n' roll thing. I think we hit at the right time. A lot of times, it's all when you enter the field. We were early in the podcasting game and I think that helped us because in the beginning there weren't really a lot of choices for people. I thinked that really helped us connect with metal listeners and I think as the show evolved, it just got better.
Jerred: The title of the podcast itself, I think it's a great name - Talking Metal. I was wondering how you came up with the title.
Mark: When I was a kid I used to watch a show called Talking Baseball which they played each week and it wrapped up everything that happened in baseball that week. It was exactly what it said. It was a baseball news talk show. A lot of times when I hang out with my friends at bars, John being one of them, we always just start talking about metal. I always found the conversation interesting and thought there would be other metal geeks out there who would want to listen to two guys drinking some beer and talking about metal. That's where the whole idea came from and it worked.
Jerred: The topic of "what is metal" has come up so many times during the podcast. It goes way back. People can argue for days on this topic. Sometimes, it gets really ugly. What is it about metal that inspires so much passion?
Mark: It's a form of art, it's music and people relate to it. It means something intensely personal to people. I think that's why they start taking such an interest in defending what they believe is metal. I don't know. It's a tough question. People argue about movies. People argue about sports players. It's like that. It's such a big part of people's lives. Everybody's opinionated. Everyone wants to define metal in their own personal way because it is such a personal thing.
Jerred: It's definitely open-ended. It's always interesting what people think about metal. Some people think old school metal like New Wave of British Heavy Metal isn't maybe as heavy or wouldn't be heavy by today's standards, but definitely back then that was Heavy Metal.
Mark: In some ways that's more metal than a lot of the extreme metal that's out currently. The label's too put this name on their product and I think the marketing machine has a lot to do with what people think is or is not metal. If a band is on Metal Blade Records, people think that's a metal band. Although if you compare them to Saxon, one of the definitive metal bands from the 70s and early 80s, they're not metal. Who knows? I think a lot of it is marketing and what you're exposed to at a certain time in your life.
Jerred: On Episode 4, you commented on your Top 20 List and you said probably about 90% of the bands that were on there might not really be considered metal. What other musical genres are you a fan of?
Mark: I like all genres. I'm just a big fan of a good song and I think that transcends different genres from alternative indie rock to arena rock to glam metal to death metal to extreme metal to disco to country. A good song is a good song. I like jazz. I like anything that for whatever reason strikes a chord within me.
Jerred: On Episode 2, you talked about two other possible podcast shows. One was Alien Rock which became Talking Rock and the other idea that was mentioned was a "Waiting for Axl" podcast. The coverage for Axl Rose on Talking Metal has been pretty intense. Could you tell me about your interest in Axl Rose, Guns N' Roses, and Chinese Democracy. How long have you been waiting for Chinese Democracy?
Mark: I've been waiting just as long as everybody else. Even before we knew it was called Chinese Democracy, we've been waiting to hear another Guns N' Roses record. At least since '96/'97 I think is when people started wondering what was going on. Would there be another record? It's one of the most fascinating stories in the history of rock what happened with Guns N' Roses...with them bringing real rock back to mainstream America. In a way, they were the last real rock n' roll band if you will because they had the Rolling Stones influences, the Aerosmith influences. You can argue that bands like Nirvana, even metal bands that have come out or pop bands just haven't had the danger that Guns N' Roses had. The lack of information has led everybody's imagination run wild as to what is Chinese Democracy. It's become legendary. I think the story of Chinese Democracy ranks up there with Brian Wilson and him not doing anything for a long time. It ranks up there with The Doors. I think their story is incredibly exciting when it comes to the history of rock.
Jerred: I first started paying attention back in '97. I was just fascinated that Axl would still carry on without Slash. My interest is, "can he pull it off? Will he? What will it be like?" We're still waiting, but I'm still interested... ten years later (laughs).  I wanted to get into what turned you onto metal. Is there a song that made you a metal fan, that once you heard, you said, "this is it"?
Mark: When I was a kid, when I was 10 or even younger than that, I was into Kiss and Led Zeppelin. A year after that, AC/DC got a big push in this country and was really turned onto them. Those were the bands that laid the groundwork for me. Suddenly the early 80s came and I can specifically remember hearing "Cum on Feel the Noize" by Quiet Riot on the radio for the first time. Soon after came, "Looks to Kill" by Motley Crue. Then I remember hearing an Iron Maiden song on a high school radio. It's was just the excitement of everything in the early to mid 80s that turned me onto heavy metal music just like hundreds of thousands and millions of other kids across the country. It was something that wasn't on pop radio quite as much. Even though you could get most of the records at the shopping mall when it came to a band like Iron Maiden, there was still a danger about them and something that the average kid at school didn't know about. It's back to what we were saying earlier. They've become a incredibly personal part of your life. It's perfect for a teenage kid for a band like Iron Maiden with the fantasy element to the songs and loud agressive angry guitars. It clicks with any teenager. Those same albums that I got turned onto are still turning on 14 year olds today. I was in Sam Ash recently and saw some kid sitting down trying out a guitar and he was playing "The Trooper". It was really amazing.
Jerred: You're also a musician. You play the guitar. When you first picked up the guitar, who inspired you to learn how to play the instrument?
Mark: I picked up the guitar because I was totally into Angus Young and AC/DC. I was into other stuff too. I was into Van Halen and The Who and stuff like that, but it was definitely AC/DC that made me want to play guitar.
Jerred: I interviewed John (Ostronomy) a long time ago and he said some of the best music he has recorded has been with Captain T and Ostronomy. When did you first meet and begin collaborating?
Mark: I met John at Berklee College of Music in 1987. He was friends with a friend of mine and it turned out we were all into Ace Frehley and kind of just bonded over that. Really we've been friends ever since. He was a drummer. We've jammed many times thoughout the years and we've had a few bands together. He's always been a constant ever since I've met him.
Jerred: One of the things about the podcast is that it's turned me onto new music, stuff that I may have not listened to before or given a chance really. I've always known about Black Sabbath with Ozzy, but I never really gave anything else a listen beyond that. Through the podcast I became a fan of Dio-era Black Sabbath. You're a big fan of all different eras of Black Sabbath. What are your favorite Black Sabbath albums post-Ozzy?
Mark: For sure, Heaven and Hell and Mob Rules. Definitely Born Again. The Tony Martin stuff is all very interesting. Cross Purposes, I think is a really cool record. "Back to Eden" is a great song off of that. Strangely, I like the Forbidden record a lot which a lot of people don't like. I think there's a lot of good stuff on that. Tyr is interesting too. "Valhalla" is a great song off of that.
Jerred: Did you ever have any idea that Talking Metal would become as big as it is? When did you notice that things were really taking off?
Mark: I noticed things started to take off right around the time of...there was a guy named Lizzy Borden. We interviewed him and I remember after that getting probably like a dozen emails from people saying, "thanks for doing the interview, very cool, this and that" and thinking, "wow, people are really starting to listen." Shortly after that, we started permanently getting a parking space in the top position (on iTunes) for hard rock and heavy metal podcasts.   I would say around the time of the Lizzy Borden episode is when I noticed it. I'm not sure when that was. Probably, the Guns N' Roses stuff happened shortly after that. The Guns N' Roses stakeouts - I think they were as much comedy as they were anything else. It was the next level where it just put us over the top. Of course, we have stat counters on our site so we get numbers as to how many people are hitting the RSS feed and MP3s. We've seen it. It's been a pretty gradual rise. I specifically remember right around the Lizzy Borden thing thinking "wow, this is starting to get some listens".
Jerred: Those stakeout episodes with GNR were classic.  Who would have thought of going down to Sanctuary and Sterling Sound to see if you could possibly bump into somebody that might know something about Chinese Democracy. You guys bumped into a few people I think.
Mark: We did. I basically knew going down there we weren't going to get anything. Again, it was the zany geekiness of going down there and hanging out, the ridiculous nature of it that I think made the whole thing fun.
Jerred: The Talking Metal podcast has been going on for over two years, almost two and a half years now.  Was there any interview that really stood out to you or a series of interviews that you really enjoyed and that you still think back upon as having a blast doing?
Mark: Oh, yeah. There are so many. I love all the interviews. To me, going to meet Ozzy Osbourne I think was one of the jewels on the crown. I felt, "wow, it doesn't get any bigger than this". The same goes for Rob Halford. Both those guys. Sitting down and talking with those guys at a table. They're so personable and friendly.  I would say both Rob Halford and Ozzy Osbourne have been the top moments of Talking Metal for me.
Jerred: Without a doubt, the Rob Halford episode was such a highlight for me. The Metal God coming onto the show. That was just a thrill. Like you said, he's really personable and friendly. He's such a legend, but he's also approachable. He's a great ambassador for the whole genre.
Mark: Absolutely.

Links:
http://www.striglsmusicnews.com/podcasts/talkingmetal/index.htm
http://strigl.wordpress.com/

Talking Metal on Fuse - 11-9-07

2007-11-08T19:49:00Z

This Friday (12:30am ET, 9:30pm PT) will mark the debut of Talking Metal TV on the FUSE channel. The show will feature interviews with Dave Mustaine (Megadeth), Nikki Sixx (Motley Crue) and Serj Tankian (System of a Down). Other highlights include a jam session with Talking Metal co-hosts Mark Strigl on bass and John Ostronomy on guitar with Guns N Roses members, Ron "Bumblefoot" Thal on guitar and Frank Ferrer on drums. Other guests will include Rob Halford guitarist, Metal Mike Chlasciak, voice-over personality Bud Friendly and Talking Metal Forums Webmaster and metalhead Xcitor.

For more information, be sure to visit
http://strigl.wordpress.com/

107.7 The Bone commemorates the 50th Anniversary of Sputnik I

2007-10-05T05:05:00Z

On this day, 50 years ago, Sputnik 1, was launched into orbit around Earth. To commemmorate this historic event, 107.7 The Bone, the San Francisco Bay Area's premier Classic Rock station took song requests that fit the theme of Space. Some of the songs played included "Space Oddity" by David Bowie and "Eclipse" by Pink Floyd.

Here are my picks fitting this theme:

"Big Bang Theory" - Steve Vai - Available exclusively through Vai-tunes, Steve Vai's own music download store (http://www.vai.com/vaitunes/). There are certain guitar players who, when they pick up the instrument, have that intangible quality to their playing - where you know it is them instantly. You can isolate certain elements from Steve Vai's playing - whammy bar technique, legato slides, intonation, phrasing, feel and touch, but alone, they are meaningless. When these elements are combined, however, the result is one one of the most inimitable voices ever forged on the guitar.

"Space-Dye Vest" - Dream Theater - The closing song on Dream Theater's Awake album, their last with keyboardist, Kevin Moore. Moore's departure in retrospect seemed unexpected given his musical and lyrical contributions to the band. Nowhere is this contribution more evident on Awake than on Space-Dye Vest where he accompanies vocalist James Labrie with haunting and dramatic lines.

"The Event Horizon" - Steffan Chace - A new song by 19 year old guitar phenom and instrumentalist, Steffan Chace. Drawing upon the theme of space, the song begins with rich keyboards and futuristic sounds. As the final notes fade out, the song kicks into high gear with double bass drums and driving guitars. The transition to the verse melody is noteworthy for what it leaves out. The rhythm guitars completely disappear, giving the song a live and spontaneous feel. The transitions between the verse melodies and guitar solos are so seamless I hesitate to separate them into different categories. There is a melodic foundation firmly established in the verse, but the guitar solos flow naturally from that foundation. No matter how technical or complex, the solos always serve the song. http://www.myspace.com/steffanchace.com

"Space Station #5 - Montrose - You cannot listen to a Classic Rock station without hearing at least one great song from Montrose's 1973 debut album. Some of the most well-known tracks include, "Rock Candy", "Bad Motor Scooter", "Rock the Nation" and "Space Station #5". The latter begins with space-like noises created by guitar player Ronnie Montrose. The song then takes off with a fast boogie riff. The edgy vocal performance that follows is from none other than Sammy Hagar. Whether performing solo, in Van Halen, or Montrose, Sammy has made a lasting mark on rock history with his great vocal talents.

"With Jupiter in Mind" - Joe Satriani - Crystal Planet - Joe has always captivated listeners' imaginations with his songs on space themes (alien life forms, space exploration). His style of music is so closely aligned with this subject matter that it's almost impossible to separate the two. Joe has always maintained that his style of music is rock, but what makes his music so different is that he plays with the sophistication of a jazzmaster. He knows the perfect chord no matter how complex or obscure and when to play it. "With Jupiter in Mind" has a fair share of uncommon chords and modal shifts - elements which make Joe's music so intriguing.

Radiohead - In Rainbows

2007-10-04T03:08:00Z

Time.com very recently ran an article on the music industry with a particular focus on Radiohead's upcoming release, "In Rainbows". While different artists have experimented with selling their own music on the Internet, Radiohead is taking it one step further by giving listeners the option to pay as much or as little as they want for their new album. The implications could be far-reaching. For years, CD prices have fallen within a certain price range, typically selling anywhere from $9.99 for new releases to $15.99 after a cooling off period.  Whether an album is worth these prices largely depends on a person's musical taste and temperament. Opinions develop and change. What someone may be willing to pay one day could be entirely different the next.

Potentially giving away music for free may seem like career suicide, but in the case of Radiohead's upcoming release, it makes sense. Fans have the choice to download the album Oct. 10th, paying what they want. A separate disc box collection is set for release on December 3rd. It is very comprehensive and will surely appeal to diehard fans. It includes one regular CD, two vinyl albums, an enhanced CD containing additional tracks, digital photographs and artwork, a slipcase, hardback book and lyric booklets.  The price of the Disc Box is set at 40 pounds (or $81.65) and is not negotiable. Moreover, the Disc Box will include the digital download. What the band is counting on is that those who download the album on Oct. 10th will not just be content with the download alone and will also want the extra tracks offered on the enhanced CD that comes with the Disc Box. The digital download is the teaser. The Disc Box is the enticement.

One may argue that if the digital download is available as part of the Disc Box, then why pay for it the first time around? For the sake of argument, let's divide the price of the Disc Box (40 pounds) by the number of contents (2 cds, 2 vinyl albums and a digital download for a total of five items). Under this calculation, each item including the digital download is worth eight pounds. If you pay for the digital download on Oct. 10th and also buy the Disc Box, you are essentially paying twice for the same thing. The beauty of Radiohead's "Name Your Price" strategy is that it does not penalize the fans for wanting both products. While the fans are more than free to pay twice for the same item, they are not obligated. Under these circumstances, Radiohead cannot be accused of gouging their fans since they are giving them the freedom to opt out of paying for the Oct. 10th digital download.  Whether fans opt out or not, however, is another story.

Just as some fans will want both products, others may only want the digital download. Under this scenario, the true risk of the band's strategy appears. Each fan will decide how much or how little he/she pays for the download. Without hearing the new album, other factors will have to be considered when naming a price, e.g. Radiohead's track record, reputation, artistic integrity, and overall creativity. The final decision will ultimately depend on each fan's perception of these factors. If fans still have trouble deciding a fair price, they can always fall back on the iTunes pricing schedule which offers songs at $0.99 apiece. The other possibility looms as well - fans may ignore all of these factors and pay nothing.

When I initially heard Radiohead was allowing fans to choose their own price, I wask skeptical. No other band has ever tried this. Sure enough, it is true as the Time.com article attests. When you visit Radiohead's online store, there is a question mark by the price for the digital download. When you click it once, a prompt appears, "It is up to you." When you click it again, a similar prompt appears, "No really. It's up to you." The band is quite serious about giving their fans the ability to name a price. Underlying this gesture is a great respect for the fans. While nobody knows yet how all of this will play out, industry eyes will certainly be watching closely.

Links:
http://www.time.com/time/arts/article/0,8599,1666973,00.html
http://www.inrainbows.com/Store/Quickindex2.html

Def Leppard - Sleeptrain Pavilion, Concord, CA - Sept. 18th, 2007

2007-10-02T03:40:00Z

The following setlist was performed by Def Leppard on Sept. 18th, 2007 at the Sleeptrain Pavilion, Concord, CA:

Rocket
Def Leppard pays tribute to its past though an amazing video montage, depicting different eras of the band. For old and new fans alike, it's a powerful (re)introduction to a legendary band. The live version of this song closely mirrors the edited version from MTV where a large part of the song's middle is cut out.
Animal

Excitable As one of the more diverse tracks on the Hysteria album, it's an unexpected choice live. There's no mistaking the song's pop/new wave influence and although it may sound a bit dated, one's things for sure - it's a hit with the ladies.
Foolin'
Mirror, Mirror (Look Into My Eyes)
Before the song, Joe Elliot introduces Vivian Campbell, "He's been in the band longer than the Beatles were together, but is still considered the new guy. He wasn't around when we recorded the High 'N' Dry album, but he can play the fuck out of it."
Another Hit and Run
Love Bites (extended jam at the end)
Rick Savage Solo
Rock On
From their 2006 cover album, "Yeah!" - While they played this track, I thought, "why are they covering someone else's song?" They don't need to. At the same time, however, I considered where they are in their careers. After playing the same songs tour after tour, it probably keeps things fresh and exciting.
Two Steps Behind
Viv, Joe, and Phil come to the front of the runway going into the crowd. Joe talks about the "Downstage Thrust Tour", how they aren't touring behind a new album, but that they are working on a new album which will be released next year. Joe then comments, "Somebody's drinking a lot of Jack Daniels up front 'cause I'm getting high off the fumes. So if I fuck up, you'll know why (the crowd gets a good laugh).
Bringin' on the Heartbreak
The song begins with Viv, Joe, and Phil playing acoustically. Midway through the song, Viv and Phil depart and come back with their electric guitars. The song ends with Rick playing the bass line that leads into the next song, just as it is played on the High N' Dry album.
Switch 625
Just as Phil and Viv trade off guitar lines, I can imagine Phil and Steve doing the same years ago. A great tribute to their fallen guitar hero, Steve Clark (R.I.P.)
Hysteria
Armageddon It
Photograph
Pour Some Sugar On Me

Encore:
Rock of Ages

A timeless classic and a fitting end to a great show. Joe tells the crowd, "don't forget about us and we won't forget you. We will see you again next year."

I have not followed Def Leppard since their Retro-Active album (1993), but seeing them live made me remember why I became a fan of theirs so many years ago. They've written some of the best songs in rock history and helped define an era of music. Very few bands can boast the same level of success and longevity as Def Leppard and after all these years, they still deliver.

Yngwie Malmsteen - Crucify - War To End All Wars

2007-09-22T21:51:00Z

Artist: Yngwie Malmsteen
Song: Crucify
Album: War To End All Wars

When it comes to the music of Yngwie Malmsteen, critics are usually harsh. However, War to End All Wars has the distinction of being panned by diehard fans as well, not because of the quality of music. Rather, the production is terrible. The rhythm guitar tracks are missing treble (did somebody forget to turn up the EQ?) and the drums reverberate incessantly. Fans debated each other on the album's sound when it was first released. One fan thought there was something wrong with his CD and had to turn up the treble on his stereo to get the right balance. The underlying question to the whole debate was whether Yngwie could have intentionally planned it this way. He is a stickler for detail and is his own harshest critic. Interestingly, it turned out Yngwie could not get the engineer he wanted. Chris Tsangarides was the engineer on Yngwie's previous four albums - Magnum Opus (1995), Inspiration (1996), Facing the Animal (1997) and Alchemy (1999), but was noticeably absent from the credits on War To End All Wars. The chemistry between the new engineer, Brian Fitzpatrick and Yngwie was bad and the sound suffered tremendously as a result. Nevertheless, War To End All Wars has its merits.

One of my favorite tracks on the album is "Crucify". The opening riff is played in the C# Phrygian Dominant mode (C#-D-E#*-F#-A-B ). Yngwie blazes through this sequence of notes with impeccable finess and touch, ascending from the C# and descending from the A. The second riff ascends, but finishes at the top going from B to C#, then back to B. The feel of the first riff immediately reminds me of Bach. The playing is dynamic with all the right accents. The second riff continues the feel of Bach, but ends with a rock attitude. As he repeats these two sequences, momentum builds towards the next section of the song which begins at 0:39. At this point, Yngwie sounds a low C# which functions as a drone note for the sitar and vocals that follow. It's not the first time Yngwie has incorporated the sitar into his music. "C'est La Vie" from Fire & Ice (1992), "Pyramid of Cheops" from The Seventh Sign (1994), "Time Will Tell" from Magnum Opus (1995), and "Voodoo Nights" from Alchemy (1999) all feature Yngwie's sitar work. What stands out to me in "Crucify", however, is how Yngwie takes an idea that is central to the sitar (drone notes) and applies that to the guitar while he plays the melody on the sitar like he would a guitar solo. There's a conscious decision to approach things in a fresh and exciting way and this makes the song stand out. Isn't rock n' roll all about breaking the rules?

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*In music theory, this is correct. In practice, there is no such thing as an E#, but in music theory you cannot have a scale with two different notes identified by the same letter - in this case, F and F#.

Travis Meeks - To Hell and Back

2007-09-20T04:45:00Z

In 1997, Travis Meeks, the leader and frontman of Days of the New, seemingly had it all - a platimun selling album, three hits "Touch, Peel and Stand", "Shelf in the Room", and "Downtown" and an opening slot on Metallica's Reload Tour. Before his show at the Shoreline Ampitheater, Travis visited the studios of KSJO (San Jose, CA) to play a stirring rendition of "The Down Town". The performance was riveting.

A year later, Travis fired his band and told Guitar World that the firings would have no impact on the band's sound since he wrote all the music. The band's sound, however, did change. When the first single from his sophomore effort, "Enemy" hit radio stations, listeners heard synth beats and layers of tracks. Travis's voice was as good as ever, but his incessant, distorted, high pitched, "yeah" in "Enemy" was misplaced. Overall, "Enemy" was a great track, but Travis' background "yeah's" and synth beats were too radical of a departure from the band's original sound to sustain the momentum created by the first album.   It is almost a given that if a track does not immediately resonate with listeners, it can completely derail any chance of future success for an album. There's no doubt Travis was enthusiastic about "The Green Album". In fact, it contains some of his greatest songs, "Weapon and the Wound", "Take Me Back Then" and "Bring Yourself", but it did not fare as well as its predecessor and soon, promotion for the album quietly vanished.

"The Red Album", released in September of 2001, showed Travis expanding the band's sound even further.  While the album remains acoustic-based, there is a noticeable electric feel on many of the songs ("Hang on This", "Fighting With Clay", "Best of Life", "Where Are You", "Words"). The most likely source of this electric sound is a resonator guitar, a type of acoustic guitar commonly used by blues artists (John Hammond, Jr, Johnny Winter, Eric Sardinas). The album's first and only single, "Hang on This" is such a departure from the band's earlier sound that it does not sound like Days of the New save for Travis' voice. Unsurprisingly, the album's best songs, "Days in Our Lives", "Die Born" and "Dirty Road" recall the band's earlier sound.

With lackluster support from Interscope Records and the events of 9/11, "The Red Album", unfortunately, was doomed before it was released. Without any momentum from the previous album, "The Red Album" quickly faded away leaving Days of the New's future uncertain.

The next chapter in Travis' life is without a doubt, one of the most sobering. While we often hear of rock stars becoming addicted to drugs, the dark side of addiction often gets obsured through the seductive image of "sex, drugs and rock n' roll". As fans, we accept it as a part of rock n' roll, but we don't necessarily see how drugs ruin lives and tear families apart. This cold reality hits hard on A&E's Intervention (Episode 6) which documents Travis' struggle with meth addiction. It's heartwrenching to see how far he has fallen. The show winds down with the producer urging Travis to give rehab a chance. The worst part, however, is that you don't now if he will be successful. The situation is tense and desperate.  Despite the hold of his addiction, Travis finally relents and decides to give it a shot. Where the intervention failed, the producer succeeded and most importantly a life was saved.

Links:

http://www.daysofthenew.com/
http://www.myspace.com/daysofthenew

Al Di Meola - Kiss My Axe

2007-09-09T23:55:00Z

My first exposure to Al Di Meola was through various advertisements in Guitar World magazine circa '92. At the time, REH Video had a line of instructional videos from different guitar virtuosos. One of them was of Al Di Meola, but unlike the others, there was no subtitle or reference to what he would be teaching. It was just Al Di Meola. At the time, I thought, if it's based just on him, he must be good. He also had a look that distinguished him from others - he wore glasses and had slicked back hair. I was always intrigued. Below his video, the description talked about esoteric guitar topics like "the phrygian dominant". Although I had never heard his music, I was becoming more and more familiar with him. In one issue, a full page ad was taken out to promote his, "Kiss My Axe" album. Standing besides Al was a beautiful woman, naked with her hands resting on Al's shoulder. I became more intrigued. Jazz is not generally associated with sexuality or sexual allure like rock music. In rock, sexuality is a given. In jazz, it's unheard of. With this album cover, however, Al Di Meola stood apart from the rest, making him a "rock star" in his own right. While the visual initially caught my attention, I also noticed the caption at the top by one of my all-time favorite guitarists, Steve Vai, "Every note explodes with emotion". Vai's endorsement transformed my intrigue into an urgent matter - I had to get this album.

After a trip down to San Francisco from Northern California to watch a Giants baseball game, my dad took me to Tower Records. In the back of the store where they carried tape cassettes, I found Al Di Meola's Kiss My Axe album. As soon as I listened to the first notes of "South Bound Traveler", I was hooked. It was unlike anything I had ever heard before. The song begins with congo percussion and chants followed by synthesizer.  My first impression was of being in a different country for the first time. The atmosphere was alluring and mysterious. The final selling point for me was Barry Miles' piano playing. His phrasing was impeccable. Although it was an Al Di Meola album, the focal point of the music was not necessarily Al Di Meola.  All the other players seemed to play a key and vital role in the overall direction of the music.

The album's second song, "The Embrace" is more upbeat, but retains the calm energy of its predecessor. At 1:47, the congo percussion and chants set a new mood.  Numerous key changes occur which help create tension.  With each shift, a new voice emerges, but with greater urgency. This tension continues to build until the song suddenly returns to its original tempo at 3:51. It grabs your attention because you expect to hear something different. The tempo change suggests greater intensity, but the guitar lines are soothing which is completely unexpected.

The next song, "Kiss My Axe" is one of my favorite songs on the album. There is an immediate air of mystery and danger in the song's opening. It's impossible to know where the song is going to go, but you still anticipate what lies ahead. When the rhythm section finally kicks in, it makes an incredibly strong impact.   For most of the album, Al utilizes clean guitar tones, but at 3:26, he makes a rare shift to distortion. The result is electrifying and demonstrates why he is one of the most technically revered guitar players alive.

Of all the songs on Kiss My Axe, "Morocco" is the most special to me. I love Spanish guitar so when I first heard "Morocco", it immediately became my favorite song. I have always wondered why Al named this particular song after a country that is not generally associated with flamenco guitar. During my sophomore year, I used "Morocco" as the opening track to a film project in my Spanish class. While my buddies were fighting over camera angles, I was picking the music for our film which was loosely based on the Three Amigos. "Morocco" was the perfect song and I knew it would help set the tone for the rest of the project.

"Global Safari" is another one of my favorite tracks on this album.  The percussion has a distinct tribal sound that sets it apart from other songs on the album.  While the energy is high, Al's guitar tone is soothing and relaxed. The intensity, however, picks up at 1:44 when Al introduces flamenco rhythms. Al's solo at 2:40 - 4:23 is one of the best he has ever recorded. If you combine the technical command of Yngwie Malmsteen and the soul of Carlos Santana, this is what it would sound like.

To this day, Kiss My Axe is one of my all-time favorite albums. While it is a solo project, it comes across more as a group effort. Anytime you give Al Di Meola a guitar, it's going to be good, but when you pair him up with musicians who can match his talent level, the result is extraordinary. You can tell everyone is excited and playing at their best.

Joe Satriani - Montreux Jazz Festival - July 15, 1988 - Surfing with the Alien (Legacy Edition)

2007-08-25T21:44:00Z

Imagine you've been given a once in a lifetime opportunity to play the Montreaux Jazz Festival. You are slated for a 12:00 am performance only to be pushed ahead to 4:00 am. Your plane is scheduled to leave in four hours and you only have one hour to play. This is your shot.

Out strolls the Satchman, decked out in Bohemian garb and white hightops. He dawns the guitar, takes a few strums, and quietly introduces the opener, "Ice 9". The energy from Stu Hamm and Jonathan Mover is high as they lay down the rhythmic foundation. With such skilled musicians by his side, Joe is free to do what he does best - play guitar.

One of the greatest strengths of the Montreux Jazz Festival performance is the improvisational variation within the songs. Joe does not attempt to reproduce exact replicas from the studio and this helps create a sense of spontanteity. This same approach can also be heard on Joe's Dreaming #11 EP, recorded a little over a month before the Montreux show. Even within this short time frame, the live versions of "Ice 9", "Memories", and "Hordes of Locusts" evolve. One of my favorite moments of the performance is the transition from "Circles" to "Lords of Karma". Despite the calm energy of "Circles", there is a certain tension in the song's melody which foretells the guitar solo. There is a feeling that the moment of truth is about to occur and at that moment, Joe takes the guitar into the stratosphere like a man possessed. Just as the solo reaches the peak of intensity, Joe brings us back to the original melody. At the song's conclusion, Jonathan Mover launches into a drum solo which successfully builds anticipation for the epic "Lords of Karma".

The overall performance of the Montreux show may not be perfect, but that is also the beauty. There is something bold, honest, and unpredictable about this performance. Just as surely as the perfect note could be hit, another could be missed. On the rare occasion the latter occurs, Joe immediately recovers and always lands on his feet. What the show may lack in technical execution, Joe makes up for in sheer emotion. The Montreux performance proves that even under the most trying circumstances, Joe is able to translate the deepest human emotions onto the fretboard.

Rat Skates - Born in the Basement

2007-08-13T23:32:00Z

If you have ever watched Metallica's VH1 Behind the Music and enjoyed the story of its earliest days and rise to fame, you will thoroughly enjoy Born in a Basement. The DVD tells the story of metal pioneer, Overkill, from its earliest inception to its rise to prominence in the east coast underground metal scene.

The man behind the story is Rat Skates, original drummer and co-founder of Overkill. Skates is candid and passionate about the role he played in the early thrash movment. What emerges is not just a musician, but an entrepreneur with keen business instincts determined to make his band a success no matter what the cost. What the band lacked in monetary resources, Skates made up for in imagination and creativity, using everyday items such as milk crates and Styrofoam paneling to create an arena-like stage set for the band's live shows.

As the story unfolds, the viewer gets a true sense of what it was like to be a part of thrash's heyday. Skates could have easily used today's technology to enhance the image of the thrash movement or his own. However, he eschews big production in favor of the same "do-it-yourself" approach that characterized his earlier days in Overkill. The result is a documentary that faithfully preserves the spirit of the early thrash movement.

Links:
http://www.ratskates.com/

Trek to Amoeba

2007-08-12T00:02:00Z

In a day and age where music can be obtained at the click of a button at nearly the same sound quality of a CD with superior prices, what incentive is there to venture out of the cyberworld and into the physical world to buy music? The convenience of downloading MP3s can be addictive. On a whim or impulse, you can buy whatever music you wish without waiting in line or getting into your car to drive to the music store. It is a technology that feeds our culture's evolving need for "instant gratification". With the growing prevalence of the Internet in our daily lives, what could possibly make someone venture out of the comfortable confines of their home, get in their car, drive 36 miles, and spend an hour looking for parking? The answer is Amoeba Music in the famous Haight and Ashbury District of San Francisco.

I first learned about Amoeba years ago when I read the liner notes to Joe Satriani's Flying in a Blue Dream CD. Years ago, when I moved to the Bay Area for college, I visited Amoeba Music in Berkeley, but it pales in comparison to the San Francisco store which I discovered years later. The latter is a music lover's paradise. They have out-of-print CDs, hard-to-find CDs, vinyl albums, concert posters from the Fillmore, DVDs you never knew existed... It is a good bet that if they do not have it, no one else has it either.

One highlight from my trek to Amoeba today occurred while browsing the rock section. Unexpectedly, I saw Sammy-era Van Halen filed as "Van Hagar". Sammy, when he joined Van Halen, wanted to change the band's name to Van Hagar, but Eddie demurred. The story goes that Sammy and Eddie flipped a coin to see what the band's name would be. Eddie, of course, won the bet, but that hasn't stopped others, especially fans of Roth-era Van Halen, from calling this version of the band, "Van Hagar".

Links:
http://www.amoeba.com/

Dream Theater @ The Berkeley Community Theater, 7-28-07

2007-07-29T23:22:00Z

I've gone to many Dream Theater shows throughout the years, but this one was different. The band was different. From the first notes of the opener, "Constant Motion", I knew it was going to be a special performance. The whole stage lit up as Mike Portnoy hit the cymbals at dizzying speed. The guitar came in and the entire place erupted. James Labrie was fired up, moving around the stage, and participating with the crowd. It was an incredible way to open. John Myung's bass lines took us into the next song, Octavarium's "Panic Attack" followed by the atmospheric "Blind Faith". Jordan Rudess completely owned this song, extending the song's introduction. The song seemed to end as Rudess played a solo spot, but the band come back in to finish the song. John Myung, again led the crowd into the next song, Awake's "Scarred". Petrucci gave the opening a jazzier feel before launching into his bluesy leads. To this day, Awake is my favorite Dream Theater album. If I had been living in the era of vinyl records, I would have worn this album out. Including this song in the setlist made my night. It was every bit as good as when I first heard it in '94. If this wasn't enough, the night's greatest highlight followed with a revamped version of "Surrounded". During the song's solo selection, Rudess brought out his Zen Riffer keyboard and left his familiar spot on stage to join Petrucci in a duel. It was moment I will never forget. As the two faced each other, they completely nailed the solo. This was a moment for Jordan to become a rockstar and he shined. "Dark Eternal Night" followed with great participation from the crowd. People all around were getting up and headbanging. Jordan took the audience into the next song "Lines in the Sand". One of the song's highlights was Petrucci's solo spot. The tempo was slowed down, allowing Petrucci to really dig into the notes. As the song's last notes rung out, Labrie took the audience into "The Spirit Carries On". As the song picked up momentum, Mike Portnoy raised a lighter and the crowd immediately followed suit, creating a scene reminiscent of The Scorpions "Wind of Change" video. The crowd was soon waving back and forth along with Petrucci's lyrical guitar lines and Labrie's vocals. The night closed out with "In the Presence of Enemies Pt. 1 and Pt. 2". The highlight was Petrucci's soulful guitar in Part 1. As the years go by, Petrucci has become more and more a complete player. His guitar break during "In the Presence of Enemies" shows that he is just as capable of playing soulful melodies as he is playing the most technically demanding lines. He is definitely exploring a more Gilmour-esque side to his own playing and it's paying huge dividends. The other thing that should be said is that Petrucci is almost a completely different performer. He is interacting with the crowd and moving around the stage a lot more and showing a lot more emotion on stage. For years, I thought he looked too reserved. He's opening up and becoming a true rocker with a live show to match the music.

For the encore, Mike Portnoy brought out his son and daughter to play chimes in the introduction to "It's Raining". In true Dream Theater fashion, "Raining" morphed into series of different songs, beginning with "Finally Free", "Learning to Live", "In the Name of God", and finishing with "Octavarium".

Metallica - Some Kind of Monster - Some Kind of Monster (EP)

2007-07-26T23:53:00Z

Artist: Metallica
Song: Some Kind of Monster (Edited)
Album: Some Kind of Monster EP

St. Anger is an album that triggers fierce debate within the metal community. Some people felt misled by Lars Ulrich who described the album as "retro" in the months leading up to its release ("Retro" could only refer to its earlier days with Cliff Burton, right?). For fans weary of the material on the Load and Reload albums, this was welcome news. When the album arrived, however, fans got a surprise. St. Anger is almost unrecognizable as a Metallica album. The production is so shoddy, it defies comprehension. If the songs were demos, this would be all right, but this was the final product. Of course, there was great turmoil within the band as captured on the Some Kind of Monster documentary. The group's longtime bassist, Jason Newsted, quit the band, frontman James Hetfield entered rehab, and producer Bob Rock assumed double duty as producer and bass player.

The remake of Some Kind of Monster for the documentary has everything the original lacked: focus, clarity, and production. The edited version is trimmed down from 8:27 to 4:18, preserving only the best parts from the original, the guitars have greater presence and tone, and most importantly, the drums are fixed. The end result is a song worthy of the Metallica name. When a song sounds this much better than the original, it makes one wonder why the guys don't redo the entire album.

Gary Moore - Still Got The Blues - Still Got The Blues

2007-07-26T22:44:00Z

Artist: Gary Moore
Song: Still Got The Blues
Album: Still Got The Blues (1990)

There are certain guitar players who have the ability to carry a song with just one note: David Gilmour, Jeff Beck, and Carlos Santana. On "Still Got The Blues", Gary Moore proves why he belongs in the same company. From start to finish, Moore's guitar sings with a lyrical quality that rivals Gilmour's performance on Comfortably Numb.

Yngwie Malmsteen - Facing The Animal

2007-07-19T01:40:00Z

Artist: Yngwie Malmsteen
Album: Facing The Animal (1997)

Throughout the years, Swedish guitar virtuoso Yngwie Malmsteen has been accused of many things. Branching out and exploring different styles has not been one of them. After the release of his debut, Rising Force, twenty-three years ago, Yngwie's output, has been consistent, if not at times predictable. Many of his albums feature staples of 80's rock - high tenored vocals, guitar solos, and power ballads, ("Dreaming", "Save Our Love", "Prisoner of Your Love", "I'd Die Without You" "Like an Angel", "Miracle of Life"). While Facing the Animal, overall, does not step too far from this format, there are tracks that show Yngwie exploring new ideas. "Braveheart" features a strong Irish influence and detuned bass. The latter gives the song a heavier edge and injects new life into the genre Yngwie helped pioneer. Throughout his career, Yngwie's lead guitar playing has often overshadowed his rhythm playing, but on "Facing the Animal", the focal point is the rhythm. Locked in with the bass guitar, Yngwie delivers one of his most memorable riffs. On "Enemy", Yngwie stretches out again. This time, he plays in 7/4 time, brings back the de-tuned bass, and stays locked on one note. The result is unlike any other song in Yngwie's entire discography. Lyrically, it is one of his most inspired as he turns personal tragedy into triumph, a theme that pervades most of the album's songs. "Only the Strong" shows the bluesy side of Yngwie. In an answer-call fashion, Yngwie delivers raw Stevie Ray Vaughan-like blues lines to Mats Leven's vocals. The playing is a far cry from Yngwie's fiery neoclassical lines and that's why it works so well. Nobody expects to hear the blues from the king of shred.