Tags
Black Star Riders, Brother Cane, Damon Johnson, David Lee Roth, Def Leppard, Eugene B Sims, Jimmy DeGrasso, Joe Elliott, Jon Lowder, KISS, Marco Mendoza, Megadeth, Ozzy Osborne, Phil Lynott, Ricky Warwick, Scott Gorman, Suicidal Tendencies, Ted Nugent, The Almighty, The Clash, Thin Lizzy, White Lion, Whitesnake
Salutations™!!
The last album in the Eugeology series was so neutral to me it was Switzerland. Jon dug it and, of course, so did Eug since it’s his list. We get back to being able to pick a side this week. So, let’s do it!
#6 – All Hell Breaks Loose by Black Star Riders.
©Nuclear Blast
Admittedly, I was never big into Thin Lizzy. This was much to Eugene’s chagrin. I know he wanted to slap me on numerous occasions and several times for this fact, alone. I’m not saying I didn’t like them, I just didn’t get into them. There was nothing wrong with them, just not something I got into.
Thin Lizzy certainly had their own sound and style for sure. Phil Lynott had a voice that stood out and you never wondered if it was him or not. Phil, sadly, passed away in 1986 after battling drug and alcohol dependency. The band officially broke up a few years prior, in 1984. Without Phil they couldn’t carry on, right? Well, long-time Thin Lizzy guitarist Scott Gorman reincarnated the band using the likes of John Sykes and several other contributors. In fact, the band still tours as Thin Lizzy sometimes. However, the band thought it was time to record a new album and tour with that, but something just wasn’t right for Thin Lizzy to do so without Phil. So, Gorman announced that the new album was going to be released under a new name and was going to be called Black Star Riders.
So, new material was released and this, All Hell Breaks Loose, is the debut album for that incarnation of the band. While the name is new and the songs are new, there’s no mistaking who these fine musicians are writing for and who they’re channeling in their writing: Thin Lizzy’s fans and Phil Lynott. It is so modern Thin Lizzy. And for that, I commend them. They did right by changing the name and I think they definitely did right by not changing what buttered their bread. Ricky Warwick, also an Irishman, just like Lynott, sounds remarkably like the original voice of the band.
Not every song sounds like Lizzy, though. The title (and opening track) song, to me, is a bit more modern and rocking. The same for “Valley of the Stones.” Great riffs throughout the album. The harmonies are impeccable and are slightly left of center when it comes to the interval. It’s not always the same harmonious recipe, they switch it up, but again, just like Lizzy. Now, don’t get me wrong, even the songs that I don’t get a full dose of Lizzy, I get sprinkles here and there. I’m not harping on that and I apologize if I am repetitive, but I find it quite enjoyable, regardless.
The phrasings of the vocals, the timbre, the melody lines, it’s familiar yet fresh. You suspect you’ve heard this style before and if you’re heard this album, of course you have heard that style. But, it will bring their roots through. The lyrics of the songs are bright and hopeful, yet still quite rock and roll. There’s hints of other genres, too, though. I thought “Before the War” was The Clash when I first heard it. Of course that didn’t last long. It got rocked up. I can’t really pick a favorite song on this, I think they’re all fantastic, and for different reasons. There’s a lot of hair-bandish riffs and solos, which are always okay with me. They’re tasteful and that’s what matters.
The band (on this album), really, is a supergroup. Each member has experience with other big names. Scott Gorham, of course, is the backbone being he has been with Lizzy from very early on. Ricky Warwick sang for The Almighty for a while and has done backing vocals with Def Leppard because he and Lep’s frontman, Joe Elliott, are chums. Guitarist Damon Johnson was co-founder of the 90s hard rock band, Brother Cane and later played with Alice Cooper. Drummer Jimmy DeGrasso has played with David Lee Roth, Ozzy, White Lion, Suicidal Tendencies and Megadeth. Bass player Marco Mendoza has played with Whitesnake and I saw him live when he was playing with Ted Nugent (yeah, I can’t stand the Nug, but Marco was great) when he opened for KISS. Their performances on this album was raw, yet near-flawless.
I recommend you pick this up, stream it, download it, purchase it, everything shy of stealing it, as it’s a fantastic rock record and it’s a very fitting tribute to Phil Lynott and the legacy of Thin Lizzy. I really want to read Eug’s assessment and Jon’s will be interesting, as well. He’s always the wild card; just the way it should be.What about you, Dear Reader, are you familiar with this? Once you hear it, I’d like to hear/read your thoughts on it.
Thank you Eugene for introducing it to us.
Until tomorrow, same blog channel…
Scorp out!
—
“Mine eyes have seen the glory of the coming of the fools. When all hell breaks loose. All hell breaks loose. I walk a murder mile wearing deadman’s shoes. When all hells breaks loose. All hell breaks loose.” – “All Hell Breaks Loose” (Warwick, Johnson, Gorham, Mendoza, Wharton)
many of them very well known, and not one single was released. Still the album went to #1 in both US and UK. I’m more a fan of the first disc overall but there are some songs on the second that I like even more. The recording sessions, which also produced tunes “Hey Jude” and “Revolution” (not to be confused with the acoustic-driven “Revolution 1” and avant garde “Revolution 9”), neither on this album (both were released as singles), was done after the infamous Transcendental Meditation trip to India with Maharishi Mahesh Yogi. Several things happened with that. One was the other people that were involved, including the wives of the band and Mia and Prudence Farrow. It was Prudence’s obsession with the meditation aspect that led to John Lennon writing “Dear Prudence.” Another thing was dissension within the ranks of the band, partly over direction and partly over Yoko Ono. Again, even with that going on, there are some fantastic tunes written here. Arguably, it’s some of George Harrison’s best stuff as a Beatle. “While My Guitar Gently Weeps,” “Long, Long, Long” and “Savoy Truffle” are all great songs. “Piggies” isn’t bad, and it seems Charles Manson was a fan, as he referenced it in all the “Helter Skelter” mess, named for another song from this album. I could go into all the songs that I like but that would be a blog post all to its own. I’ll just say that I really like almost every single song. Perhaps if I’m taking the opposite route, “Why Don’t We Do It in the Road,” “Don’t Pass Me By,” “Yer Blues” and “Everybody’s Got Something to Hide Except Me and My Monkey” are the ones I like least. Love it!
it says as much all through the choruses. I like that he laughs like it’s a big party the whole time, leaving that in the song, even though I really don’t know what it’s about. I don’t think I’m equipped to understand a lot of what Dylan is talking about, most of the time. When the Chicago Blues song, “Pledging My Time” came on I felt like throwing something. I really can’t stand that stuff. Thankfully it went by fairly fast and we get the long but wonderfully written “Visions of Johanna,” a song about contrasting lovers. One a bit of sexual and one a bit spiritual. The song is lovely. There are parts of “Most Likely You Go Your Way and I’ll Go Mine” that sound like a game show theme. It’s also very circus-ish. I heard the bluesy stuff at the beginning of “Temporary Like Achilles” and worry it will be another crapola song, but this wasn’t crapoloa. Yes, it is saloon-like but not in some gin joint kind of way. It’s a well constructed song and I love the line: “Honey, why are you so hard?” For the most part, for the highlights of the album, nothing on here stands out. The band being on the album to accompany Dylan (I believe called The Hawks with Robbie Robertson and Rick Danko of The Band) is pretty cool. But, this is not any better than most of the other Dylan albums on this countdown. In fact, I’d have taken just about any of them over this one. Even with headphones on, I found myself puttering around on the internet and checking emails and Facebook messages. It was okay, but certainly not top 10 material, to me. Meh.
49 of the countdown), but I doubt it. I’ve always found the “phony Beatlemania has bitten the dust” line, funny. Perhaps even more now that it is surrounded by Beatles album on the top 10. I had always put The Clash in the same category as, say, Ramones and Sex Pistols. They most certainly aren’t. Maybe their earlier days. Not this album, at least. Let’s get this out of the way, first: Paul Simonon is a bad, bad, bad arsed bass player. I listened to this album with headphones and his playing is all over it and it is so clear. Examples (well, the whole danged album, but if I must) would be: “Koka Kola,” “The Guns of Brixton” (which he wrote and sings lead on), “Lost in the Supermarket,” “London Calling” and “Lover’s Rock” to name just a few. Seriously, the whole album is like a Simonon session. Another thing about this, I never realized the harmonies (albeit rudimentary) were so good and the somewhat wide breadth of styles they touch the whole album. From 50s-style do-wop to harder rock, pure punk to jazz and all in between, it’s here. And the production! We’ve discussed how much I’m into that and man, it’s here. The songwriting on here, even beyond the style is really good. I own this on CD and have listened through once, about 8 years ago or so, and mostly dismissed it as “that punk crap.” I still think that of their earlier records, but this is some fantastic stuff. So, let’s revisit those first two lines of this entry: Does it belong in the top 10? I retract that whole statement and change it to, “yes it does.” I also want to add the words: “ab-so-f***ing-lutely!” This could stand to be one or two higher, perhaps? When the new year arrives, I’m heading to Underdog Records (the official vinyl store of The Less Desirables) to purchase this on vinyl and not any old used copy either. A shiny new one. I can’t believe I’m saying this, but I LOVE this album ×∞ (that’s infinity, boys and girls).
Stones, so what do I know? I only enjoyed two songs from this album, “Shine a Light” and “Soul Survivor.” And, I’m not completely sure that last one wasn’t influenced by the fact it was the last thing I had to hear from it. I thought I owned it on CD, but I don’t. I remember the big hype about it in 2010 and I’m thinking that may be when I got it, if I did. I thought about purchasing it but I have had so many hit-or-miss moments with the Stones that I was gun shy about it. I could be and am probably wrong but I spent a lot of time listening to the local classic rock radio station here that has a mad on for some Stones and I can’t recall ever hearing any of these songs on there. They weren’t known for their expansive rotation. Pointing out two things about this list, again, because I’m sure I’ll be ripped about this one: If it must be on this list, it shouldn’t be this high; I’d not have it on there at all. Tattoo You and Some Girls are much better albums, to me. Which, brings me to my second point: this review process is about what I liked or didn’t like. It’s not necessarily a record of the merits or greatness of the album, that’s what Rolling Stone’s job was in compiling it. That being said, I don’t care if I never hear this again. Did not like.
players. Both are Motown legends, both members of the famous Funk Brothers and both are beasts. I can’t say which I liked listening to better. Another thing, I’ve mentioned I love concept albums and that’s what this is. It’s about the Vietnam War, but it’s not a protest album. It’s a love album. From the get go, Gaye is unrelenting on his love for fellow man and the disappointment of the treatment of vets returning home. In fact, the album is done from the perspective of a vet who was fighting for his country, coming back to a country that is intolerant, bitter and holds hatred for just about everyone. “What’s Going On,” while written about an incident seen on the Four Tops tour bus, pretty much sums up the feeling of 1971, which is, what is going on? I think that could be asked today, too. So much hatefulness, rancor, opposition to everything no matter if you really agree or not and so on. Gaye’s own brother was a Vietnam vet and wrote letters to Marvin and when he returned discussed what he saw. This was influential for the album, as well. Marvin Gaye has one of the sweetest, most purest voices I think I’ve ever heard and I am ashamed to say that I didn’t pay more attention to him before this. There’s much more to this man than “Sexual Healing” and his tragic demise. I’m not picking favorites on here, the whole album (nine songs, barely over 35 minutes) is my favorite song. I highly recommend this album, for sure. I LOVED it!
abandoned, pyromaniacal would-be lover (“Norwegian Wood (This Bird Has Flown)”); someone wondering where their life is going (“Nowhere Man”) to introspection, love and loss (“In My Life”). This album has a lot of things going on. French inspiration in the form of “Michelle” and I love the French for these are things that go together well. I have the book A Hard Days Write by Steve Turner and in that he says Paul had to ask a French friend of his how to say it and it worked out perfectly. The urgency of “The Word” pounds in some early “harder” rock and I love that. Lennon and McCartney seemingly wrote that while getting stoned, writing the lyrics on multicolored paper. I guess that was to add to the trip. And, wouldn’t “Run For Your Life” be considered a bit threatening? “I’d rather see you dead, little girl, than see you with another man.” Yep, sound kind of stalkerish to me. So, it’s a well-developed and beautifully flawed album all at the same time. As I said, it’s one of my top 5 Beatles albums of all time and it’s right where it should be, I think. Love.
it, but it has good moments. Of course, it wouldn’t be Dylan if there wasn’t some long-arsed song that went on for almost 12 minutes, right? That’s what you get with “Desolation Row.” I don’t know how he remembers all the words live. I also don’t picture him with teleprompters. Perhaps he didn’t do that one live? I do like how Dylan combined poetry with music. I think, too, that was the beauty of what he did. I know she was misunderstood and her poetry and songs weren’t that spectacular, but Jewel did the same thing 20 years later. I know that lyrics are basically poetry (sometimes, I don’t think “Got Love For Sale” from KISS is necessarily poetry), but he actually conveys that it’s poetry set to music. The legendary “Like a Rolling Stone” is on this album. Poor girl, I say. I like the title track and the slide whistle in it. It’s credited as a slide whistle but I don’t know if that’s what it is. They make these whistles that create that sliding sound but it’s according to how hard you blow. A slide whistle only goes so far and you have to use the slide. Novel concept, eh? There are plenty of good songs on the album, “Queen Jane Approximately,” “Tombstone Blues.” Both good songs. However, my favorite on here is “Ballad of a Thin Man.” I just like the darker, meaner, snarkier feel of the tune. It was cool to listen to. Overall, the album was still a mystery to me because I never know what the heck he’s talking about but it was better than the previous, as I said. Still, is it top 10? Not to me, nope. Put it in the 300s. I dug it, but don’t care to hear it again.
song I had heard on the local classic rock station but didn’t know what it was. I actually had to call the station and ask Pete Bunch what it was. He didn’t make fun of me, but I could tell he was amused. That song was “Eleanor Rigby.” The instrumentation, in fact, was sans any of the Beatles, only a double string quartet. I did a rock version of that tune about 15 years ago. I need to see if I can dig it up off an old computer or something. I can’t find it otherwise. I’d like to “release” that for people to hear. The sound quality itself was pretty crappy but I really liked my arrangement of it. The production of this album is lush. Sometimes albums from this era has a thinner sound to me, even from the big boys. Part of it, I’m sure was the absence of the big open “live” recordings and reliance on more multi-track recording which allows for better isolation. Listening to this through headphones the width of the sonic field is magical. Panning and depth are amazing here. The first appearance of “Yellow Submarine” was here, too, almost a full two years before the film and soundtrack of the same name came out. The harmonies here are so full and masterful, too. The harmonies of Lennon and McCartney are historic, of course, but when you add in Harrison’s harmonies, it’s out of this world; complex. “Tomorrow Never Knows” is an oddity because with the exception of a few notes here and there, the song’s instrumentation is only in the key and never moves out of this key; just tablas, bass and backward sitars in an Indian style. I’m not a fan of the Indian stuff on most Beatles albums, so “Love You To” isn’t a fave. I’d say on this album, it’s the only song I don’t really care for (not the last time you’ll read about that in a Harrison tune). I could write an entire post on this album, so I’ll stop on it now, but I’ll also say that some of my actual favorite songs are (in addition to “Taxman” and “Eleanor Rigby”): “She Said, She Said,” “And Your Bird Can Sing,” “For No One,” “Got to Get You into My Life” and “I Want to Tell You.” To say I love this album is an understatement, indeed.
don’t mind it, but, this isn’t as full as the Beatles albums. Not to me, anyway. This is only the second time, ever, listening to this album. I own it on CD and listened through once, saying to myself, wow this is the great album everyone keeps talking about? Okay, then… I’m listening to the mono version because I believe that was the original release. I don’t know the difference in mono version vs stereo, other than the obvious aural spread. I do find funny, the fact that people get twisted out of shape when they find out that other than vocals and a few random instrumental moments, the Beach Boys didn’t play on this album. This, my friends is the magical work of the “Wrecking Crew!” Remember them? I did a review of the documentary a few months back and I’ve talked about on this list finding out they’ve been on it has really perked me up. That’s some saving grace for me on this. Some. Any electric bass you hear, that’s the legendary queen Carol Kaye. She’s awesome! Is it really a Beach Boys album or is it a Brian Wilson solo album? The first single, “Caroline, No” was released as by him, I think. I don’t know. There’s good songs on this album, it’s just a different monster all together. Some of those good songs would be: “Wouldn’t It Be Nice,” “Here Today,” “I Just Wasn’t Made For These Times.” Really, though, I am repeating myself: I don’t get it. I’m not saying it’s a bad album. I’m saying it, in no way, to me, is comparable to Sgt. Pepper. Not in song quality, not in sonic quality. There’s good songs on this album, it’s just a different monster all together. Some of those good songs would be: “Wouldn’t It Be Nice,” “Here Today,” “I Just Wasn’t Made For These Times.” I will admit, I went back and listened to parts of the stereo mixes and it sounded much better; more full with more depth. Rumor has it that Paul McCartney heard this and wanted to reproduce it. If that’s the case he totally out-tripped the coverage. Sgt. Pepper went leaps and bounds over this. I told you last segment that I was going to question something in this segment and this is it. Now, Top 20? Yeah, probably. So, I’ll say I dug it, but not for this spot. And, the winner is…
could put in here to describe it. The orchestra warming up at the beginning indicates you’re in for a show, an exhibition, a spectacle! And, the sound of the roaring orchestra at the very end of “A Day in the Life” lets you know that you’ve just been knocked on your arse, perhaps both literally as well as figuratively. I do hate that George Harrison’s only vocal/written tune is one of the two I don’t like, but really, George, I don’t like your Indian-influenced tunes. I don’t discard it all of the time, just in the case of “Within You Without You” and “Love You To” from Revolver. And, for once, a Ringo-voiced tune isn’t a throwaway token song. “With a Little Help from My Friends” is one of the cornerstone staples of this album. A tune that also was covered, famously by Joe Cocker (I covered that version for the VSS “Woodstock” show) and the theme song to a successful television show, The Wonder Years. Storytelling by the Beatles, in my opinion is only bested by Bob Dylan, perhaps Springsteen at times. But, the Beatles stories are bold as in “She’s Leaving Home” (which is one of my favorites on here), “Being for the Benefit of Mr. Kite!” and “A Day in the Life,” which is at times my absolute favorite Beatles song. That fluctuates its superlative status based on my mood. The production itself, again, rumored to be the result of Paul hearing Pet Sounds and wanting to best it, is completely lush and brilliant. George Martin, you beast! I think when the Beatles decided to throw away the “can we reproduce this live” worry, they opened their minds, their music and their craft to whole new, astronomical levels. It’s an aural, moving piece of art that I can never get tired of listening to. It finds its way onto my listening rotation at least once every six to eight months. Before I got the remastered box set and transferred it all to my iPod, my old copy of this was really, most literally, worn down. I didn’t take too good of care of it. I gave it to someone, perhaps The BCPF or my buddy Brian, I’m not sure who got what. I can write whole posts about this but it would be a lot of redundant descriptors, adverbs and adjectives; more than is ever needed. The bottom line is, this is the greatest album of all time. It’s the greatest album that will ever be. I can say that because the art of putting an album together is basically done and I don’t see this being beaten. So, I love it. I own it. I have a dilapidated old, used, saved from a fire vinyl copy that I will change in the next few months with a shiny new version. It’s chock-full of greatness and it was even completely covered by Cheap Trick. That makes it even more cool, right? Right. Ladies and gentleman… may I introduce to you, the (album) you’ve known for all these years: Sgt. Pepper’s Lonely Hearts Club Band. 
other than he’s just awesomely funky-n-groovy? That on many of his albums and tracks, he plays most of the instruments himself. Lots of clavinets happening on this album and other great keyboard spots. He plays the drums, synth basses, a bit of everything. That and guest spots from Ray Parker, Jr., Jeff Beck, Deneice Williams, “Buzz” Feiten make this album even more spectacular. Stevie’s use of melody and orchestration fills the cracks and holes (not in quality, just covers the speakers) with aural splendor. The ultra-powerful and urgent, “Superstition” is there and offset by the sweetness of “You Are the Sunshine of My Life” and “You and I” and “You’ve Got It Bad Girl.” There’s range and spread on this album and that’s a great thing. Groove and shuffle, intensity and tenderness, bits of it all. I dug this album and thought it was well composed.
There’s so much power in her music and in these songs it’s easy to get lost in them. This is a fantastic album. I DUG it!
yet another check on the “I’m from West Virginia and my parents listened to country music” tally of life. Neither of those, by the way are knocks nor mock on the facts. We didn’t have radio stations that played Pink Floyd, or anything like that until around 1981 or 1982. Ma Mère listened to gospel or older pop stuffs like Leslie Gore or folksy stuff like Peter, Paul & Mary. Ma Père listened to country. Tears-in-beer country. Plus, none of my friends listened to Pink Floyd, so I had no exposure, at all. I do remember walking into a record store on Main Street in Welch, WV, looking for KISS’ Unmasked (1980) album and seeing a cardboard cutout of the album cover and Gerald Scarfe posters that were associated with the album. I moved to WSNC, as I’ve said countless times, in 1986 and there was a reissue of “Another Brick in the Wall, Part 2” around 1987-88 or so and I bought it on 45. I had just started listening to the local classic rock station and got more familiar with some other Floyd songs. I decided, sometime later, to buy The Wall, but it was in or after 1990 because I didn’t buy my first CD player until December 27, 1989. I did have Delicate Sound of Thunder on cassette (it was released two days after my 18th birthday) and heard three of the songs that way. Anywhat! All that to say, I love the album and with the exception of a song or so (can we say “Bring the Boys Back Home?”). My faves are (all three) “Another Brick in the Wall,” “Goodbye Blue Sky,” “Young Lust,” “Hey You,” “Comfortably Numb” and “Run Like Hell.” I love the album.
#86 – Born in the U.S.A. by Bruce Springsteen. I think this is the first time in a bit, if not the entire list, that I have two albums in a row that I actually own. It may have happened. But, I’m pretty positive that it is the first time that I own two in a row on vinyl. Sadly, I didn’t have time to listen to this on vinyl at home. I’ll try to do a vinyl listen soon, if I have something that is available on it. That’s something that I’ve not done since I’ve started this countdown. It’ll be fun. When I first heard the first single, “Dancing in the Dark,” believe it or not, that was the first time I heard of Bruce Springsteen. Yeah, yeah, I know, but it really was. Chalk it up to my total immersion into KISS and just breaking out of the mold. And, here’s the other thing, I hated it, every bit of it. I don’t know that I heard “Cover Me” (the second single until much later. If I did, I probably turned it off or went out to play or something. I’ve mostly come around to who I used to call Spruce Bedspring over the years. Most of that with the help of my friend Beth who is the biggest Springsteen fan I have ever met or even ever heard of. To me, though, at the time, the title track and to some extent “Dancing…” sounds like he’s just yelling the whole time. I just wanted to shout back “just shut up!” Now, fast forward to now. I don’t know how I feel about “Darlington County” but the rest of the album (if you take into account I like more laid-back and alternative versions of the title track) is fantastic. Of course, my favorite tune (since I asked for it and did it at the VSS Springsteen show) is “I’m on Fire.” It’s a sultry little number. I loved the video, too. “My Hometown” and “Glory Days” are also faves of mine. There are some throwaways, at least to me, such as “Working on the Highway” and the aforementioned “Darlington County.” “Downbound Train” and “I’m Goin’ Down” make up for both of those, though. There were seven singles released on this album. While none of the songs are virtuosity tunes or even particularly intrinsic or complex, that’s not what this album was about it, I don’t think. It was just putting out a good album. This is that. Great even. I really dug it.
this countdown are any better than most of the albums that were in the top 200-100? Does it deserve to be on this list, absolutely and I dig it, but I still don’t think it’s Top 100 material. Not a knock on the album, I just think some stuff is better. Dug.