Great Rock Albums of 1981: Marshall Tucker- Dedicated

I must thank Wikopedia on this occasion or I would have been totally wrong here. The Marshall Tucker Band came to my attention in 1981 through my lieutenant who was heavily into them. It was only when I did a little research that I found out they had been going on well throughout the seventies. What would have been a greater sense of shooting myself in the foot was that 1981 was when I first heard the song they were most famous for, "Can't You See." I now realise that the song
 was actually released in 1973, so thank you Wikopedia.

Still none of this hides the fact that the Marshall Tucker Band put out a decent album in 1981. "Dedicated" is another album that got over looked due to the wave of Southern Rock bands that were coming into the light at the time. Saying that, "Dedicated" reminds me of the dilemma that many Southern Rock bands faced at the time, straddling the fine line between genuine rock and country music. I remember a friend from up North calling Southern Rock nothing more than country music with a few power chords. Boy, was he naïve. Then again, he didn't experience Southern Rock they way I did back in 1981.

Looking more closely at "Dedicated," it is plain that The Marshall Tucker Band were one of those bands who did try harder to tightrope the line between country and rock. They weren't as heavy as Molly Hatchet or Blackfoot but that doesn't stop the album from being good. There are some great traditional rock tunes like "Rumours Are Raging," "Silverado" and my personal favourite, "Tell The Blues To Take Off The Night," which has some good bluesy guitar work on it. There are also more radio friendly tunes like "Tonight's The Night (For Making Love) and the appropriate closer, "Ride In Peace." There are a couple of more countrified tunes like "Love Some" although it is still a good song. The Marshall Tucker Band does a great job in taking all of these things and rolling them up into one good album.

Track Listing:

1. Rumour Are Raging

2. Tonight's the Night (For Making Love)

3. Love Some

4. Silverado

5. Something's Missing in My Life

6. This Time I Believe

7. Tell the Blues to Take Off the Night

8. Special Someone

9. The Time Has Come

10. Ride In Peace

[caption id="attachment_2184" align="aligncenter" width="192"] Marshall Tucker Band[/caption]

 Doug Gray- vocals

Toy Caldwell- guitar

George McCorkle- guitar

Jerry Eubanks- keyboards

Paul Riddle- drums

Franklin Wilkie- bass

There is one note of tragedy to this album in that it was made after the death of the band's bassist and brother of guitarist Toy Caldwell, Tommy Caldwell, who was killed in a car accident. It has been said that the closing track is a dedication to him. This album was a fitting tribute to Tommy and a good album all around. It is also probably the best one to end my series of posts on Southern Rock in 1981 as it's popularity north of the Mason-Dixon line would decline after.

Next post: ZZ Top- El Loco

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html
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Great Rock Albums of 1981: Nantucket- A Long Way to the Top

Due to the fact that I didn't hear this album until the August of 1981, I have always assumed that "A Long Way to the Top" by Nantucket was released in that year. I now know that it was released in 1980. The title cut is a cover of the AC/DC classic and was recorded as a tribute to the passing of Bon Scott. It won the band a supporting slot with AC/DC on the "Back in Black" tour. That must have been one hell of a concert and I wish I wasn't on sea duty at the time.

Like the Johnny Van Zant Band, Nantucket were yet another great Southern Rock band who were around at Southern Rock's peak of popularity but never really got recognised outside the Southeast of the U.S. At least, Johnny Van Zant could be identified with his famous late brother but this wasn't the case for Nantucket. I admit, if I hadn't been down south at the time, I probably would have never heard of them either. Fortunately, for me, I did get to hear this wonderful album.

First, the tribute to Bon is a very fitting one, Nantucket do a splendid job covering this long time AC/DC gem. Lead singer Larry Uzzell does try to sound like Bon and while no one can ever duplicate Scott, his efforts are noteworthy. The rest of the album doesn't disappoint either but is played in the great tradition that made Nantucket a name for themselves in the South. "Time Bomb," "5o More," "Living With You" and "Rugburn" are all great songs. The one standout track, other than the title cut, for me is "Too Much Wrong in the Past." That is a classic rock song. I love the way that song fakes the listener in with the piano and lead guitar as if it's going to be a power ballad and then just explodes, very nicely done.

Track Listing:

1. A Long Way to the Top

2. Living With You

3. Time Bomb

4. 50 More

5. Media Darling

6. Rugburn

7. Too Much Wrong in the Past

8. Over and Over

9. Turn On the Radio

10. Tell Me (Doctor Rhythm Method)

11. Rescue

12. Rock the 80s

[caption id="attachment_1322" align="aligncenter" width="300"] Nantucket[/caption]

Tommy Redd- guitars, vocals

Larry Uzzell- lead vocals

Tommy Downing- lead guitar

Eddie Blair- sax, keyboards, vocals

Kenny Soule- drums

Pee Wee Watson- bass, vocals

Nantucket were another band that should have gotten more world wide attention but unfortunately didn't. This album proves that they were as good as many of their Southern contemporaries. Still, I would have loved to see them open for AC/DC.

Next post: Marshall Tucker Band- Dedicated

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Great Rock Albums of 1981: Johnny Van Zant- Round Two

Whether it was the glam metal scene in LA or the thrash scene in San Francisco back in the 1980s, of all the bands from those areas who gained world wide popularity, there were many bands who were just as good but never fully broke out of the local scene. The same thing can be said of Southern rock in the earlier part of the decade. I was fortunate to have been stationed in North Carolina during this time, so I was fully able to appreciate it when Southern Rock was at the height of its glory. It gave me a good feeling whenever I trotted back across the Mason-Dixon Line to New Jersey, that many of my friends were listening to Blackfoot, Molly Hatchet, The Outlaws and 38 Special. Unfortunately, not so many people heard of Johnny Van Zant when I mentioned them up north. They were mainly well known just in the south.

As all my British friends would say, this was a bloody shame because the Johnny Van Zant Band were a very good band and their second album, "Round Two" bears witness to this fact. There is a definitely influence from Johnny's older brother on this album because I can detect some Lynyrd Skynyrd sounds here. But in no way does this band simply rip off the great Skynyrd. They bring their own brand of hard rock to tracks like "(Who's) Right or Wrong," "Shot Down" and "Standing in the Falling Rain." Lead guitarists Robbie Gay and Eric Lundgren  know how to play on these songs as well as others. They also do a very hard version of the Beatles classic "Drive My Car." The album does have a ballad in the form of "Yesterday' Gone." I must declare that of all the Van Zant boys, Johnny's vocals are the most attuned for singing ballads. Not that he can't sing harder songs just as well, maybe better. It's just too bad "Round Two" has been allowed to lay dormant for so many years.

Track Listing:

1. (Who's) Right or Wrong

2. Standing in the Falling Rain

3. Yesterday's Gone

4. Let There Be Music

5. Keep Our Love Alive

6. Night Time Lady

7. Drive My Car

8. Shot Down

9. Cold Hearted Woman

10. Play My Music

[caption id="attachment_2173" align="aligncenter" width="265"] Johnny Van Zant Band[/caption]

Johnny Van Zant- vocals

Robbie Gay- lead guitar

Erik- Lundgren- lead guitar

Danny Clausman- bass

Robbie Morris- drums

As I progress through hard rock and metal history, I am discovering albums and bands that I took little notice of or missed completely. I can't say that I missed the Johnny Van Zant Band because I saw them live in 1982 but that's another story. I do regret not listening to this album more back in the time and I wish more people did as well. Here's everyone's chance to rectify that now.

Next post: Nantucket- Long Way to the Top

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Great Rock Albums of 1981: Mother's Finest- Iron Age

Back in 1981, I remember hearing of the band Mother's Finest. I remember listening to some of their music and I remember liking it but that's all I can remember. Like quite a lot of things with me, the band Mother's Finest was filed away into some dark cabinet inside my mind only to be pulled out thanks to Laina Dawes in her book "What Are You Doing Here?" The band gets quite a lot of mention in the book and rightly so because they were a brilliant hard rocking band. Why did they slip my mind? Well, I will say that it would not have been intentional nor would it have anything to do with the fact that several members of the band were African American. However, for some reason, I didn't listen to them like I should have and that was a major loss for me.

After listening to "Iron Age" I have refamiliarised myself on the hard rock yet funky and melodic band Mother's Finest are. The guitars groove in a very unique way but are no less harder. "Movin' On" is as good an album opener as any opening songs on what history has considered the more classic albums. "Rock And Roll 2 Nite," "Time" and "Evolution" are all great memorable tracks and former the foundation on which this album is built and you can't fault any of the other tracks either. But what makes "Iron Age" or Mother's Finest themselves for that matter stand out for me is the vocals of Joyce 'Baby Jean' Kennedy. Her vocals mixed with the music sound just like Aretha Franklin goes metal and that's a wonderful thing. Her vocals are right up there with the Queen of Soul in power and tune. I can't think of any other way to describe them, I'm at a loss here.

[caption id="attachment_1731" align="aligncenter" width="276"] Blues Brothers with Aretha Franklin[/caption]

Track Listing:

1. Movin' On

2. Luv Drug

3. Rock And Roll 2 Nite

4. U Turn Me On

5. All The Way

6. Evolution

7. Illusion (C'Mon Over to My House)

8. Time

9. There Goes Th' Rain

10. Earthling

[caption id="attachment_2169" align="aligncenter" width="300"] Mother's Finest[/caption]

Joyce 'Baby Jean' Kennedy- vocals

Glenn Murdock- vocals, guitar

Wizzard- bass

Moses- guitar

B.B.- drums

Note: I know there are seven people in the photo but the album on lists these five

 My theory (and that's all it is) as to why Mother's Finest didn't get the recognition they so richly deserved was down to the attitudes of the time. Even in 1981, I began seeing music dividing up along several lines and unfortunately one of those lines was racial. I remember both black and white marines referring to music as ours and yours. The problem was that because of the mixed racial make up of Mother's Finest, some people didn't know where to put them and consequently they got pushed out. Damn shame because people need to hear what a great band they are. On a happier note, one of my objectives for this blog and for writing "Rock And Roll Children" in the first place was for people to get out their old music and listen to it all over again. It gives me great delight to discover that like me, many of you have never stopped. Saying that, I think we should all give Mother's Finest a good listen.

Next Post: Johnny Van Zant- Round Two

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Great Rock Albums of 1981: Danny Joe Brown and the Danny Joe Brown Band

Every Saturday night, the local FM radio station in Jacksonville, North Carolina had a feature starting at midnight called the Saturday Night Six Pack. They would play six albums, both classic and new in their entirety. One Saturday night in July of 1981, while I was doing the midnight to 4AM barracks security watch and before my company gunnery sergeant banned the listening of music whilst on duty, they played a brand new album from The Danny Joe Brown Band. I remember it well because it was played straight after Billy Joel's "Glass Houses" album. I also remember that it was a very good album and listening to it again, only confirmed the earlier belief. You are probably wondering why I never bought the album, it was due to being strapped for cash. Crap military pay and car troubles are not a good combination.

What strikes me about this album is that while you can definitely feel that Southern boogie rock vibe throughout the entire album, it is not a clone of any Molly Hatchet album. On the album, Brown certainly does diversify somewhat from the sound of his then former band. The piano intro on "The Edge of Sundown" reminds me a little of Billy Powell from Lynyrd Skynyrd before it breaks off into some great pounding guitars. In fact, some of the guitar work on the album, "The Alamo" to name one, reminded me of The Dreggs and I half expected to see Steve Morse on the personnel list for the album. Like with Molly Hatchet, the three guitarists who Brown recruited for the album definitely know how to play. The entire album bears witness to that fact as there is some impressive playing on every song. Speaking of the piano, the fact that he uses keyboards on this album does not make it all go synth but compliments it perfectly and shows that Danny Joe Brown can be a bit versatile in his song writing. As for Brown's vocals, I can't say any different than what you would expect from him, whether it be a Molly Hatchet album or this one.

Track Listing:

1. Sundance

2. Nobody Walks On Me

3. The Alamo

4. Two Days Home

5. Edge of Sundown

6. Beggar Man

7. Run For Your Life

8. Hear My Song

9. Gambler's Dream

10. Hit the Road

[caption id="attachment_2165" align="aligncenter" width="300"] Danny Joe Brown Band[/caption]

Danny Joe Brown- vocals

Bobby Ingram- lead and slide guitars, backing vocals

Steve Wheeler- lead and slide guitars

Kenny McVay- guitar

John Galvin- keyboards, keyboards

Buzzy Meekin- bass, backing vocals

Johnny Glenn- drums

This would be the only solo album from Danny Joe Brown. He would re-join Molly Hatchet after this one. Maybe the members of Hatchet realised what they lost when they let Brown go in the first place. When Brown did return, he would bring keyboardist John Galvin with him and that would influence their sound. But that's all in the later years. If like many, you missed this album first time around, it's not too late to have a listen to it now, definitely worth it.

Next post: Mother's Finest- Iron Age

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Great Rock Albums of 1981: Molly Hatchet- Take No Prisoners

No longer will I trust another person's account of any album in influencing me whether or not to buy an album. Back in 1981, I was interested in buying the "Take No Prisoners" album from Molly Hatchet but a couple of my marine buddies had gotten it and they all said that the album sucked. As a result I was put off ever buying it and I never listened to it until a couple of days ago and let me tell you, those guys were wrong, very wrong. "Take No Prisoners" might not be as good as "Flirtin' With Disaster" or their first self titled album or even "Beatin' the Odds" but it doesn't suck, no way.
For many years now, Jimmy Farrar has been given the blame for the lack of success of this album and probably for "Beatin' the Odds" as well. I now think this is rather unfair to the man because as I said when I visited the previous album, if he was with any other band, his vocal ability would have been more praiseworthy. Unfortunately, he was in the shadow of Danny Joe Brown and that is the problem. I have to admit myself, when hearing a couple of songs on this album, I was thinking to myself that Brown would have made a particular bit sound better.

Enough of the negative though because this album really boogies. In every song, the guitar magic of the trio of Roland, Hlubeck and Holland shine through with those special riffs that made me love Molly Hatchet in the first place. "Power Play" is the stand out track for me but the others are right up there as well, "Bloody Reunion" especially. Then they play a perfect blinder with "Respect Me In The Morning." Most tend to think that because the song is a duet between a man and a woman, in this case Jimmy Farrar and Baby Jean Kennedy of Mother's Finest that the song will immediately be a ballad. It certainly is not. This song rocks in the way that Molly Hatchet are known for and Kennedy's vocals only make it that much better. Truly this album deserves more respect that what I give and I immediately and sincerely apologise to the band for my ignorance over the past three decades.

Track Listing:

1. Bloody Reunion

2. Respect Me In The Morning

3. Long Tall Sally

4. Loss of Control

5. All Mine

6. Lady Luck

7. Power Play

8. Don't Mess Around

9. Don't Leave Me Lonely

10. Dead Giveaway

[caption id="attachment_1703" align="aligncenter" width="300"] Molly Hatchet[/caption]

Jimmy Farrar- vocals

Dave Hlubeck- guitar, slide guitar

Duane Roland- guitar, slide guitar

Steve Holland- guitar

Banner Thomas- bass

Bruce Crump- drums

I realise now that I have actually committed a double faux pas. Not only have I ignored a cool album on account of here say, I have neglected another band whose albums I should be visiting here. I remember Mother's Finest back in the day and did listen to some of their stuff. They shouldn't be pushed into obscurity, there are many pop acts deserving of that. Therefore, I will be featuring them in one of my upcoming posts.

Next post: Danny Joe Brown and the Danny Joe Brown Band

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Great Rock Albums of 1981: Blackfoot- Marauder

Many people in the music world agree that Blackfoot's golden era was from 1979-81 when they put out their three best albums, "Strikes," "Tomcattin'" and "Marauder." Having already visited the first two albums in the appropriate year, I now go to the 1981 classic. Many people are of the opinion that "Marauder" is the best of the three and the best Blackfoot album of all time. I won't enter into a debate on that because I can definitely see why many make that claim in regards to this album, although for me personally, my heart has always been swayed by "Strikes." Saying that, it is a close run contest because "Marauder" definitely does rock the house down.

"Marauder" opens with a great the heavy grab you by the balls "Good Morning," which even with Rick Medlocke's crazy laugh during the intro, sets the pace for the rest of the album. "Good Morning" is one of those tracks you have to put the stereo up to full volume and just go nuts. The second track, "Paying For It," does nothing to lessen the adrenaline brought on by the opener. The ballad-like "Diary of a Working Man" just lets you catch your breath before the album bombards you with more great hard rockers. For me, I have always liked both "Dry County" and "Fly Away" and they are my two favourite songs on the album. The second song may start with an acoustic guitar on the album but it isn't long before you're banging away to the hard guitars once again. I must say that  I do like "Rattlesnake Rock and Roller" where Medlocke's grandfather Shorty plays harmonica. Another demonstration that while Blackfoot can hit you in the face with great hard Southern rock, they can be versatile too. And like many a great album, it has a great closing song. "Searchin'" ends with the lead guitar reminiscent of "Highway Song" from "Strikes" or even "Freebird." This seems a must for any great Southern Rock album.

Track Listing:

1. Good Morning

2. Paying For It

3. Diary of a Working Man

4. Too Hard to Handle

5. Fly Away

6. Dry County

7. Fire In the Dragon

8. Rattlesnake Rock And Roller

9. Searchin'

[caption id="attachment_1316" align="aligncenter" width="128"] Blackfoot[/caption]

Rick Medlocke- lead vocals, guitar

Charlie Hargrett- guitar

Greg T Walker- bass, keyboards, backing vocals

Jakson Spires- drums, percussion, backing vocals

While the studio version of "Fly Away" might started acoustically, the version played on Blackfoot's 1982 live album definitely blows people away and I will be visiting that album, I promise. "Marauder" is said to be the last great Blackfoot album. Well, it's for sure the last hard rock album they would put out because they would start using synthesisers on later albums. So for a good Southern rock out, that will have you jumping off furniture, "Marauder" is the album to listen to.

Next post: Molly Hatchet- Take No Prisoners

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Great Rock Albums of 1981: 38 Special- Wild Eyed Southern Boys

Now that my problems with wordpress are sorted, I couldn't get on here for two days for some unknown reason, I can finally post about what I think was probably one of the best albums of 1981. Personally, I think it was a conspiracy from the "The 80s were all about Culture Club and Wham" brigade in a bid to stop me from thwarting their version of music history but I digress once again. For me, "Wild Eyed Southern Boys" was one of those albums that made 1981 for me. I don't even need to relate a story from my military days here because that album would have had the same impact on me if I hadn't been serving at the time.

38 Special's previous album, "Rockin' Into the Night" had already given me a strong desire to check out their next one. So even after I started hearing their first single "Hold On Loosely" on juke boxes from North Carolina to New Jersey and even cover bands playing it, I was already in the mind to buy "Wild Eyed Southern Boys." This album takes elements from hard rock, country and blues rock and incorporates it into the band's own unique blend of Southern Rock. There's the more bluesier songs like "Hittin' and Runnin'" and the almost funky "Honky Tonk Night Time Dancer" where Jeff Carlisi shows he can bend a guitar string somewhat to the more hard rock gems like "Fantasy Girl" and "First Time Around." They also show they can have a little fun with their songs, just listen to "Back Alley Sally" and you will see what I mean. However, one song does tower above all the others, not trying to detract from those songs, but the title track for me takes all of those mentioned elements and puts them into one song. That song epitomises what I have always loved about Southern Rock. The acoustic intro followed by Carlisi's burning guitar solos and some great power chords alternated with some melodic harmonising. That's the paradoxical thing I have about 38 Special. I love the way that Don Barnes and Donnie Van Zant trade off vocals here, it definitely works so well on "Wild Eyed Southern Boys." So, my question is why don't they do it more on their records?

Track Listing:

1. Hold On Loosely

2. First Time Around

3. Wild Eyed Southern Boys

4. Back Alley Sally

5. Fantasy Girl

6. Hittin' And Runnin'

7. Honky Tonk Night Time Dancer

8. Throw Out the Ling

9. Bring It On

[caption id="attachment_1691" align="aligncenter" width="249"] 38 Special[/caption]

Donnie Van Zant- vocals

Don Barnes- vocals, guitar, piano

Jeff Carlisi- lead guitar

Larry Junstrom- bass

Steve Brookins- drums

Jack Grondin- drums

Lu Moss- backing vocals

Carol Bristow- backing vocals

Unlike Rossington/Collins, I did not have to listen to this album thirty years later before I decided I really like it. That's because I was rocking to "Wild Eyed Southern Boys" all through time. Even after my cassette got destroyed in my car's stereo. I got rid of that car a few months after that. It didn't stop it from being one of my favourite album's of 1981. The album for me is a classic rocker and you know the funny thing, I still think their previous album "Rockin' Into the Night" was better. Strange huh?

Next post: Blackfoot- Marauder

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Great Rock Albums of 1981: Rossington/Collins- Anytime, Anyplace, Anywhere

I first heard about Rossington/Collins when I was on my leave after returning from overseas after reading about them in a magazine article. The fact that they were made up of many ex Lynyrd Skynyrd members strengthened my desire to listen to their first album, which I did. While I wasn't disappointed with the album, I can't say that I was overly impressed with it either. Since I was going to post about it, I naturally gave it another listen the other evening. God, what a huge difference thirty odd years can make!

The question begs, "What did I think I was listening to all those years ago?" because this is a very good album. The opening track "Prime Time" quickly reminded me about all the things I still love about Lynyrd Skynyrd without sounding like a clone of them. Then there's the next track, the very blues-gospel sounding "Three Times As Bad" where lead singer Dale Krantz truly comes into her own. If the name sounds familiar, it is because she was one of Skynyrd's back up singers for many years. This lady has definitely not been given the respect she deserves as a vocalist.; not just with the one song but throughout the entire album. Also Gary Rossington and Allen Collins both show that they still know how to work a six string in the expert way we loved in their previous band and there are some magical moments from keyboardist Billy Powell. The tracks "Getaway" and "Misery Loves Company" bear true testimony of these facts and "Anytime, Anyplace, Anywhere" goes out on a very big high with the guitars on the final track, "Sometimes You Can Put It Out." So, I ask myself again, what did I think I was listening too all those years ago?

Track Listing:

1. Prime Time

2. Three Times As Bad

3. Don't Misunderstand Me

4. One Good Man

5. Opportunity

6. Getaway

7. Winners and Losers

8. Misery Loves Company

9. Sometimes You Can Put It Out

[caption id="attachment_2147" align="aligncenter" width="275"] Rossington/Collins[/caption]

Dale Krantz- vocals

Gary Rossington- guitars

Allen Collins- guitars

Barry Lee Harwood- guitars

Billy Powell- keyboards

Leon Wilkeson- bass

Derek Bess- drums

I heard back in the time, that Rossington/Collins were excellent in concert too. Apparently, they would play the legendary "Freebird" but without vocals, only a spotlight shining down on a deserted microphone: a very fitting tribute to Ronnie Van Zant. Listening with a different set of years has its benefits because I can now fully enjoy this album in its full splendour. I wonder if that would work with a Duran Duran album. No, I don't think I'll try it.

Next post: 38 Special- Wild Eyed Southern Boys

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www.strategicpublishinggroup.com/title/RockAndRollChildren.html

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Great Rock Albums of 1981: Frank Zappa- Tinseltown Rebellion

At this point in time, while we were being treated to all sorts of rock music and the emergence of heavy metal, Frank Zappa was quietly churning out several albums a year. In 1981, he put out three albums and I intend to visit at least one of the other ones as well. However, for me in this year, "Tinseltown Rebellion was the standout album.

Like with the vast majority of his albums, Frank always brings that unique blend of humorous lyrics along with master craftsmen like musicianship. There is plenty of it in this album and the best example is the title track. The song takes the proverbial out of the music scene at the time, (though I still think it's the case today.) How record companies look more for image rather than substance of music. While the message has a hint of seriousness to it, Frank does it in his usual f*ck you style, which has the listener laughing their asses off throughout the entire song. Many other songs have the same effect, "Love Of My Life" springs to mind as it rips on 50s style teenage love songs. He also reworks some of his older songs like "Brown Shoes Don't Make It" from his time with the Mothers of Invention. As usual, he gets some of the best well known and little known musicians to play with him and he always seems to bring out the best in them. On "Tinseltown Rebellion, guitar legend Steve Vai plays along with some of his regulars like Ray White, Peter Wolf and Ike Willis. So there's little wonder why the music quality on the album is so high.

Track Listing:

1. Fine Girl

2. Easy Meat

3. For the Young Sophisticate

4. Love of My Life

5. I Ain't Got No Heart

6. Panty Rap

7. Tell Me You Love Me

8. Now You See It Now You Don't

9. Dance Contest

10. The Blue Light

11. Tinseltown Rebellion

12. Pick Me I'm Clean

13. Bamboozled By Love

14. Brown Shoes Don't Make It

15. Peaches III

[caption id="attachment_1191" align="aligncenter" width="128"] Frank Zappa[/caption]

Frank Zappa- lead guitar, vocals

Arthur Barrow- bass, vocals

Vinny Coliauto- drums

Warren Cuccurullo- rhythm guitar, vocals

Bob Harris- trumpet, keyboards, high vocals

Ed Mann- percussion

Tommy Mars- keyboards, vocals

Steve Vai- rhythm guitar, vocals

Denny Whalley- slide guitar, vocals

Ike Willis- rhythm guitar, vocals

Ray White- rhythm guitar, vocals

Peter Wolf- keyboards

I have always been a Zappa fan, in fact, I drove some of my marine buddies a little crazy over my passion for his music, although I converted quite a few as well. Frank Zappa has many great albums to his credit; "Tinseltown Rebellion just happens to be among them.

Next post: Rossington/Collins- Anytime, Anyplace, Anywhere

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Great Rock Albums of 1981: Cheap Trick- All Shook Up

Cheap Trick's album "All Shook Up" was yet another album that passed me by when I was on sea duty in late 1980/early 81. I had heard they had put out a new album and it was in my mind to get it once I got back to the US but for some reason, I never did. My loss and it was one that I now regret because after finally listening to it, I realise how good it actually is.

The main problem for Cheap Trick was that "All Shook Up" did not have the radio playability as their previous album, "Dream Police." I honestly can not remember any songs from the album played on FM radio around the time. True there's no top 40 single like "Dream Police" or "I Want You to Want Me" on this album.  Therefore, many people, not just me, allowed it to pass them by and I am sure that I am not the only person who regretted this because I can now say that this is a really good album. It proves once more that Cheap Trick can rock and have fun at the same time. The songs are all good rocking fun especially the last five or so. "I Love You Honey But I Hate Your Friends" is a classic example of Cheap Trick doing what they do best and "High Priest of Rhythmic Noise" is another one. Saying that, the band remains tight through all of the songs with all the trademark aspects of this great band.

Track Listing:

1. Stop the Game

2. Just Got Back

3. Baby Loves to Rock

4. Can't Stop It But I'm Gonna Try

5. World's Greatest Lover

6. High Priest of Rhythmic Noise

7. Love Comes A Tumblin' Down

8. I Love You Honey But I Hate Your Friends

9. Go For The Throat (Use Your Own Imagination)

10. Who D' King

[caption id="attachment_1284" align="aligncenter" width="128"] Cheap Trick[/caption]

Robin Zander- lead vocals

Rick Nielson- lead guitar, backing vocals

Tom Peterssen- bass, backing vocals

Bun E Carlos- drums

Thinking back, I believe that one of the reasons "All Shook Up" passed me by was that I got a letter from my sister telling me that her heart throb Tom Peterssen left the band shortly after it was released. I know that put her off buying the album or otherwise it would have been there for me to borrow and listen to when I got home. My excuse and I'm sticking with it. It was a definite shame because I now realise that I have been missing about on a great album for over three decades.

Next post: Frank Zappa- Tinseltown Rebellion

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html
Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Rock Albums of 1981: Devo- Dev O Live

I must admit, I was never much of a Devo fan. I saw them on "Saturday Night Live" in the late 70's and I can't really say they impressed me. Therefore, it would be easy for me to pass them by on that account, however, I can't deny that they are part of our history and the fact I wasn't impressed with them back then can't hide that fact. I remember this album because my then girl friend used to play the hell out of the single "Whip It." Not a bad song, although my favourite all time Devo song appears on a soundtrack that I will be visiting later on in our tour of 1981.

Thanks to YouTube, I was able to give the album a fresh listen. Maybe it's me mellowing with age or the fact that my musical horizons are much more broader than they were back then, but I somewhat enjoyed listening to "Dev O Live" this time around. The intro song "Freedom of Choice" was a good way to open the concert this live recording was taken from. I also liked "Girl U Want." Listening to the six song EP that was released in 1981 encouraged me to listen to some of the full album they released in 1999 on the back of this one. My ears are more in tune with their new wave sound. It's not hard rock or metal but it is far better than much of the synth stuff that would come out later in the decade. "Planet Earth" was a pretty cool song too.

Track Listing:

1. Freedom of Choice

2. Whip It

3. Girl U Want

4. Gates of Steel

5. Be Stiff

6. Planet Earth

[caption id="attachment_2133" align="aligncenter" width="274"] Devo[/caption]

Mark Mothersbaugh- guitar, keyboards, vocals

Gerald V Casale- bass, keyboards, vocals

Bob Casale- guitar, keyboards, vocals

Bob Mothersbaugh- guitar, vocals

Alan Myers- drums

In the end, I was pleasantly surprised by this album. Plus, from the footage I saw on YouTube, I think they would have been fun to see live.  My conclusion is that Devo does deserve a place in the annals of rock and metal history for 1981 and not just because of "Whip It."

Next post: Cheap Trick- All Shook Up

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Great Rock Albums of 1981: The Who- Face Dances

In 1985, I remember listening to a radio programme about The Who and the concluding bit stated that the death of Keith Moon in 1979 marked the end of The Who as a band. The programme went on to admit that the band would continue to tour and that Roger Daltrey, Pete Townsend and John Entwistle would all have successful solo projects, however, The Who as a band, were gone. My reaction was then as it is now, "What about the 1981 album with Kenney Jones?" For me, "Face Dances" has always been a good album but it's Kenney Jones I feel sorry for. Because he was the replacement drummer for Moon, he didn't get the respect he deserves. I wouldn't be at all surprised if Jones has been relegated to a pub trivia question and that's not fair on him. It is the exact same thing I said about Jimmy Farrar, had been Jones made it with another band, his drumming efforts would have been more appreciated.

That said, the radio programme also stated that after Moon's death, The Who's sixties hard rock lyrics and rebelliousness as well as their seventies creativity were gone as well. Not entirely true! When I listen to "Face Dances" I hear a little bit of both of these elements in the album. While there isn't the crashing hard sound that they made famous in classics like "My Generation," the elements of hard rock are definitely there in songs like "Don't Let Go the Coat" and "Another Tricky Day" to name two. Plus, the big single from the album, "You Better, You Bet" definitely has reminds me of that creativity that radio programme praised them for over the likes of the rock opera "Tommy."  Whichever way you want to view "Face Dances" the one thing I can say about it throughout is that you know that it is definitely The Who on this album. Their trademark truly resonates on it.

Track Listing:

1. You Better, You Bet

2. Don't Let Go The Coat

3. Cache Cache

4. The Quiet One

5. Did You Steal My Money

6. How Can You Do It Alone

7. Daily Records

8. You

9. Another Tricky Day

[caption id="attachment_2127" align="aligncenter" width="160"] The Who[/caption]

Roger Daltrey- vocals

Pete Townsend- guitar, vocals

John Entwistle- bass, vocals

Kenney Jones- drums

Hopefully, I have provided sufficient evidence that the radio programme was wrong in regards to The Who being finished in 1979 because in 1981, they put out one very good album in "Face Dances." It showed the world that they were still a force to be reckoned with in the music world. Thinking of Keith Moon, his passing opened the way for the many drummers who would join him since. John Bonham would follow him a year later. I believe that Moon, Bonham, along with the likes of Cozy Powell, Levon Helm and Razzle are drumming away together in a better place.
[caption id="attachment_2128" align="aligncenter" width="200"] Keith Moon[/caption]

Next post: Devo- Dev O Live

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html
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Great Rock Albums of 1981: Greg Kihn Band- Rockihnroll

"Tom Sawyer" by Rush lifted my spirits while I was on mess duty in 1981. In the summer of that year, "The Break Up Song" by the Greg Kihn Band made air alert more bearable. For those who never served in the military, when a marine battalion is placed on air alert, that means the president at any time can order them to go where he needs them to. In 1980, President Carter ordered my battalion to Key West Florida to deal with the influx of Cuban refugees (actually it was Castro emptying his prisons.) In 1981, Regan never ordered us to go anywhere but that didn't stop the top brass from playing (sorry but I have to use the real term here so I apologise to any who might be offended) fuck fuck games with us. Things like getting us up at two in the morning and putting us on trucks to drive forty miles to the air base just for someone to say, "Good job boys." We couldn't go more than fifteen miles from the base and had to let the duty NCO know where we were at all times. Of course, because we were limited to where we could go, we went to the field a lot. So it's no wonder I needed something to raise the spirits a little and "The Break Up Song" was it.

I think what first caught my eye to the song was the guitar sound along with those famous lyrics "ah ah ah ah ah ah ah ah." Although at the time, I thought each of those "ah's" started with a "b." It was another three years before I learned I was actually singing the wrong thing. Saying that, I did mentally compose my own x rated version but I won't go there. The rest of the "RocKihnRoll" album goes along the same vein. Like the big single, the great majority of the songs on the album have that catchy guitar intro that turns your head to it and makes it worth a listen. While the rock doesn't go too heavy, it's there and you definitely notice it. Even the ballad "Sheila" which starts with a keyboard, suddenly goes into a hard rock moment. I found it difficult to pick tracks other than "The Break Up Song" that stand out and that isn't a bad thing for this album. However, I would vote for "Womankind" and "Trouble in Paradise" as other songs of note. The Greg Kihn band shows that they were a good tight band here.

Track Listing:

1. Valerie

2. The Break Up Song (They Don't Write' Em)

3. Womankind

4. Can't Stop Hurtin' Myself

5. Trouble in Paradise

6. Sheila

7. Nothing's Gonna Change

8. The Girl Most Likely

9. When The Music Starts

10. True Confessions

Greg Kihn Band

Greg Kihn- vocals, guitar

Dave Carpender- guitar, vocals

Larry Lynch- drums, vocals

Steve Wright- bass, vocals

Gary Phillips- keyboards, vocals

In my quest to list guitarists who may not have had the respect they possibly deserve, I must add Dave Carpender. Watching the live performance of the album closer "True Confessions," I must say that he can bend the six string a little bit. That only adds to what a good album this is. It was just what was needed back in 1981, not only for me, but I think for music in general.

Next post: The Who- Face Dances

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html
Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Rock Albums of 1981: Moody Blues- Long Distance Voyager

Now onto the next album of 1981 and another story from my past. This won't be a military story although I was serving then. This was a case of "It always happened when I was there" type of thing." It's like the case when I visited the Styx "Cornerstone" album where every time I went through the back gate of the base, the bar across the road always had "Babe" blasting out of its juke box. In this scenario, every time I was on leave or a weekend, 72 hour or 96 hour pass, I would meet my friends at a bar called Bob and Dan's. It's not there anymore but it did serve some really tasty fried mushrooms. It seems that for a good chunk of the year, every time I was in there, it would play "Gemini Dream" by the Moody Blues. It was one of those songs that rapidly grew on me and it provided a good back ground atmosphere inside the bar.

Saying that, the entire 1981 Moody Blues album "Long Distance Voyager" provides a good listening atmosphere whether you're sitting in a bar, driving or just chilling at home. The album straddles the gap between 1970s concept progressive rock and the more sythnesiser sound more in line with the 80s. I hear both of these in the album. The two singles, "Talking Out of Turn" and the one from Bob and Dan's deliver the more 80s sound while "In My World" is the more 70s. The combinations work throughout the album very well giving us an good solid progressive album and I do like the closer, "Veteran Cosmic Rocker."
Track Listing:
1. The Voice
2. Talking Out of Turn
3.  Gemini Dream
4. In My World
5. Meanwhile
6. 22,000 Days
7. Nervous
8. Painted Smile
9. Reflective Smile
10. Veteran Cosmic Rocker

[caption id="attachment_2115" align="aligncenter" width="242"] The Moody Blues[/caption]

Justin Hayward- guitars, vocals
John Lodge- bass, vocals
Ray Thomas- vocals, flutes, harmonicas
Graeme Edge- drums
Patrick Moraz- keyboards

I have the CD to Justin Hayward's "War of the Worlds" so it's good to see that he is still on the go  and making enjoyable music. He has been doing so for many years now both with the Moody Blues and solo. "Long Distance Voyager" adds another note to his credit.

Next post: Greg Kihn Band- Rockhinroll

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Rock Albums of 1981: Rory Gallagher- Stage Struck

I must confess that I'm cheating a little bit here. I never heard of Rory Gallagher until 1982 when the ship I was on played a concert video of him live at Montreux. Even then, the video didn't name the brilliant guitarist who was kicking so much ass in the video. It was another four months before I finally learned his name. Because I saw the video so early in that year, I naturally assumed that the concert took place in 1981 and it was in support of an album he released in the year. However, I learned that "Stage Struck" was actually released in the tail end of 1980. Therefore, to quote from "Full Metal Jacket:" "That's why God passed the law of probability." I can infer that because I was still serving on a ship at the time, I wouldn't have known about this album until early 1981 and that is why I am including it in this year.

I can't say that any of the songs from this album were recorded from the concert I watched. There is a "Live At Montreux" that was released in the later years but that's irrelevant here. Because "Stage Struck" is a brilliant live album that showcases the music and talent of this wonder. The majority of the songs on it are from his last two studio albums, "Top Priority" (I'm kicking myself for not visiting that one in 1979) and "Photo Finish," which I did. It's no wonder this album is so good.

He opens the show with a song that if he was still alive and could play at my dream festival, it would be in his contract that he opens his set with "Shin Kicker." It is also the opener for the "Photo Finish" album and there is no better song in which to open a concert or show. It's one of those that grabs you by the balls and makes you give it your undivided attention. Nor do you get time to rest before the second one, "Wayward Child" takes over and you're rocking away to it. Right after that, there is probably my all time favourite Rory Gallagher song, "Brute Force and Ignorance." A great blues/rock gem that features some great guitar work. But the guitar display doesn't end there. The next three tracks are all big blues rockers with him soloing away to the point that you are left feeling breathless. The last two songs, "Last of the Independents" and "Shadow Play" are great songs from the "Photo Finish" album that take the album to the climax. I can't say conclusion because if I was at the concert and it ended here, I would have my lit cigarette lighter and held it aloft screaming for more.

Track Listing:

1. Shin Kicker

2. Wayward Child

3. Brute Force and Ignorance

4. Moonchild

5. Follow Me

6. Bought and Sold

7. Last of the Independents

8. Shadow Play

          Rory Gallagher

Rory Gallagher- vocals, guitar, harmonica

Gerry McAvoy- bass

Ted McKenna- drums

I believe that Rory Gallagher never quite got the total recognition he should have. I know many Americans who have never heard of him and that's a shame. Rory was a great guitarist and a decent singer. One concert video from more than thirty years ago, still remains strong in my memory and the albums I have posted here also bear witness to his greatness.

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Rock Albums of 1981: Rush- Moving Pictures

Sorry but I'm going to have to relate yet another experience from my military days to this album. Mess duty in the service involves long hours in sweaty conditions in order to feed marines who really don't want to eat the military slop and are first to complain if you do anything wrong. I was on one of the serving lines during those five weeks of mess duty in 1981 and was in a constant struggle between those who complained that we weren't giving them enough food and superiors who complained we gave them too much. No wonder I wanted to smash my head against the wall at times. Then one evening meal, the mess sergeant had the local radio station playing in the mess hall when the song "Tom Sawyer" came on.  I was hooked on it straight away and every time I heard it, I would be uplifted by the fast guitar and the drums after the guitar solo. Now, it would be untrue for me to say that "Tom Sawyer" got me through mess duty, I would have made it through anyhow. However, it did give me a massive boost and made a crap duty a little bearable.

Naturally, I went and bought the album. I was already taken by the opener to "Moving Pictures" so that was a bit of a given there. My worry back then (and I would get burned on this two years later) was that if I bought an album on account of one song and the rest of the album sucked, then I would be a little miffed at wasting my money. Needless to say, that is definitely not the case with my all time favourite Rush album. "Red Barchetta," a song about an restored antique car is also a cool song with some great guitar riffs and I've always considered the instrumental "YYZ" a great song to have on in the car while on a long trip. The music in that song just brightens the journey up throughout its duration. "Limelight" is another great one for me and I can understand why after listening to these first four songs, some people back then thought Rush was heavy metal. They should have listened more to the last three songs. Side two, (since I mainly bought cassettes back then, is more of a progressive rock sound. Still, all three of those songs, especially "Witch Hunt," are all good listeners.
Some of my favourite Rush lyrics appear on this album. Most songs have something for me.

Tom Sawyer- His mind is not for rent to any God or government

Red Barchetta- lyrics about cruising in an old car with your old uncle definitely work here.

Limelight- All the world should be a stage and we are merely players, performers and portrayers

Vital Signs- Everybody's got mixed feelings on the function and the form, everybody must deviate from the norm

Witch Hunt- The entire song made perfect sense to me a few years later when the likes of the PMRC emerged. Did they foresee their coming with this song?

Track Listing:

1. Tom Sawyer

2. Red Barchetta

3. YYZ

4. Limelight

5. The Camera Eye

6. Witch Hunt

7. Vital Signs

[caption id="attachment_860" align="aligncenter" width="128"] Rush[/caption]

Geddy Lee- vocals, bass, bass pedals, synthesisers

Alex Lifeson- all guitars, moog Taurus

Neil Peart- drums, percussion, all bells

"Moving Pictures" highlights the problem I had with people's mind set throughout the 80s. This is the tendency to put music into nice, neat little categories and because of tracks like "Tom Sawyer" and "Limelight" on this album, people believed that Rush was heavy metal. I believe it is that categorising that influenced them into a more synthed out sound later on. So, when you dust this album off to play it again, (I know some of you haven't stop listening to it and I don't blame you) do so without trying to categorise. Just enjoy it for the great album it is and appreciate what fine musicians the members of Rush are.

Next post: Rory Gallagher- Stage Struck

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and at Foyles Book Shop in London

Great Rock Albums of 1981: Joe Walsh- There Goes the Neighborhood

After the break up of The Eagles in 1980, Joe Walsh was the first ex-band member out of the blocks with a solo album. Of course, he was already experienced in that department having had a number of solo albums before joining and whilst with the band. Most notable of those was the 1978 album, "But Seriously Folks," which I visited on here a long time ago. It's sometimes hard to believe that I've been at this for three years now. "There Goes The Neighborhood" was his first solo release since "But Seriously Folks" and on account of rockers like the famous "Life's Been Good" on that album, it took me a rather long time before I was able to warm to this 1981 effort.

I realise now that I was guilty of pigeon holing Joe Walsh back then because there are no rockers like his very famous 1978 single on this album and that is something I don't do for many other artists and don't like it when the media and so called music fans do it. Now with my wrist slapped and a refamiliarisation of the album thanks to YouTube, I can talk about this album through a fresh pair of ears. What put me off the album in 1981 was the first single, "Life Of Illusion," which each time I heard it, gave me the impression that I was dining in an Italian restaurant. Don't ask where I got that from. I didn't have that impression this time around but it's still not the best song on the album. The tracks "Down On the Farm," "Bones" and "Rivers (Of the Hidden Funk) all top it for their more bluesy guitar sound. The last of those featured former band mate Don Felder, who co-wrote the song, on guitar and although it's not stated, I can't help wondering whether or not the two did their guitar solo trade off like they did on a very famous Eagles classic. The rest of the album varies between that blues sound and a more progressive rock sound.

Track Listing:

1. Things

2. Made Your Mind Up

3. Down On The Farm

4. Rivers (Of Hidden Funk)

5. Life Of Illusion

6. Bones

7. Rockets

8. You Never Know

[caption id="attachment_841" align="aligncenter" width="98"] Joe Walsh[/caption]

Joe Walsh- guitar, vocals, synthesiser

Don Felder- guitar, backing vocals

Jody Boyer- vocals

Victor Feldman- percussion

Ross Kunkel- percussion

David Lindley- percussion, violin, vocals

Bob Mayo- guitar

Kenny Passarelli- bass, backing vocals

George Perry- bass, backing vocals

Timothy B Schmidt- backing vocals

Tom Stephenson- keyboards

Joe Vitale- drums, flute, keyboards

Now I know why I try not to pigeon hole artist if I can help it. So, "There Goes The Neighborhood" wasn't the hard rocker that Joe Walsh's previous album was. It's still not a bad album and there are a few tracks where he still works some magic with the guitar.

Next post: Rush- Moving Pictures

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Rock Albums of 1981: Grace Slick- Welcome to the Wrecking Ball

In 1981, even after her contribution on the "Modern Times" album by Jefferson Starship, Grace Slick was reported to have said that she was going to blow herself up if she got kept on being asked if she was going back to the Starship. I don't blame her, there was still quite a bit of discord between her and the band at this time. Additionally, it was a month after the release of "Modern Times" that I saw her album "Welcome to the Wrecking Ball" for sale in the shops. This was one of those albums I wanted to listen to but never got around to it. I really liked her more progressive sounding "Dreams" which she put out the previous year so the precedent for buying was certainly there. But I didn't, and now thanks to You Tube, I was able to finally listen to the album and now I'm really kicking myself.

Maybe it was because "Dreams" was more progressive and my musical tastes were becoming harder is why I didn't buy it. Lousy excuse, because "Welcome to the Wrecking Ball" is nothing like "Dreams." This entire album is (and I can't put it any other way) is one hell of a rocking album. It starts with the title track and then avalanches into a thrilling pool of bang your head style rock that some people could mistake for heavy metal. The only reason why I won't call it that is the track "Shooting Star." This song could have been written by Paul Kantner and used on either of Jefferson Starship's albums "Red Octopus" or "Spitfire" from the mid 70s. The song is more of a trippy way out there kind of song but it does fit in well with the album. It's the only song, save for "Lines" that doesn't begin by a pounding guitar riff. "Lines" starts with a reggae sound before exploding into your face in likewise hard manner. One thing for sure is that given Grace's powerful vocals on these songs, it is clear that she definitely can sing hard rock. Just listen to "Round and Round" and you'll see what I mean. Maybe a metal band should give her a guest vocal spot on a song, I know it would sound superb.

The unsung hero on this album is Scott Zito. He wrote all of the songs along with Slick and after hearing what he can do on the guitar on first, "Dreams" and now this album, I'm glad that she kept him on to play guitar because he can play.

Track Listing:

1. Welcome to the Wrecking Ball

2. Mistreater

3. Shot in the Dark

4. Round and Round

5. Shooting Star

6. Just a Little Love

7. Sea of Love

8. Lines

9. Right Kind

10. No More Heroes

[caption id="attachment_1679" align="aligncenter" width="127"] Grace Slick[/caption]

Grace Slick- lead vocals

Scott Zito- lead guitar, harmonica, backing vocals

Danny Guilino- rhythm guitar

Phil Stone- bass

Bobby Torell0- drums

Paul Harris- keyboards

I'm not finished kicking myself for not buying this album but I will start searching Amazon and like places. The problem is that I don't get paid till Friday. "Welcome to the Wrecking Ball" by Grace Slick is definitely the most underrated album that I have come across for 1981, if not for all time. I'm glad she just let herself go on this one for this is a fantastic album.

Next post: Joe Walsh- There Goes The Neighbourhood

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available at Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great New Metal Album: Greywind- Afterthoughts

Apologies for all of those who were expecting to be reading my thoughts on the "Fugazi" album from Marillion. Trust me, that will be coming very soon. What has thrown a metal spanner in the works was my getting and listening to the debut album, "Afterthoughts" by Greywind after seeing them dominate the Avalanche Stage on the Saturday and Download. Now, that I've had a couple of listens to it, I am even more impressed and now want to spread the word about this band.

[caption id="attachment_3947" align="aligncenter" width="225"] Greywind making their mark at Download[/caption]

At first listen, one might be tempted to compare Greywind to Paramore and there are similarities in the sound beyond the fact that both are fronted by female lead singers. Only similarities though, as I find Greywind to be much more in your face than what Paramore ever was, no disrespect to that band. There is some powerful forces at work on "Afterthoughts" in between some flashes of prog metal. The best example of this is on the tracks "Circle" and "The Lake." The latter uses a piano in a very seductive way that lures you into a possible mellow out before belting you ear drums with more guitars. However, those aren't my favourite tracks on the album. The title track is a definite candidate as well as being a great opener for the album. I also like the track "Desolate" for its start like a ballad before ripping your head off power chords and then going back and forth between the two and "Car Spins" is a very interesting track to say indeed.

One thing I learned after purchasing the album was that Greywind are actually a brother and sister act fronted by guitarist Paul O'Sullivan and singer Stephanie O'Sullivan. The rhythm section get a mention in the Special Thanks part on the label as they should. Mark Chapman and Adam Perry make a very good one here. Guitarist Paul is a very good guitarist which is paradoxical for me. I usually like ones who do blistering solos ala Van Halen, Nugent, Blackmore, Iommi, Page etc. I had to stop there before I got carried away naming all the great axemen. He does play some intricate little riffs throughout the songs that don't escape your attention.

For me though, it's the dominating voice of Steph that makes this album for me. In comparison to Paramore, Hayley Williams' vocals don't even come close! Steph O'Sullivan can do it all. She can sing soft or belt you with her raw power vocal chords. She did that at Download and she does it here on the album.

Track Listing:

1. Afterthoughts
2. Forest Ablaze
3. Circle
4. Safe Haven
5. The Lake
6. Car Spin
7. Stitch On My Wings
8. Desolate
9. In Autumn
10. Wander

Stephanie O'Sullivan giving it her all.

Stephanie O'Sullivan- vocals

Paul O'Sullivan- guitars

Mark Chapman- bass

Adam Perry- drums

https://www.youtube.com/watch?v=N1AWdF1R0oQ

The whole point of my writing "Rock and Roll Children" and starting 80sMetalman was to get everyone to get out their old albums and listen to them again. I know a lot of you never stopped listening to them. In this case, I'm hoping that you will give a new band a chance and listen to their debut album because I think it's worth it.

To buy Rock And Roll Children go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_8?ie=UTF8&qid=1499276423&sr=8-8&keywords=michael+d+lefevre

Download 2017: The Sunday

[caption id="attachment_3978" align="aligncenter" width="270"] I wonder if anyone obliged them.[/caption]
Sunday, the final day of Download., we all thought we better make the best of it. Most of the bands I wanted to see this day were playing on the main stage so I didn't have to travel very far, especially with the headache of packing and loading the car. Everyone in my group all wanted to catch the day's opener on the main stage, Fozzy. I had seen them at Bloodstock in 2013 and was very eager to see them again and when they came out on stage, they were determined to impress. Lead singer Chris Jerico, now with darker hair, still was the main attraction to this band. Like when I saw him at Bloodstock, he has a stage presence that singers with greater vocal talent don't. However, he did give his band a little more of the limelight this time around. After all, he does have a good band behind him and I have to say that they seemed to have better material this time around. Check out the new song, "Judas." A great start to the final day.
[caption id="attachment_3980" align="aligncenter" width="225"] Fozzy begin[/caption][caption id="attachment_3981" align="aligncenter" width="225"] Jerico goes to the front[/caption][caption id="attachment_3982" align="aligncenter" width="225"] With the rest of the band behind him[/caption][caption id="attachment_3983" align="aligncenter" width="225"] Chris came my way[/caption]
The rest of my group returned to camp but I stayed because I very much wanted to see the second band of the day, Orange Goblin. I have some of you bloggers to thank for that, I'm looking at Stone and HMO specifically, because what I have read about them made that decision for me. I have been told that while their music was good, they lacked stage presence, however, I saw no evidence of that when they hit the stage. True, singer Ben Ward is not the showman that Chris Jerico is but he sings well and can get the audience motivated behind the band. I thought they had some good stuff with their combination of doom metal and stoner rock. Will definitely be listening to these guys more and I'm serious about that.
[caption id="attachment_3984" align="aligncenter" width="225"] Orange Goblin do have the presence[/caption][caption id="attachment_3985" align="aligncenter" width="225"] Ben Ward serenading the Sunday morning crowd[/caption]
After being wowed by Fozzy and Orange Goblin, it was time to head back to camp, finish packing and load up the car. We managed to do this but because one of the assistants sent us to the wrong car park, we were late in getting back so when only caught the last twenty minutes of Devil Driver on the Zippo Stage. Still, twenty minutes of hard core thrash from Devil Driver is miles better than none at all.
[caption id="attachment_3987" align="aligncenter" width="225"] The closest I could get to Devil Driver[/caption]
After Devil Driver, I headed back to the main stage to see the remaining four bands on the night. The first of these were Australian hard rock band, Airbourne. Remember what I said about Northlane are evidence that not all Australian bands are influenced by AC/DC?  Well, forget about that in this case because the AC/DC influence came through the minute Airbourne was out on stage. The other thing I noticed straight away was that lead singer/lead guitarist, Joel O'Keeffe was the main attraction in the band. Like, Devin Townsend and another artist I would see later on in the day, O'Keeffe was good at both. However, he wouldn't be so great without the rest of the band behind him. Most of the songs they played were from the "Breaking Out of Hell" album but that's not a bad thing. I did like the song "It's All For Rock and Roll, so it's another album on my to get list. Airbourne warmed things up nicely in preparation for the rest of the evening.
[caption id="attachment_3986" align="aligncenter" width="225"] Joel O'Keeffe going straight to the front[/caption][caption id="attachment_3988" align="aligncenter" width="225"] O'Keeffe belts out a guitar solo with rhythm section in support[/caption][caption id="attachment_3989" align="aligncenter" width="225"] The album cover alone is worth getting the album.[/caption][caption id="attachment_3990" align="aligncenter" width="225"] O'Keeffe leading the finish[/caption]
After Airbourne, I was totally pumped for the next band, Steel Panther, and my feelings were justified. Steel Panther were the unsung heroes on the day. I loved them start to finish and let me put to rest any doubts about their ability, these guys can play, they proved that the second they stepped out on stage with "Eyes of the Panther." Sure, there is a lot of humour in their songs and I was quite surprised they played, "Thar She Blows" live but whoever said that there can't be humour in metal? I laughed and rocked out at the same time to the Tiger Woods song. In addition to the great metal, there was some great banter with the crowd and between the band themselves. Bassist Lexxi was the butt of most of the jokes, with constant insinuations he was gay but it was also said that lead singer Mike Starr was 72 years old. If that's true, then all the power to him I say. Besides I believe them when they say the reason all the other bands hate them was because they sleep with all their girlfriends. I only had to wait halfway through the set to hear the famous "Death to All But Metal" and they played "Fuck All Night, Party All Day" straight after. The biggest surprise was when they played "17 Girls in a Row." While playing it, they invited ladies up from the crowd on stage and before you knew it, there was a wall of young women across the entire stage and four deep. Most of the ladies seemed content with taking selfies with the band and giving them kisses, not that they minded. Once the girls were back off stage, they ended with what's for me, the best song possible, "Community Property." You bet people sang along to that one. So, after seeing them, anyone who insists Steel Panther are a joke band can come see me and I'll show them my US Marine Corps training.
[caption id="attachment_3991" align="aligncenter" width="225"] Feel the Steel[/caption][caption id="attachment_3992" align="aligncenter" width="225"] Michael Starr sings while Satchel hammers a solo[/caption][caption id="attachment_3993" align="aligncenter" width="225"] Starr and Lexxi come my way[/caption][caption id="attachment_3994" align="aligncenter" width="225"] The ladies answer the invite to come on stage[/caption][caption id="attachment_3995" align="aligncenter" width="225"] Ladies on stage[/caption]
I only became familiar with Alter Bridge a week before I went to Download but after hearing their mix on Youtube, I made up my mind to go and see them. Myles Kennedy was already known to me on account of his work with Slash so that made me more determined to see them. He is a great singer but what I never knew was that he can play a guitar a bit as well. He really wailed away on quite a few of the songs so I was doubly impressed. While I can remember specific song titles, I can say that the songs I heard were absolutely brilliant. I think that after seeing them onstage, they are quickly becoming a favourite with me.
[caption id="attachment_3996" align="aligncenter" width="225"] Welcome Alter Bridge[/caption][caption id="attachment_3997" align="aligncenter" width="225"] Myles came my way to play a solo[/caption][caption id="attachment_3998" align="aligncenter" width="225"] Don't forget, there are three other great musicians in Alter Bridge[/caption][caption id="attachment_3999" align="aligncenter" width="225"] We all know Myles is a great singer too[/caption][caption id="attachment_4000" align="aligncenter" width="225"] More great guitar work[/caption][caption id="attachment_4001" align="aligncenter" width="225"] They played on til the end[/caption]
Now common sense says that I should have stayed put after Alter Bridge so I would have a spot for headliners, Aerosmith. However, who says I have any sense? What did I do? I went over to the Zippo Stage to catch twenty minutes of headliners Slayer. Sure, I have seen them twice recently but who in their right mind would pass up any chance to see Slayer? I didn't and don't regret it.
[caption id="attachment_4003" align="aligncenter" width="225"] Slaaaayyyeeeerrrrrr![/caption]
I did manage to get back well before the main event and managed to jockey into the best place possible to see the band that helped me through high school. Aerosmith came out to all the royal fanfare a band of their magnitude deserved. While I knew that their set would be a 'greatest hits' one, neither I or any of the tens of thousands there to see them cared. The hits came straight away, their was "Crying," "Love in an Elevator," "Living on the Edge" and "Jaime's Got a Gun" for starters. It was common knowledge that the last song was about domestic abuse but I was a little surprised at Steve's revelation that he got the idea for it while he was in rehab. Sometime in the middle of the set, guitarist Joe Perry was allowed to sing lead on a couple of songs, the first one was a blues number and the second one, Brad Whitford played a guitar solo. I always suspected Brad was capable of such things. After all, he's been a brilliant rhythm guitarist for over forty years! After Joe's spot, Aerosmith went back to the hits starting with the film classic, "I Don't Want to Miss a Thing." It was here that Steve Tyler introduced guest keyboards player Buck Johnson. Believe me, he went well with the band. Tom Hamilton played a bass solo but there was no surprise which song was to come after when Steve introduced him as Mr Sweet Emotion. This was the icebreaker for more of their 70s and 80s stuff. There was "Dude Looks Like a Lady" and of course "Dream On," which the band left the stage. No fooling they would come out for encores and the audience was treated to a song I can't remember before "Walk This Way." The night ended with confetti and great fanfare. Now, there are rumours that this would be Aerosmith's last tour. If so, they went out on an absolute high.
Aerosmith ended a night and a weekend of great metal! I went home feeling very satisfied and fulfilled. Download was great but I will not enter into any debate as to which is better between Download and Bloodstock. Both offer me everything I look for in metal. One thing, I must do in the future is to save my pennies so I can go to both festivals in the same year.
[caption id="attachment_4005" align="aligncenter" width="225"] Steve and Joe in the front[/caption][caption id="attachment_4006" align="aligncenter" width="225"] Aerosmith rocks![/caption][caption id="attachment_4007" align="aligncenter" width="225"] They rock some more[/caption][caption id="attachment_4008" align="aligncenter" width="225"] Cool lights[/caption][caption id="attachment_4009" align="aligncenter" width="225"] Tom's bass solo[/caption][caption id="attachment_4010" align="aligncenter" width="225"] More Steve and Joe[/caption][caption id="attachment_4011" align="aligncenter" width="225"] A great end to the night![/caption]

Rock and Roll Children is still available on Amazon.