Great Rock Albums of 1985: Van Morrison- A Sense of Wonder

Here’s another example of how I was so focused on heavy metal in early 1985 that I didn’t fully appreciate a good non-metal album. I have to admit, back then I didn’t have much experience of the legend that is Van Morrison. My most memorable experience of him was his performance in the film, “The Last Waltz” where he sang with The Band. Other than that, what I knew of him was virtually zero.

While by 1985, I had become totally fed up with commercial radio, I have to thank it for this one. The single from the 1985 album, “A Sense of Wonder,” “Tore Down a la Rimbaud” got a considerable amount of airplay in the early part of the year. It was only after a few listens that I got past my “it’s not metal” mentality and realized that “Hey, this song is pretty good.” However, for some reason, I never bought the album, which was a bit of a shame because I missed out on a good one.

Wikapedia puts Van’s “A Sense of Wonder” album in the category of Celtic Soul. Well the man is from Northern Ireland and he does put his soul into the album so it’s hard to disagree with that label. Back then, I would have put it into either or both of the categories of soft rock or mellow out rock. It covers both. While the deafening power chords I was so into in 1985 and still am today are absent, one can’t fault the quality of the musicianship on it. Here’s another myth I believed about Van which this album has obliterated. I thought that he only sang because that’s what he did in “The Last Waltz.” But he plays guitar and piano and rather well judging from the instrumentals “Evening Meditation” and “Boffyflow and Spike,” the latter sounding like true Irish folk music.

While the single remains my favourite song on the album, the rest of the album keeps up as well. In my opinion, “Ancient of Days” could have been released as a single too because it’s almost as good. After the first mentioned instrumental, he goes very almost gospel soul softer though I think the title track goes on a bit too long for me. The second instrumental does pick things up a pace after and “If You Only Knew” keeps that pace going with “A New Kind of Man” closing the album out with a good feeling.

Track Listing:

1. Tore Down a la Rimbaud
2. Ancient of Days
3. Evening Meditation
4. The Master’s Eyes
5. What Would I Do
6. A Sense of Wonder
7. Boffyflow and Spike
8. If You Only Knew
9. Let the Slave (Incorporating the Price of Experience)
10. A New Kind of Man

Van Morrison

Van Morrison- vocals, guitar and piano

John Allair- organ

Bob Doll- trumpet

Tom Donlinger- drums

Pee Wee Ellis- tenor saxophone

David Hayes- bass

Chris Michie- guitar

Pauline Lazano- backing vocals

Bianca Thornton- backing vocals

The group Moving Hearts performs on tracks 6 and 7

I’m now a believer. Again, it could be me mellowing a tiny bit with age but I now appreciate how good the “A Sense of Wonder” album from Van Morrison really is. Perhaps I should delve into his discography a little more.

Next post: Tom Petty and the Heartbreakers- Southern Accents

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Great Rock Albums of 1984: Gary Moore- We Want Moore

Listening to Gary Moore’s live album, “We Want Moore,” while it is a killer album all the way, it also brings on my regret of never having seen him live. I nearly did in 2000. While passing by what was then Colston Hall in Bristol, (it’s now called the Bristol O2 Academy), I saw that Gary was down to do a show a few weeks later. However, when I phoned the venue, I was informed that tickets had already sold out. What a bummer, I know. Therefore, I have to listen to his live albums like this one and reflect on what could have been.

“We Want Moore” coming right after his latest studio album, “Victims of the Future,” it’s no surprise that four tracks from that album are on this live one. Remembering the track, “Murder in the Skies,” from said studio album, I was a little surprised at first that it would be the opener on the live album. However, it is and it works. Like any good opening song is supposed to do, be it album or concert, “Murder” grabs the listener by the throat and demands that they listen to the album and like it. It does set the tone for the rest of the album.

What is great album a live album is that many artists aren’t as constrained by the songs when they play them live. With the exception of the “End of the World” and “So Far Away,” all of the other songs are in excess of five minutes, three of those are more than eight and “Cold Hearted” is more than ten! The reason for the increase in length is so that Gary can work his magic with the guitar, which he does on every song on here. When I previously posted about the “Victims” album, I raved about his guitar efforts on “Shapes of Things.” Well, he makes the song even better on the live album! It is eight minutes plus of a good song mingled with lots of fancy playing from Gary. He does likewise with the other songs as well and why I think that the live album outshines the studio album by miles.

Historical note: four of the songs were recorded in Detroit and four in Glasgow. One was done at the Hammersmith Odeon in London and the other was recorded at the famous Budokan in Tokyo. The way it’s put together though, the album sounds like it could have been recorded all on the same night. It makes me almost feel I was there, which what a live album should do.

Track Listing:

1. Murder in the Skies
2. Shapes of Things
3. Victims of the Future
4. Cold Hearted
5. End of the World
6. Back on the Streets
7. So Far Away
8. Empty Rooms
9. Don’t Treat Me Like a Loser
10. Rockin’ and Rollin’

Gary Moore

Gary Moore- lead vocals, lead guitar

Neil Carter- keyboards, rhythm guitar, backing vocals

Craig Gruber- bass, backing vocals

Ian Paice- drums on tracks 4-8 & 10

Bobby Chouinard- drums on track 1-3 & 9

Jimmy Nail- backing vocals track 10

Of course I regret never having seen Gary Moore live and I wished I had passed by Colston Hall a week or two sooner, I might have been able to get a ticket. Fortunately, there is a great live album in “We Want Moore” to soften the pain.

Next post: Lita Ford- Dancing on the Edge

To buy Rock and Roll Children, go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_3?ie=UTF8&qid=1511373180&sr=8-3&keywords=michael+d+lefevre

 

 

 

 

 

 

 

 

 

Great Metal Albums of 1984: Gary Moore- Victims of the Future

 

UK Album Cover

North American Album Cover

Gary Moore as a solo artist didn’t enter my radar until 1986 when I went over to England. Before that and I am ashamed of my naivety at the time, I only knew Gary as the guitarist who used to be in Thin Lizzy. Fortunately, I got a full course in the music of Gary Moore when I did get there thanks to a friend who was a big fan. As a result I got to hear lots of his albums including this one, “Victims of the Future” and I can say that my education in this subject has been top notch. Thirty years on, I have to say a special thanks to Kieran Devlin for being my teacher.

My first impressions of “Victims of the Future” as with many Gary Moore albums, now as it was then, was “He can really play a guitar.” His trademark solos permeate this album and now I am tempted to go into a rant as to how underrated he has been.  That might be true in North American terms but he has always been considered one of the greats here in Britain and of course his native Ireland. Just listen to “Shapes of Things” because that is in my opinion, his best guitar work on the album.

Many of the songs here are straight forward rock anthems. My personal favourite is “Teenage Idol” because that one comes out and hits me in the face the most. “Murder in the Skies” has a very cool guitar intro where he rips up the chords before the meat of the song comes pounding through. A look at history reveals that Gary wrote the song in protest of the Soviets shooting down Korean airline 007 in 1983. The same can be said for “The Devil in Her Heart” which is only on the US release. This is a good rocking song so I don’t know why it’s omitted from the UK version. “Law of the Jungle” is another exemplary rocker and the way it fades out makes it a great closer but he does go a little mellow with “Empty Rooms.” You can call it a ballad but he lays down some good guitar work on it.

Not only does Gary shine on “Victims of the Future,” he enlists some great musicians. Ian Paice of Deep Purple fame plays drums on half the tracks and Bob Daisley who played with Ozzy provides the bass work on two. Noddy Holder of Slade steps in to provide backing vocals on one song. The others who support may not be as recognized but they still do a magnificent job. Therefore, the album has all one needs to be great, good vocals, a steady rhythm section and of course, Gary’s guitar solos.

Track Listing (UK)

1. Victims of the Future
2. Teenage Idol
3. Shapes of Things
4. Empty Rooms
5. Murder in the Skies
6. Hold Onto Love
7. All I Want
8. Law of the Jungle

Track Listing (US)

1. Victims of the Future
2. Teenage Idol
3. Devil in Her Heart
4. Empty Rooms
5. All I Want (cassette only)
6.  Shapes of Things
7. Murder in the Skies
8. Hold Onto Love
9. Law of the Jungle

Gary Moore

Gary Moore- guitars, vocals

Neil Murray- bass on tracks 1,3,7 & 8

Mo Foster- bass on tracks 4 & 6

Bob Daisley- bas on tracks 2 & 5

Ian Paice- drums on tracks 1,3,4 & 8

Bobby ‘Prime Time’ Chouinard- drums on tracks 2,5,6 & 7

Neil Carter- keyboards

Noddy Holder- backing vocals on “Shapes of Things”

So thirty-one years on, I have to say “thank you Kieran” for introducing me to Gary Moore and playing his albums for me, “Victims of the Future” included among them.

Other news: A band I have been promoting on 80smetalman, Black Emerald, has invited me to their album launch party in Reading, UK on February 10. Needless to say, I am excited and you will get a full report of the night’s festivities.

Next Post: Since I’m in a Gary Moore mood, it will be his 1984 live album, “We Want Moore.”

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Great Rock Albums of 1984: U2- The Unforgettable Fire

Unlike the Greg Kihn Band, after their successful 1983 album, “War,” followed by a successful live album, U2 didn’t vanish into obscurity. Maybe Greg Kihn should have released a live album. That’s all hindsight anyway. What is history is the fact that U2 followed up their success with the really cool album, “The Unforgettable Fire.”

I don’t think I’ve said this in previous posts about U2 but the one thing their music definitely did was appeal to Metalhead and Duranie alike. For those who don’t know, a Duranie is someone who was into Duran Duran and similar type music. Those people listened to U2 and did not feel that they were going too weird in their music tastes while Metalheads could do the same without any feeling of selling out and going mainstream. “The Unforgettable Fire” album continues this trend for the band as both of those groups bought this album up.

Reading the history behind the making of the album, the band has said that they were trying to steer a different direction with it as they didn’t want to be labeled as another arena rock band. Let me be totally honest here, I have never heard anything different in the sound of “The Unforgettable Fire” than what they had accomplished with their previous three studio albums. What U2 had been able to do very well with all four of their albums to date was make different sounding songs without having to change their overall style. I have always believed it was a case of more of this with the fourth album.

With “The Unforgettable Fire” the hits come out straight away, probably because I heard the first single, “Pride in the Name of Love” on the radio before I bought the album. History states that the single was released first so that’s probably why. Still, it ranks up their among my favourite U2 songs of all time. The second single, “Bad” is the second single released and that stands out as well while at the same time, you know it’s a good U2 song. I could never fathom why the title track never charted in North America as it’s a really cool track as well. If anything, I would rate it above “Bad.” But if you know me by now, albums aren’t about the singles on them and there has to be some hidden gem in the album. For me, that track is “Wire.” If I had my way, that would have been released as a single. I like the little guitar lick The Edge uses at the beginning before it goes into a good rocking song. In fact, The Edge shows his guitar skills all through the song. Actually, “Indian Summer Sky” is a really good song and that’s what you need for a good album.

The other thing which definitely appealed to me back in 1984 was U2’s use of politics in their music. This continues with this album, especially as two songs are dedicated to the late Martin Luther King Jr, one of them being the first single. “Bad” was about heroin addiction and the idea for the title track came when the band was visiting the war museum in Hiroshima, Japan. Put these things in with the music on the album and it’s no wonder why I liked it so much.

Track Listing:

1. A Sort of Homecoming
2. Pride in the Name of Love
3. Wire
4. The Unforgettable Fire
5. Promenade
6. 4th of July
7. Bad
8. Indian Summer Sky
9. Elvis Presley and America
10. MLK

U2

Bono- lead vocals,

The Edge- guitars, keyboards, backing vocals

Adam Clayton- bass

Larry Mullen Jr- drums

New feature: Seeing what has been done on other blogs and now that I know that I don’t have to pay WordPress ridiculous amounts of money for the privilege, with every album post, I will include a track from said album. Typical me, last on the bandwagon. In this case, since I have sung the praises of the track “Wire,” it will be featured here.

Heavy metal was going strong in 1984, so was U2. This album is clear evidence of that fact.

Next post: Steve Perry- Street Talk

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Great Rock Albums of 1984: U2- Under a Blood Red Sky

Maybe U2 were trying to follow in the lead of Blackfoot in the sense that after three albums, release a live album. The difference here is that the three Blackfoot albums are all considered classics while the same can’t be said for the three U2 albums. Now don’t get me wrong, I like all three of these albums, “Boy,” “October” and “War.” However, the first two didn’t propel them to stardom the way “War” did. “Boy” turned my head in their direction but when I mentioned U2 to others, I mostly got blank stares. “October,” on the other hand, is U2’s best kept secret. Not a lot of people seem to know too much about the album but I’ve always liked it. “War” goes without saying, it made the band a worldwide name. It is on the back of “War” that the live “Under a Blood Red Sky” album was released.

When most people think of this live album, they automatically assume it’s from the filmed concert “U2 Live at Red Rocks: Under a Blood Red Sky,” it’s not. The songs are live but recorded separately from concerts in Colorado, Boston and Germany. Furthermore, the filmed concert is nearly and hour and a half long while the album consists of just eight songs and is just over thirty-five minutes.

Ironically, the album starts with the best known song from the “October” album, “Gloria.” Probably a good opener as any for U2 at this stage of their career. What’s more, the next two songs are off the “Boy” album but then, “I Will Follow” is my all time favourite U2 song and it’s played very well. The crowd really get into it and if I had been there, I would have too. The fourth song, “Party Girl,” doesn’t appear on any of the albums but it’s still okay. Remember, back in 1983, U2 were still hungry and making their mark on the music world and all of the songs reflect that on the album.

It’s not until song five we get anything from the “War” album and that is the phenomenal “Sunday Bloody Sunday.” My second favourite U2 song and the way it’s played here is pure magic. Next is another good song from the debut album in the form of “The Electric Co.” For me, it’s played just as well live as when I hear it on the “Boy” album. Were there studio fixes here?  I can’t say. The last two songs from “War” take the album out brilliantly. First is the fantastic “New Year’s Day” and there is no better song for them to close a concert with than “40.” When I saw them in 1985, they would close the show with that song and it was mind blowing. I have to say that “Under a Blood Red Sky” takes me back to another time and almost seemingly another U2 because they were actually good but it hadn’t gone to their heads yet.

Track Listing:

1. Gloria
2. 11 O’Clock Tick Tock
3. I Will Follow
4. Party Girl
5. Sunday Bloody Sunday
6. The Electric Co
7. New Year’s Day
8. 40

U2

Bono- lead vocals, guitar

The Edge- guitar, keyboards, backing vocals, bass on “40”

Adam Clayton- bass, guitar on “40”

Larry Mullen Jr- drums

“Under a Blood Red Sky” may not go down as one of the greatest live albums in history but it’s still a good album. Especially if you like U2 when they were more hungry and less with the ego.

Next post: Julian Lennon- Valotte

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Great Rock/Metal Albums of 1983: Thin Lizzy- Life

“Thunder and Lightning” might have been the final studio album for Thin Lizzy but that didn’t mean they were in any way finished. Further along in the year, 1983, the band released the live album, “Life.” The album was recorded over a series of concerts played in September and October, predominantly taking place at the Hammersmith Odeon in London.

The closest I got to ever seeing Thin Lizzy live was seeing the tribute band, Limehouse Lizzy, in Stroud over ten years ago. It’s a shame they never came back, but I digress. Both the tribute band and this album make me regret the fact that I have never seen the actual band in concert. What I have heard in both camps here give me the impression that they would have been sensational, but no use crying over something I have no control over.

It wouldn’t have taken a computer to deduce the fact that any live album late in Thin Lizzy’s career would have been a glorified greatest hits album. Having owned their greatest hits album, (I have it on cassette), I can attest to this. Still there are some great surprises on here, starting with the fact that “Thunder and Lightning” would be the best track to open the live album or any concert. They play it just as loud and proud live, maybe more. In fact, the songs from “Thunder and Lightning” are all played rather well, “Cold Sweat” definitely gets an honourable mention here. In addition, in my mind, they pick the right songs from that album to play on this one. Saying that, I like the live version of “The Sun Goes Down.” To me it seems more sinister though it does go on even longer than on the studio version.

Of course, all the great Lizzy classics are on here and most of them are played very well live. I only have to wait to the third song to hear my all time favourite Thin Lizzy ditty and they definitely do it justice. Other notable efforts are “Emerald,” “Black Rose,” “Waiting for an Alibi,” “Hollywood (Down On Your Luck)” and if they genuinely closed their shows, with “The Rocker” like they do on the album, then it was a very wise choice indeed. A great song to go out on.

Additionally, Phil Lynott got the former Thin Lizzy guitarists to play on different numbers on the album. Gary Moore, Snowy White, Eric Bell and Brian Robertson all play on the album. I now know why “The Rocker” was such a great closer. That’s because all the guitarists mentioned as well as Sykes and Goram of course play on the final song in what Phil calls ‘The All Star Jam.” That was great to hear, it must have been mind blowing to see.

Track Listing:

1. Thunder and Lightning
2. Waiting for an Alibi
3. Jailbreak
4. Baby Please Don’t Go
5. The Holy War
6. Renegade
7. Hollywood (Down on Your Luck)
8. Got to Give it Up
9. Angel of Death
10. Are You Ready
11. The Boys are Back in Town
12. Cold Sweat
13. Don’t Believe a Word
14. Killer on the Loose
15. The Sun Goes Down
16. Emerald
17. The Black Rose
18. Still in Love With You
19. The Rocker

Thin Lizzy

Phil Lynott- bass, lead vocals

John Sykes- guitar, backing vocals

Scott Goram- guitar, backing vocals

Darren Wharton- keyboards, backing vocals

Brian Downey- drums, percussion

Guest Musicians

Gary Moore- guitar on Black Rose and The Rocker

Eric Bell- guitar on The Rocker

Brian Robertson- guitar on Emerald and The Rocker

Snowy White- guitar on Renegade, Killer on the Loose, Hollywood and The Rocker

In November of 1983, I met up with a friend who was on leave from the army after spending two years stationed in Germany. Before he left the country, he got to see Thin Lizzy’s last ever gig in Nuremberg. I don’t remember many of the details but it sounded like an amazing event. They played many of their classics more than once and “The Boys are Back in Town” three times! Boy I was jealous, still am. I have to settle for the next best thing, this live album.

Next post: Zebra

To buy Rock and Roll Children, go to http://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/Metal Albums of 1983: Thin Lizzy- Thunder and Lightning

Before I launch into the final studio album from one of the greatest rock bands from the 1970s, I feel I must bring to everyone’s attention the boo-boo I made on my last post. Having looked at it, I realise that I never posted the photos I took of the headline band, Twister, that night. I have since rectified this mistake and the photos are there for your viewing enjoyment. I’ve listened to a couple of Twister songs on Youtube and they’re quite good.

Yes, “Thunder and Lightning” would be the final studio album from Thin Lizzy. My first experience of this album came in 1986, when partying in my college dorm room, my new British friends and I were making a tape for my sister. A Thin Lizzy song was suggested and “Thunder and Lightning” was further suggested. Upon hearing that suggestion, the Thin Lizzy officianado in the room stated that it was the worst Thin Lizzy song you could play. Having to decide things like that for myself, I listened to the album and I never agreed with my friend’s opinion.

Whether it was the addition of John Sykes on guitar or Thin Lizzy trying to jump on the new wave of British heavy metal, (NWOBHM), “Thunder and Lightning” is the heaviest Thin Lizzy album I have experienced. The title cut opens the album and from the first notes, you know that this is a much heavier brand of Thin Lizzy. That heaviness carries on through the second song as well. However, things slow right down with “The Sun Goes Down.” This one is much slower, a rock against the tide of the rest of the album. Still, there is some good keyboard work on it and I have always been a sucker for a great slow blues guitar solo. However, the song does drag in some places.

“The Holy War” returns things to its natural pace. While not quite as hard as the first two tracks, it does deliver through the melodic hard rock avenue and it’s possibly my favourite track on the album. It’s melody is quite catchy. That track sets up the rest of the album. From then on it’s one hard tune after the other, sort of a one, two, three, four, five punch. The opening riffs of “Cold Sweat” give that away. Even then, I can still hear the what some would say as traditional Thin Lizzy coming through and there is some good soloing from both Goram and Sykes.

One song that really intrigued me on “Thunder and Lightning” is “Someday She’s Going to Hit Back.” The title suggests this is an anti- domestic abuse song and having a read of the lyrics, it seems to support that theory. Here’s the paradox. This music to this rocker is really cool with another great guitar solo. However, I fear that on account of that, the message of the lyrics gets lost in the song. Just an observation here. Then comes “Baby Please Don’t Go,” another cool hard rock song but I am left to wonder if the last song sets up this one. However, both songs lead the way out for the album which ends on a terrific closer in “Heart Attack.” Not to take anything away from the penultimate song as that’s a good one too.

Track Listing:

1. Thunder and Lightning
2. This is the One
3. The Sun Goes Down
4. The Holy War
5. Cold Sweat
6. Someday She’s Going to Hit Back
7. Baby, Please Don’t Go
8. Bad Habits
9. Heart Attack

Thin Lizzy

Phil Lynott- bass, lead vocals

Scott Goram- guitar, backing vocals

John Sykes- guitar, backing vocals

Darren Wharton- keyboards, backing vocals

Brian Downey- drums, percussion

Usually in the case of final albums, they are a lackluster offering from a band whose attitude is to get it done and go. This isn’t the case here with “Thunder and Lightning.” There was some good thought put into it. Some say that the lyrics aren’t up to much but that’s a technicality. The music more than makes up for it. Definitely the rockingest album from Thin Lizzy.

Next post: Thin Lizzy- Life

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Bloodstock 2016- Thursday

It’s Monday, I have returned and sobered up from three and a half kick ass days at Bloodstock. There were highs, there were lows, not many but all in all it was a unforgettable weekend of metal. If I tried to post the entire weekend in one post, I’d be typing til next Friday, so I’ll break it down day by day, starting with the day we arrived, the Thursday.

The trip there was quicker than expected, no traffic hold ups even where I expected them to be. So we got there in great time with music from Axel Rudi Pell, Kill or Be Killed and the Disturbed to serenade us on the journey. After, lugging most of our gear quite a long distance and standing in a long line to get in, we finally found a suitable place and pitched the tent. Thank God we had a trial run with the tent, otherwise it would have been hard going. Once we did that, got the rest of our provisions and fed our faces. We were then ready for the first night’s festivities.

Our tent, it’s a wonder it stayed up all weekend.

Group photo: Joe, Gemma, Teal and me

Our first objective was going to the new Lemmy Bar opened in honour of the legend himself. However, we were briefly sidetracked from some sounds coming out of the Sophie Lancaster tent. Being curious, we investigated and discovered a band called Sumer. We only caught the last song and a half but it sounded good, more hard rock than metal but I liked them. It could have been a good omen on what was to come.

Sumer

When Sumer left the stage, there were no further distractions so we immediately proceeded to the Lemmy Bar. It was one of the former Bloodstock bars remodeled and renamed but the change was definitely for the good. Out of tribute to the Heavy Metal God, we all went in and each purchased a ‘Lemmy,’ (Jack Daniels and coke.)

 

Inside was totally dedicated to the God

Me enjoying my Lemmy

I wonder how many Lemmys he had

After we drank our Lemmys, music coming from the Sophie Lancaster tent once again beckoned. Going back, we were very fortunate to catch the final couple of songs from Irish thrash metallers, Psykosis. I only might have heard two songs from this band but they left me asking myself why these guys weren’t more known. If you have heard of them, I would love to read your feedback on them. I was impressed!

Pyskosis

While Sumer and Pyskosis both provided a brief look into things to come that weekend, the main event of the night was still to come. When Phil Campbell and the Bastard Sons hit the stage, they did not disappoint. Their musicianship was superb and Phil showed that he can definitely work a guitar but it was the covers performed by the band that got the crowd going. The evening was always going to be about Lemmy and deservedly so but before they got into that, there was a brilliant cover of the Black Sabbath classic, “Sweet Leaf.” The Motorhead covers followed quickly after that and that was when they brought in the big surprise. Dee Snider from Twisted Sister was brought in to sing the Motorhead anthem, “Born to Raise Hell” and it raised the roof. While playing, the band stopped so Dee Snider could say: “This year, we lost a friend, a hero, a heavy metal fucking God!” Obviously, he was talking about Lemmy and also turned out that Pepper Keenan from Corrosion of Conformity accompanied on backing vocals. Other treats included the two Motorhead classics “Ace of Spades” and my all time personal favourite Motorhead song, “Killed By Death.” Campell totally nailed these and his guitar solo on the cover of ZZ Top’s “Sharp Dressed Man” was really cool. Needless to say, a mosh pit formed for “Ace of Spades” and even I went into it. Not long after, the band left the stage and came out with one more surprise. I doubt anyone in the tent was expecting them to play the Hawkwind classic, “Silver Machine.” The tent erupted here and Phil Campbell and the Bastard Sons left the stage having wowed the audience.

Phil Campbell and the Bastard Sons

Here’s a picture with Phil Campbell actually in it

Dee Snider moved around the stage so much, I could only catch him when his back was turned.

However, the night wasn’t quite over yet. After Phil Campbell and the Bastard Sons departed the stage, a bloke by the name of Simon Hall appeared on it. He explained that someone challenged him that if he did a roly poly (somersault,) the challenger said he would give £100 to the Sophie Lancaster Foundation which was set up to combat intolerance of alternative lifestyles. Well, somebody put news of the challenge online and it went viral. By the time Simon did his roly poly on stage this night, £1300 was raised for the foundation.

Simon Hall with some visitors

He had lots of support

When we left the Sophie Lancaster tent that night, we were not only blown away by the great metal already experienced, we were also left with great expectations of what was to come the rest of the weekend. Now, I must state that I am writing about my experiences of the weekend and I’m sure there were over 15,000 different ones. If you have been to Bloodstock this past weekend, please share your experiences of this piece of metal history.

Next post; Friday

To buy Rock And Roll Children, go to http://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 1983: Chris DeBurgh- The Getaway

Don’t bother scrolling down to see if I’ve written “April Fool” at the bottom of the post, I am seriously posting about this album because I actually bought it in 1983. There is a cautionary moral to my tale. Throughout my entire record buying life, I had one record buying rule: Never buy an entire album on account of one song. This rule has probably saved me lots of money over the years  but one time, in 1983, I broke my rule and the result was Chris DeBurgh, “The Getaway.”

In May of that year, Chris’s best known hit, “Don’t Pay the Ferryman” got a considerable amount of airplay on the radio and I liked it. I liked the rather rock sounding lead guitar breaks between the verses along with fantasy quest sounding lyrics. Plus I liked eerie introduction to the song, the keyboards and acoustic guitar got my attention straight away. My point, “Don’t Pay the Ferryman” is a decent rock song. Now, I could blame it on my lack of living space whilst still in the marines as normally, I would have bought the song on 45. (Remember those?) However, I didn’t want to risk the record breaking while packed with all my stuff for that final trip home, so I bought “The Getaway” on cassette.

In tradition of the time, “Don’t Pay the Ferryman” opens the album. The joke here is that I could have stopped the tape there but I didn’t. Sometimes, I think that maybe I should have. After the big hit, the next three songs are totally mellow out love song ballad type things. None of them really grabs my interest. Then things speed up for the next two songs. Both “The Getaway” and “Ship to Shore” are not ballads but still not rock. They are both trendy pop songs and though I’ve heard worse, nothing to get excited about. Then after another ballad, things take a slightly interesting turn.

“The Borderline” is a ballad but the lyrics are quite interesting. The song is about two lovers who live in neighbouring countries who are about to go to war. Since the nations of Europe fought like cats and dogs from the fall of the Roman Empire until World War 2, this situation probably happened a lot. Another nice surprise is as the song nears the end, you are treated to a rather decent guitar solo. The credits don’t say who plays it but hats of to whoever it was. After “Where Peaceful Waters Flow,” which sounds like it has a choir harmonizing on it, comes the closer in three parts. The beginning called “Revolution” sets the song up for its glorious middle where that guitarist gets to shine again on “Light a Fire.” This part is the rockingest on the album and maybe a metal band should cover just those two minutes. Then in typical fashion on the album, “Liberty” is another ballad to end the song, except I have come to like the keyboard exit that ends the album in a eerie manner similar to how the album started. So, with “The Getaway,” we have a good beginning and a half decent end to the album. It’s just the in between that lets it down.

Track Listing:

1. Don’t Pay the Ferryman
2. The Island
3. Crying and Laughing
4. I’m Counting on You
5. The Getaway
6. Ship to Shore
7. All the Love I Have Inside
8. The Borderline
9. Where Peaceful Waters Flow
10. Revolution
11. Light a Fire
12. Liberty

Chris DeBurgh

Chris DeBurgh- vocals, guitar, piano

Rupert Hine- synthesizers, percussion, backing vocals

Jim Giblin- bass

Steve Negus- drums

Phil Palmer- guitars

Dave Caddick- piano on I’m Counting on You

Tim Wynveen- guitars

Anthony Thistlewaite- saxophone

Steven W Tayler- woodwinds, saxophone

Nigel Warren-Green- cello

Anthony Head, Sue Wilkinson, Diane Davison, Miriam Stockley- backing vocals

I have come to this conclusion, I theorize that Chris DeBurgh had the potential to be a great rock singer. Instead, he sang ballads and other mellow out songs. “The Getaway” is evidence of both. Still don’t do what I did and buy this album on account of a really good opening song.

Next post: Modern English- After the Snow

To buy Rock and Roll Children, go to http://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 1983: U2- War

My original intention was to post U2’s breakthrough album “War” in succession with Todd Rundgren and Bryan Adams. However, with the death of David Bowie, I felt the need to abandon that intention in order to pay proper homage to a true rock icon. The idea for my original intention came about because back in 1983, there was a chance to see Todd Rundgren, U2 and Bryan Adams together. They were playing a concert in Charlotte, North Carolina and the local radio station in Jacksonville, where I was stationed, was running a bus to it. I would have loved to have gone but unfortunately, the Marine Corps stuck me on duty that day so I couldn’t. It’s no wonder why I didn’t re-enlist.

Like I said a second again, u2’s third album, “War” was the album where they finally got the attention they deserved in the US. In 1983 and I’ve probably said this before, commercial radio didn’t totally suck, so when the monster hits, “Sunday Bloody Sunday” and “New Year’s Day,” blew me away when they got played, I naturally had to get a hold of the album. Especially, having heard their first two albums, “Boy” and “October.” U2 was one of those bands where I could tell the johnny come lately’s that I was listening to them before they got famous.

What I have always liked about War is that, at least in my ears, it’s not much different to their first two albums. They didn’t have to change to get accepted, (something they would forget in the years to follow.) U2 brought a different sound to the table which many people liked when they got to hear it. The fascinating thing about “War” is that the album has been enjoyed by both metalheads and Duranies (people who worshiped Duran Duran) alike. In fact, they have often been labelled ‘punk’ mainly because there was no other category in which to put them.

So many great things have been said about the “War” album, I would just be repeating them and even now, I find it difficult to find my own words. I know I just really like this album. The two singles already mentioned are my joint second favourite U2 songs of all time, “I Will Follow” takes the top slot. However, I was more than slightly disappointed when they didn’t play the third single from the album, “Two Hearts Beat as One” when I finally got to see them live in 1985. While all of the songs are good, I would have to pick “Surrender” as my favourite of the lesser known songs on “War.”

Track Listing:

1. Sunday Bloody Sunday
2. Seconds
3. New Year’s Day
4. Like a Song
5. Drowning Man
6. The Refugee
7. Two Hearts Beat as One
8. Red Light
9. Surrender
10. 40

U2

Bono- lead vocals, additional guitar

The Edge- guitars, piano, backing vocals, lead vocal on “Seconds”

Adam Clayton- bass

Larry Mullen Jr- drums

In 1983, U2 finally broke into the big time with a fantastic album “War.” This album was a milestone for the band and fans like me in so many ways. In fact, often times I think that the band should go back and listen to this album and remember what got them to where they are.

Next post: Supertramp- Famous Last Words

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

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