Smash Hits RIP

In 1978 former NME writer Nick Logan birthed Smash Hits on his kitchen table. The first issues cover star was Plastic Bertrand, and Logan so unsure of the magazine he edited it under the pseudonym Chris Hall. He shouldn?t have worried as the Magazine went on to both mirror and shape the pop music of the 1980?s. Its colour posters became wallpaper for teenagers bedrooms. The real revolution was securing the rights to print the lyrics to ?Smash Hit?of the day. These lyrical crib sheets rested between the pages of school textbooks. Scanning the words to Nik Kershaws ?The Riddle? held a greater appeal to me than studying my French verbs.

Smash Hits was my first introduction to the wonderful world of the music press. Interviews and record reviews showed a wonderfully na?ve and witty take on the world of pop. What they may have lacked in terms of critical analysis they more than made up for with humour, pathos and the ability to show no respect for reputation. My distrust of Paul Weller stems from the amount of abuse he suffered at the hands of Smash Hits. He was ridiculed for his angst-ridden approach to music. He came across as Rik from the Young Ones, the people poet with a guitar. Although I admire Jam I don?t love them as I feel maybe I should and Weller?s post Jam music leaves me cold.

Posh, Ginger, Scary, Sporty and Baby owe a great deal of their brand image to Smash Hits. The nicknames came from the pen of a writer at Smash Hits, plain Mel, Mel, Emma, Victoria and Geri doesn?t have the same ring to it does it.

So why has it died on its feet? Well the landscape of pop has been rapidly changing. The rise of the Internet has provided a free source of lyrics. Britpop crossed over into the mainstream media and much of what was special about the music press started to wither. Oasis and Blur where everywhere so there was no need to seek out something like Smash Hits for coverage.

The irreverent style that had won Smash Hits so many fans. Typical question; what colour is Thursday? Is sadly misplaced in this media trained era. Stars can?t stray from the script that the PR people had given them, they parrot out the same answers across a wide range of publications. Why did you need Smash Hits if the same points are made in Heat or The Daily Mail. In stripping bands of any semblance of personality record companies have not only diluted the colour in the charts but murdered the cut and thrust of the pop music press.

In the past Morrissey would drop quotes about Oscar Wilde or colour of his underwear. It was via Smash Hits that I first came across, Jesus and Mary Chain, New Order, The Cure, The Mission and a cast of 1000?s. The publication did have bite. On an assignment to interview New Order, the bands surly reaction and unfriendly nature resulted in a piece that allegedly cost Barney Sumner his marriage. Bizarre Love Triangle made flesh.

It seems odd with Arctic Monkeys defining a tipping point where organic pop seems to be replacing the manufactured variety that Smash Hits has gone now. I guess the NME has stolen the ground that Smash Hits once owned. If they printed song lyrics then the NME would be Smash Hits in indie clothing.

I doubt Smash Hits will be missed as music has been replaced by a general idea of celebrity at the centre of youth culture. The shifting of Top of The Pops to a Sunday is another sign of this. Heat covers this new ground well and should be praised for its stance on weight issues. Not a week goes by without them attacking celeb?s for being too skinny or praising women who are not afraid to be curvy.

It always sad when any form of printed media folds. It means less voices, less opinion and less choice. I hope someone sat at a desk at the NME is dream of a new pop magazine??..

Tony Heywood

Come see my musical musing at

http://highwayfive.blogspot.com/

Ready to start your own band? There are plenty of musicians out there willing to pursue a career in music with you, but how do you choose the right musician? Different musicians contribute different sounds to a band depending on their technical skills, innovations, and music diversity. For example, Metallica would not sound the way they do without James Hetfield, or Dream Theater would definitely not sound the same without the drumming talents of Mike Portnoy.

Here are some tips on how to narrow down your list of potential band members.

1. Determine their level of commitment. You want a musician that is in the same commitment level as the rest of the band. Is the band a full-time thing or are you just jamming on occasions for fun on weekends? Musicians with a high level of commitment are always good but they can discouraged if the rest of the band is lazy and only wants to play at minimal times. Figure out how often the band should get together to play and then find musicians that can commit to that schedule.

2. Technical abilities versus diversity. While technical abilities are important, there should be a good balance between music diversification as well. Anyone can pick up a guitar and shred like Yngwie Malmsteen with proper amount of practice picking the same notes over and over, but not everyone can play with such feel as Jimmi Hendrix.

3. The right musician should enjoy playing the same music style as the rest of the band members.

4. Compatibility with personality. Playing in a band is about having fun and you should be able to get along with all your band members off-stage. Generally speaking, you might get along with people within your age group better, so that might be something to consider when choosing musicians.

5. Open-minded to other music genres. While this may not apply to every band, it might be good to consider if your band ever decides to change its musical direction.

6. Band playing experience. Typically, the more band playing experience the better. There is a difference between self-taught musicians that practice at home by themselves and musicians that learn through others by playing in bands. Musicians with no band experience might have trouble with following songs since they are used to playing at home to album CD’s. In addition, if your band ever plans on performing live gigs, inexperienced musicians might have stage freight.

7. Enthusiasm. Does the musician take the band seriously enough to prioritize it? Does the musician contribute to the band musically? Enthusiasm is shown if the they contribute a lot of ideas into the songs and take some extra to practice at home as well. If the musician is always running late to practices, does not contribute and only plays what they’re told to play, then chances are he/she is not very committed to the band.

Kenny Auyoung: Webmaster @ http://www.getmeaband.com – Looking for a band? Search through our directory of musicians to find band members in your local area.

The Strokes have emerged this past year as one of my favorite bands. Just the other day, after picking up their third album, Impressions Of Earth, I came to the conclusion that these guys are battery acid bad. Half the time I don?t know what their singer is saying–either that or it?s too poetic to register in my simple brain; but what I do know is this, the music is stunning.

Their musical ideas remind me much of the late 80?s underground scene, bands such as the Pixies and Pavement. On another positive note, the band is one of the tightest around today, up there with System Of A Down. They are an exceptionally creative and innovative band, yet simple.

The Strokes? first album, Is This It?, hit the charts a few years ago, and since then, they have pumped out two clever and rockin? albums, Room On Fire and recently–this month–Impressions Of Earth.

The new album has been deemed by many as ?the most rockin? yet.? I?d have to agree, although I think it?s their most creative one. It?s not often you find an album that is both artistic and wailing.

Compared to the other two albums, Impressions Of Earth strays away from the constant two-chord progressions (you fans know what I?m talking about). Each song has rip-ass guitar parts, and the drums are more experimental. The singer lets it all hang out in this album.

I don?t know how I?d compare the overall sound of the new album. If you?ve heard the first albums, think those two mixed with some really raw but innovative sounds. I?ve been listening to the new album constantly, digging every minute, but I still have to say Room On Fire is my fave.

You know, though, that one grew on me, and so–who knows–Impressions Of Earth could outgrow it in time.

They gather in clusters around tiny tables on soaring stools. You find them belly busting at the bar, shoring walls, and idling in the aisle ways?the people who leave the coziness of their living rooms, and head out into the night in search of music and camaraderie: Rock Fans. Sure they have a plethora of website concerts streaming their desktops, and cable channels of rock, hip-hop, and good ol? country, but they?ll come out in the rain to be a part of a live scene.

Today it?s just me up there on stage, looking out into the smoky lights. I know how many silhouettes are out there. Lot?s of ?em. It?s my charge to elicit a state change in them, or else their journey is for nothing. I?ve got play that perfect note, to the perfect rhythm; any sound at all that comes forth from this stage must be true, and come from me and only from me; not a cheep imitation of someone else. They can sense that which is authentic?they may not have properly considered this before, but deep down they know. Oh yes they will know.

Time warps. I see shadows moving in slow motion; no one connected with my production is moving fast enough for me. The sound check makes getting anyone?s attention that much more difficult. They are all somewhere else right now. My first task is to round ?em all back up. Where are they? Somewhere between gender tension, and release of inhibitions I suppose. I want them back as an audience though. And I will have that.

First song fires off and I see people glance up. The sound is weird. It?s not coming from me as much as it is coming from somewhere off to the side. That?s ok. Caught a fleeting glimpse of some bopping heads, and covert toe-tapping in the darkness. They begin to suspect that everyone in the room is part of something bigger than the sum of its players.

My next shot is going to be deadly accurate. I decide upon a Blues Shuffle. My bass string begins with a heartbeat. Bum-pa-bum-pa-bum-pa-bum. I see them looking up now. Heads begin bopping and several women are swinging their hips. Feet tap out seconds on the clock. Good sign indeed. But wait until I start hammering the six string, and ease that blues harp in?you haven?t heard anything yet! And then the harp begins wailing its woes. Telling its tragic tale, while the conversation fades into the darkness. I know they are somewhere out there staring like deer in the headlights. Gonna get you now. Some people rise to their feet when I belt out the growley g-man voice. Boom Boom Boom Boom. Mr. John Lee Hooker knew this.

This was his science lab.

The song builds and people begin to gape. They are in the net now, and many are wriggling like salmon on the deck. Sit back, relax, and let the blues carry you down stream.

Copyright (c) 2005 Gary Wesselhoff

Gary g-man Wesselhoff is an acoustic blues writer/performer woking the Chicago Metro area. You can contact him at: gman@gmanblues.com

Please Visit my site: http://www.gmanblues.com

I, Us and Them

David Gilmour sings the last line of ?Money? and the energy of the song dissolves to a shuffling swing? ?Away?away??

As the track fades, the question and answer calls between Gilmour?s guitar and vocal are joined by fragments from another conversation? ? I don?t know if I was really drunk at the time??

Meanwhile, on the crossfade, a new dawn of colour slowly materialises. Eventually, as a mass of suspensions and densely clustered notes clear, Rick Wright?s Hammond organ settles on the chord of D. The gentle swirl of the Leslie effect wraps around this new glow of consonance then, having waited patiently for long enough, the rest of the band enter to begin the blissfully slow and relaxed instrumental opening to ?Us and Them?.

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This is a landmark moment on Dark Side Of The Moon. Not only does the beginning of ?Us and Them? provide the listener with some relief and respite after the rip-roaring guitar-and-drums feast of ?Money? but it also gracefully announces the arrival of a long-awaited object? Chord I of D major.

This is a significant structural moment as, from here on, throughout the rest of ?Us and Them?, ?Any Colour You Like?, ?Brain Damage? and ?Eclipse?, the music is all harmonically centred around the keynote of D. It marks the beginning of the end. Like seeing a ?welcome home? banner displayed somewhere before you?ve reached your destination.

But how do we know that chord I of D major is ?home? when we first hear it? Perhaps, to see how this happens, we need to take a look at the whole journey?

II and V

There are many wonderful and startling harmonic twists and turns on Dark Side Of The Moon but a great deal of the album?s convincing cohesive quality could perhaps be put down to the predominance of one chord progression in particular.

E minor to A to D (along with its other eleven transposed forms) happens to be one of the most conventional and popular chord progressions in the history of western tonal music. Often it will be used at the concluding moments of a section due to its stable, resolving quality. No surprise then that this very three-chord sequence, referred to by musical analysts as a II-V-I chord progression, is the one used repeatedly and to the same effect on Dark Side Of The Moon. However one statement of the sequence is particularly interesting.

?Breathe?(E minor) to ?Time? (A) to ?Us and Them? (D)? This long-term realisation of ?E minor to A to D? contributes to the overall sense of overall coherence. Spread out, as it is, to form the backbone of the entire album?s harmonic structure.

But why call it II-V-I? Well, as any musical analyst will tell you, if ?D? is to be our ‘chord I’ then a visit to the chords of ?E minor? and ?A? immediately prior to it can be seen respectively as a statement of ‘chord II’ (a triad based on the second note of the scale) and ‘chord V’ (based on the fifth) in D major. So there we have it in summary?II-V-I of D major. A softly spoken spell under the surface which embraces the whole of Dark Side Of The Moon and another magical way of convincing our ears of its apparent unity.

A full chordal analysis of the album, song by song, should serve as support to the claims made so far. Not only will it help to clarify the points about coherence due to one particular chord progression but it will serve to expose some other interesting points too about Pink Floyd?s economy with material and a fondness for simplicity behind the mystique and the magic.

The Whole Of The Moon

SPEAK TO ME

Heartbeats, ticks and clanks.
Fragments of speech about madness.
Clare Torry?s scream.

Surely we can?t start talking about chord progressions here at this early point, can we? Or CAN we? It so happens (amid all the heartbeats, talking and screaming) there is a note. A held note. The pitch of that encroaching helicopter-like drone is?B!!!

Pink Floyd, as we will see, are fond of preceding the new key of a song or section thereof with its dominant (or chord V). Unlikely as it may seem, this means of gravitiating to a new ?place? is already in evidence as the opening ?B? drone happens to be the dominant of the next keychord we hear?

BREATHE

E minor – A7 C – B minor – F – G – D7#9 – B/D#

Suffice to say, that opening sequence – E minor to A7 – is the true ?daddy? of sequences on Dark Side Of The Moon. It?s the album?s motif, as we?ll see. After being gloriously repeated more times than I?m willing to count, the hypnotic oscillation of E minor to A7 is only relieved by the second sequence ie. C – B minor – F – G – D7#9 – B/D#, which in contrast wanders unpredictably through a series of secondary dominants before resolving back on E minor. There?s another blissful repeat of the whole thing then the arrival of E minor for the last time marks the beginning of the next track?.

ON THE RUN

Pink Floyd?s clear purpose here is to clear the palette, abandon convention and explore another mode of expression using non-pitch oriented sounds. Harmony is not an issue here. Tension and release is brought about by all manner of effects and events which clash and conflict with each other within the sound collage. And to resolve that ?what else? But an explosion. Out of which, as the dust settles, we hear?.

TIME

Introduction:E – F# minor
Gilmour?s verse:F# minor – A – E – F# minor
Wright?s verse:D – A – D – A – D – C# minor – B minor – E7
Wright?s verse (last time):D – A – D -A – D – C# minor – B minor – F/B

Tickety-tock-a, tickety-tock? CLANG, BANG, etc? After the last several minutes of non-pitch oriented music our ears have been well and truly diverted from any sense of keynote left dormant from earlier. What brings us back to the path? A single, bold E? And so, we take up from where we left off at the end of ?Breathe?. Except things are certainly about to take a different turn.

That return of E sounds like an ominous new beginning rather than a reassuring return. It lingers, decays then is followed by an equally bold, single F sharp (a fresh keynote to a chord not yet heard on the album so far) that also lingers and decays. With each return to E then F sharp again, Rick Wright exposes more of the new harmony in his light, improvisatory tinkling on the keyboard and, as he does, the E turns out to be the keynote of E major. So subtle. Just a light sprinkle of E major in Rick Wright?s right hand part and our perception of the path forward has shifted. At last, a gravitation away from the key of E minor (chord II of our overall harmonic structure, remember!) last stated at the end of ?Breathe? which will ultimately take us to the next significant point in our long-term II-V-I realisation?A major?although not until the verse sung by Rick Wright.

So much else happens in this song (as with all the songs on the album!) but for the purpose of this analysis, let?s forward to the end? Only when Wright?s verse returns to end the song do we gravitiate away from A major again with dramatic harmonic effect. In fact, it?s perhaps the most intense moment in the harmony so far. That is, a chord of F with B in the bass during the line ?thought I?d something more to say? which leads us to a monumental sonic precipice. We lean over the edge?.and DOWN we land. Back on the opening chord of ?Breathe? again?.

BREATHE REPRISE

E minor – A7
C – B minor – F – G – D7#9 – B/D#

?Home, home again?.? The relief, after the hiatus of F/B at the end of the last song, is palpable. Here we are?home again on good old ?Eminor to A7? for another visit of the opening song to close the ?first act? of Dark Side Of The Moon. Yet, despite reaching this closing chapter, there is still the promise of a sting in the tail. More on that in a moment but first? Time to take a breather and summarise what has happened harmonically so far.

Mid-Session Summary

The chord progression – II-V-I – which serves as the backbone to Dark Side Of The Moon?s overall harmonic structure is well underway?. II is represented by the song ?Breathe? which is in the key of E minor (chord II of D major). V is represented by the song ?Time? which is in the key of A (chord V of D major). We still await the arrival of D?our chord I.

Even though a chord of D appears gloriously at the beginning of Rick Wright?s verse in ?Time??garnished as it is with flanged female choir, message-laden lyrics and the fresh sound of Rick?s lead vocal?we are yet to reach D (our ultimate chord I) as a keychord. Why not? Well, because this moment only constitutes a ?visit? to D. The chord that follows it, A, is clearly the home chord for the song (so the D before is actually chord IV of A major!). A firmer, resolutory D (as chord I of D major) will appear later, of course!

As well as this long-term album-spanning statement of a II-V-I progression, we have also had the beginnings of the II-V-I progression suggested on a more local level. The chief example being the ?E minor to A7? progression of ?Breathe? which imprints itself on the listener?s brain in readiness for a resolution on D that is yet to come. Another more sneaky suggestion of II-V-I, albeit in a different key, is used as a device in ?Time?? to get from Wright?s verse back to the ?F# minor – A – E – F# minor? sequence for Gilmour?s fantastic guitar solo. Note how B minor (on the line ?no one told you when to run..?) followed by E (on the line ?you missed the starting gun?) could have been followed by A to complete a II-V-I progression but teasingly it resolves on the relative minor, F sharp, instead.

And now, back to that sting in the tail at the end of ?Breathe Reprise??

To close the song, the C – Bminor – F – G – D7#9 – B/D# sequence does not resolve on E minor as it did first time at the end of ?Breathe?. Rather surprisingly (or crudely, some would say), from D7#9 to B/D# (which prepared our ear for the return of E minor both times in the earlier song) we land unpredictably at B minor. The band freeze in their tracks as if startled by the lack of preparation. The new ?surprise? key chord fades?

GREAT GIG IN THE SKY

Wright piano:B minor – F – B flat – F/A ?G minor – C7 – G minor – C7 ?F – B flat – E flat – C minor ?F – B flat – E flat – B flat ?? Torry vocal:G minor – C7 ?G minor/D – C#dim – F#7 – Bminor ?? Wright & Torry:B minor – F – B flat – F/A ?G minor – C7 – G minor C7

Rick Wright confirms the new harmony with his opening piano chord. But there are soon plenty of further surprises in the pipeline as Wright?s introduction creates a sublime diversion from our main harmonic path with a ?round the houses? series of secondary dominants. Carrying the ear to somewhere completely new and alien. And yet, this is not wholly unrelated to the whole design…

Note how there are realisations of new, transposed II-V-I progressions as miniature motifs of the big, main one (yet to be completed, of course!) during Wright?s piano introduction. First of all, G minor -? C7 – F. Secondly, C minor? – F – B flat. Both are good examples of how the II-V-I progression smoothly transports the listener from one musical corner to the next. Also, both exemplify Pink Floyd?s fondness for the progression itself on this album.

Other than that, note that the repeated G minor to C7 sequence which takes up most of ?Great Gig In The Sky? and serves as a platform for the main event – Clare Torry?s truly remarkable vocal solo – is a transposition of another prominent two-chord progression heard before on the album?namely, the repeated E minor to A7 sequence which takes up most of the song, ?Breathe?. Note also that, whereas that two-chord sequence in ?Breathe? isn?t yet followed by its third chord to complete a II-V-I progression (yet!), the transposition of that sequence as used in ?Great Gig In The Sky?, is ie. Gminor – C7 – F. This is a hint of what is to come surely.

Interesting to note further that, despite featuring Gminor? – C7 – F somewhere as a II-V-I progression, ?Great Gig In The Sky? ultimately ends on G minor to bring the song?s recurring two chord oscillation to rest and Side One of the album to a close. This is a transposition of what happens at the end of ?Breathe? where, after so many repeats of E minor to A7, matters comes to rest on E minor.

So much recycling going on here? ?Breathe? and?Great Gig In The Sky? may seem like two very different songs but harmonically there is so much in the latter that is recycled from the former (albeit in transposed form) which again helps to form connections and cross-references between distant points on Dark Side Of The Moon. As well as that, there is no doubt about how effectively this recycling pays off in the hands of Pink Floyd. So much drama comes from the later visits as here in ?Great Gig In The Sky?.

So, Side One ends. Things are about to get a lot simpler.

MONEY

Verse:Bminor Turnaround:F#minor – Eminor – Bminor

If Dark Side Of The Moon had been composed years later when the music would not have to be divided between Side One and Side Two of a vinyl long-player, then the probability is that Pink Floyd may have done something different here harmonically to smooth things over. G minor, the last chord heard at the end of Side One, is a world away from the B minor which opens the first track of Side Two. Nothing inherently wrong with that. Just that it clearly marks a division of sorts due to the limitations of the format for which it was recorded.

Anyway, just as ?Great Gig In The Sky? constitutes a diversion from the main harmonic path, ?Money? delays the return to the main road a little longer with its ?blues in B minor?flavour. With regard to harmonic progression, there really isn?t much else to add to that. It?s a monster of a track. Rip-snorting guitar solos, thundering drums, great bassline? But, for the sake of this analysis, we can ?fast forward? to the end where something very significant happens?.

US AND THEM

Main sequence:D – D6 – Dminor#7 – G/D
Bridge:Bminor – G – C

As described at the beginning of the article, this is a sublime moment on the album where we suddenly get taken ?home? harmonically with the arrival of chord I of D major.

Against the fading, retreating B minor of ?Money?, Rick Wright superimposes the upper end of a suspended dominant seven without its keynote, A. Like a clearing of mist, the ?home? chord of D emerges. A truly magical transition and one which answers all questions asked by the use of harmony so far on the album. Here is the album?s chord I. And, as if to celebrate and make the most of it, the D remains at the foot of the texture throughout most of the song while the upper harmony notes change. The melancholy effect of the Dminor#7 chord enables Rick Wright and Dick Parry to add some delightful turns during their solo. For all its dynamism and power, the bridge sequence – B minor to G to C – is merely a sidestep. D is ?home? from here on and the end is in sight?

ANY COLOUR YOU LIKE

Dminor – G7
Bflat – Aminor – Eflat – F – C7#9 – A/C#

Yet again, this shows Pink Floyd?s fondness for revisiting and recycling earlier material. Yet again, it?s done creatively. This time as an instrumental featuring an enthusiastic exchange of solos between guitar and keyboards over several repeats of D minor to G7 (another transposition of the E minor to A7 sequence from ?Breathe?).

Unlike earlier transpositions, this two-chord oscillation somehow does not suggest the beginnings of another II-V-I progression. The D minor is simply prolonging the keynote of D as our ?home?. We feel at rest harmonically. And yet?the concluding sequence to the song (again a transposition of the second sequence from ?Breathe?) resolves this time surprisingly in the major. ?That is, the opening D major of the next song.

BRAIN DAMAGE

Verse, part one:D – G7
Verse, part two:D – E/D – A7 – D (D7 when going to Chorus)
Chorus:G – A – C – G
Bridge:G – Bminor – Eminor – A

We may have stayed at ?home? with the prolongation of D but here?s another twist. The first part of the verse – D to G7 -? is yet another transposition of ?Breathe? but in the major key!

Note how the second part of the verse confirms our global II-V-I sequence for the album in true form and at a local level with the sequence of E/D (that?s E with D in the bass) to A7 to D. Most significant of all though, to end the song we hear a final, confirmatory statement of the II-V-I progression which (as I?ve said often enough now!) is the backbone to the whole thing. As a fitting conclusion to the album, this track links with the next via E minor to A to?..

ECLIPSE

D – D7/C – Bflat – A7

Celebrating our ?home? chord of D for one final time, this circular sequence draws Dark Side Of The Moon to a close with all the stateliness and pomp that such a huge journey deserves. Finishing on (what else?) a final, resounding D.

Vinyl Thoughts

So there is more contributing to our sense of Dark Side Of The Moon?s coherence than just the recurrence of ideas such as heartbeats, loops, spoken word fragments, lyrics about madness and mortality etc.etc?. And it arguably comes down to one of the most tried and tested sequences in western music. Yet this is done without us taking much notice and across such a long span of time.

Eagle-eyed readers may have noted how the four chord progression which straddles the final moments of ?Brain Damage? and the beginning of ?Eclipse? – namely, B minor to E minor to A to D – matches the progression from ?Speak To Me? to ?Breathe? to ?Time? to ?Us and Them? if we include the B of the opening helicopter drone! So maybe the signature chord progression was VI-V-II-I all along! I?ll let you argue that one out amongst yourselves?.

To finish, I want to draw attention to how the long-term harmonic structure of Dark Side Of The Moon organises the shape of the album into neat symmetrical proportions. ?Breathe? and ?Breathe Reprise? bookend the opening sequence of songs where our chords II and V dominate. In turn, this forms a bookend balanced by another at the other end of the album where the latter four songs of the album are centred round the harmonic keynote of D (chord I). Between these two ?song suites? seemingly bound as they are by harmonic relationships, ?Great Gig In The Sky? and ?Money?? function as a spectacular interlude to the process.

Creating bookends to an album was something that seemed to be a signature trait of the 70s Pink Floyd from here on? Wish You Were Here of course was bookended by ?Shine On You Crazy Diamond Parts 1- 5? and ?Shine On You Crazy Diamond Parts 6-9?. Animals was bookended by ?Pigs On The Wing 1? and ?Pigs On The Wing 2?. Something even more ingenious, of course, was used on The Wall to create that sense of departure and return. That is, by making the beginning of Side One follow on from the end of Side Four so that ?this? would be where ?we came in??.

Beat that for coherence!

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?2006 David Sanderson

Dave Sanderson is a musician/songwriter/teacher with his own website promoting his latest album ‘Songbook’. For more details visit http://www.flowerbedmusic.com.

One of the most well-know eras of music is the nineteen-eighties. In this period the virus AIDS hadn?t been quite discovered yet and everyone was still under the notion that having a good time with as many people as possible was the best way to live. Hair styles and clothing looked as weird they could, with long hair and mullets being in fashion throughout the decade. And of course, the musical genre was forever changed as many, many rock bands made a name for themselves and created well-known hits we still play on the radio today. The eighties was a great time period for musical lyrics, and this article will focus on what made them so great and some of the more popular ones that were created.

To start out with, the nineteen-eighties was the time to rock and roll. Many songs words said nothing besides this fact. Everyone wanted to rock and roll and they went ahead and did so. The songs would often be filled only with fun lyrics, as the American economy and culture prospered throughout the decade without any problems, none like we have today at least. In addition, a common theme attached to rock and roll was sex and drugs. Drugs were not as highly banned as they are today, and it would be quite common to see people smoking a bag of weed or other drugs while at a concert of a high profile rock band. It makes sense, therefore, that many rock hits focused on the good times of this era and what made it so great.

Upbeat is the keyword when it comes to the eighties. It would be a hard matter indeed to find musical lyrics as depressing as sad as one can find today. Whereas today it is easy to hear about child abuse, suicide, and massive terrorist attacks through the radio, those were topics unheard of in this golden era of rock and roll. Many songs would focus on dancing and having a good time, as mentioned before. But there would also be songs intending to lift the spirits of the listeners. The most popular of these was written and performed by Journey. ?Don?t Stop Believin?? is still a popular hit for people of all ages even to this day.

Van Halen was another popular eighties band that was good for many great lyrical music pieces. While their hits about being hot for a teacher, smoking in school, or running with the devil certainly aren?t as deep as some of the hits today, that doesn?t change the fact that they reflected the time period they played in perfectly. Eighties lyrics, above anything else, showcased the prosperity and good times of the decade we left behind twenty years ago.

Overall, the eighties was a great time for the country and nation as a whole and it shows in the musical lyrics still played on radio stations today. While the clothing and hair styles have long since been out of fashion, the music remains to inspire and cheer up people all over the world and sends the message that good times do exist and can happen.

Joe Kenny is the webmaster at the free music lyrics website, http://www.lyricspost.net

Visit today: http://www.cardguide.co.uk/

It is a shame to hear that the world is believing that the energetic career of Britain?s best loved rockers is coming to an end. So I feel it is my duty to fuel the diminishing fan base one more time by bringing you the very pinnacle of this man?s career, when we sneered with him, rocked to him, got drunk to him and probably some of us even lost our virtue to him?.that last comment could be debatable.

What I have chosen here is one of many prized possessions that I have by this cyberpunk figure. What we weren?t taught by him as listeners, is not worth knowing. When other ?rock? bands of the eighties decade were huddling together in fear of their long haired audience, in strode Idol, all menacing and fingers up to the world. We were stunned beyond belief at his appearance of leather, chains and bare chest. An surprisingly attractive man, his charm worked miracles and wetted many a knicker throughout teenage girls. We already have Sebastian Coe, Lancaster bombers and chips that make us proud to be British. Then, we had Billy Idol, and our worlds changed and made us prouder?

Throwing all intentions at an unsuspecting public leading the punk band Generation X in the late seventies, he was already a unique talent developing. Bright bleached blond spiky hair has always been his trade mark along with his Elvis styled vocals and snarling top lip. We quivered at the knees and were entranced by his whole being leaping, stomping and generally trusting his groin into a live audience. We could not help but take notice. Nothing like since, since Elvis Presley had been seen, nor, would it be ever seen again. Like the second coming to the world of rock and roll. He was to be the last, of a significant line of rockers who changed the world, or at least, this impressionable teenager from South London.

?Whiplash Smile,? was the second of four platinum albums. This strangely Beatle-obsessed kid by the boring name of William Broad, changed his name after remembering a teacher had taunted him with the words, ?Billy, you?re idol!? in class, a while before. After having the one and only great success with the band with the EP hit, Dancing With Myself,? he left in 1981, to embark on solo projects. It was his time with Generation X that spurned the solitary artist within him. He had learn to play the audience with his enticing lyrics and suggestive behaviour.

His own adapted punk/pop/rock style came to the fore in his second album release, ?Rebel Yell,? and as most would argue, probably the best of all his platinum albums. This one reviewed here, is the very second best. It captures the rawness and the spirit of the first, although perhaps losing the very sparkle of ?Rebel Yell,? that made it such a world class album. (The debut album, ?Billy Idol,? released in 1982, failed to enter the album charts.)

An impressively covered album with moody photography and sensual poses by the man himself, it appears with the legend, ?Return To Splendour,? in a natty design on the back cover. A definite idea of the musical content within.

Incorporating three top thirty singles, this album, as the previous two, gave us a taste of his own compositions. Using his faithful line up from the start of his solo recording career; Steve Stevens (whom he later fell out with) on guitars, Phil Feit on bass and Steve Missal on drums, although, a small set up, they still made enough noise to contribute equally to Idol?s deafening vocals. Writing with Steve Stevens from the word go, he soon mastered the quality of the perfect hit record. At the time of this album?s release, we had yet to encounter the best years of Idol?s recording life. The opening track to this definitive album was an unknown track, and still is, entitled ?World’s Forgotten Boy.? Probably, when on listening to this track now, and particularly with it?s title, it hits home the long forgotten career of this remarkable artist. Almost, bringing a lump to your throat, the intro of this track will soon put a stop to all those remorseful thoughts of not buying his records when it mattered. His echoed , haunting vocals are somewhat tearful and sullen. This rebel, bad boy approach in which we loved him, pours into our ears like entrancing pain. This fast paced track is full of trashing guitars and clashing cymbals. We also get to hear the essence of ?cyberpunk? themes here that he was to embrace so tightly towards the end of his recording career with the concept album, ?Cyberpunk? of which took a hammering from the press as being the downfall of an aging, out of date rock star. Using electronic anthems, this track is about as head hanging as this album gets. For any angry young thing wanting to be reached out to by someone on the same miserable level, this track is sure to hit the right nerve.

The tone is brought down to a super sullen level in the bluesy ?Got To Be A Lover.? Bringing in to focus the soulful, yet gospel effect of the female backing vocals, this track appears on most rock compilation albums found today. This Presley inspired track grinds at the heart and pulls at the strings of desperation. Hints of piano flickering notes give it the gospel theme. ?Have Mercy,? this is Idol at his religious best. Organs take the gospel theme down to a even lower key of sultry lyrics. It cascades up and down the octaves reaching through our souls and ripping them apart. A true, hands to the heavens style track. One of its kind. Released in September 1986, it reached number 22.

The next track is entitled ?Soul Standing By,? and the listener is back on track on a thumping, punk theme. Idol delights us in his drain filled, moody vocals. Coupled with intermittent guitar riffs, it track is held tightly together with closely knitted shimmering drum effects. Along the lines again of the cyberpunk theme, it races through the lyrics, ?riding high,? and speed it the name of this dangerous game. After such a rage wringing track, we need a little calming down so he gives us the haunting, slightly childlike ?Sweet Sixteen,? telling the tale of a grown man obsessed with a young girl who doesn?t want him. Idol is a an all time painful, depressed low within this track. It plays on our minds in its distorted theme. Gentle and twisting using slide guitars and a mellowed country angle, it could be heard as something rather disturbing. Melodic and dreamy, this track will seen the hardest of rockers to sleep. A track, that at the time of it?s release as a single, rockers either loved or hated. It was Idol, in fact, reaching out to a mainstream audience. It had worked of course, but Gen X fans practically threw up to it. The public bought this record and it went to number 17 in May 1987.

In ?Man For All Seasons,? we are surprisingly disappointed. It is leaning on the theme of the opening track but the initial track is threatening to move out of the way. It doesn?t do much for the album as it probably could have been missed out altogether. The sparkle isn?t? here for this track. The break appeals for a brief moment as it plays around with a guitar riff on a gentler note. The trashing cymbals and electronic effect should have worked well, yet idol sounds although he is struggling to give this track some life. It has not real melody to it. We wonder is it because we have been spoilt with such unique talents so far in this album, that we hear a then, mediocre track, and automatically cast it aside.

We are spoilt again by the introduction of ?Don?t Need A Gun,? whose fast paced theme seems to make up for the previous track. Lyrically, it tells a story that has probably effected us all. Not in the sense of wanting to own a gun, but being in a situation of desperation. Using and affectionately noting some of the most famous depressives, Johnny Ray, Gene Vincent, Elvis, he touches on personalities whose lives have been peppered with tragedies. I get the feeling from this fast lane track of loneliness and the fact that you shouldn?t need a crutch to get through life. At sort of ?all you need is love? style to the tune of ?Paranoia? by Black Sabbath. It is Idol being soulful and thought provoking. The rest of us head bangers will be wanting to jump into our cars and pretend to be Michael Schumacher. The album version of this track includes an extended instrumental break from that of the single release. Released in February 1987, it was wasted on the pop charts. An incredible piece of punk/rock fused together with electronic drum machines and keyboards, it was best left to deep thinkers and manics everywhere. I understood it. Which probably means I need therapy?.

Perhaps ?Beyond Belief,? should have appeared on a Lloyd Cole and The Commotions album instead. The album is now taking a dive into the introverted among us. We get the feeling that Idol was not a happy chappy when he wrote this album. All the best rock albums do not deserve to have a statutory ballad thrown in to appeal to the middle of the road listener who doesn?t really want to find listening to music too much or a chore. Bonnie Tyler could have had this track. Tina Turner would have turned it into a ?Thunderdome? hit, but here, it does not fit in with our charmed, rock dude persona. It is, it has to be said, a track that is truly, beyond belief?

Thankfully, the dirge doesn?t last too long and ?Fatal Charm,? comes to the rescue for a short moment. Idol really is now dangerous close to being fatally charmed in this album. This track is, fitting to this album, but far from a crowd hell raiser as some of his other tracks were. However, it?s this steady drum theme that comes to the fore as his lyrics seem to lose themselves in the noise. It is a track that will be approved by Idol fans. It is complete with all the right chuckles, yells, chirps and walrus wails that we love him for. Reasonably memorable. So, what happened to ?All Summer Single?? then? If this was an account of Idol?s life between May and September, then no wonder he was single. It is too Yazoo here for my Idol liking. There is too much emphasis on electronic keyboards and drums. We are dangerous near new romantic themes here. Perhaps if Visage had walked into the recording studio they would have demanded it back. We can distinctly hear his vocals fro once, and he is certainly giving the screams and wails of pain a rest in this track. Someone had the idea of throwing in a few raunchy guitar riff in the middle here to liven it up. It is soon brought to a halt by too many swirling synths. Never mind, we all need a little calming down, but when you buy an Idol album, you buy it simply because you want that buzz that is legal and in a class of its own. Besides, its cheaper?.

The final track of this up and won album is entitled ?One Night, One Chance,? and as we see it, it is his last chance to come up with something spectacular for a finale. Okay, so what we actually get is a mixture of Bill, himself, one of the guitarist from Sisters of Mercy and the drummer from Run DMC. It?s durgy, hopeless and nothing works. The guitarist sounds although he missed the audition for a supporting band with no acoustic knowledge at Camden. Billy sounds although he is actually singing the words to some other song and the drummer is at the back next to a guy with one head phone on, waiting for Emenem to appear. A very disappointing ending to a rather good album.

The one and only tragedy that he faced throughout his career, apart from motorcycle accidents, a rape allegation and excessive usage of drink, drugs and females, was the fact that his handful of undisputed classic rock hits were so powerful that they continued to shadow any new, ambitious recordings from the rest of his solo career. It was, in fact, to the point of ending his career, due to his audience only wanting him to scream out ?White Wedding,? and the like. A suffering that kills any decent, songwriter/performer off into extinction. Albums like ?Cyberpunk,? should have been given the applause that they deserved. Given to another band entirely, they would have been hits. Again, perhaps the reason why we find so many flat tracks of this album here, is simply just that. We know and adore his real rock hits, but we have heard them so much, they will always cloud any other work.

For die hard fans, you would have caught Mr Idol at the music festival at Guildford, Surrey this year. Since his poor reviews from his gig at Brixton, London this Summer, it was good to see the snarling rock God still refusing to take anything lying down.

The synth based futuristic ?Cyberpunk? album of 1993, arguably one of his best albums, was re released in September this year.

A Christmas album entitled ?Happy Holidays,? complete with sleeve denoting Idol, clean cut in a Tux is due for U.K release on 4th December 2006.?

The snarl is back and here to stay?.

?Whiplash Smile.?
All songs produced by Keith Forsey
Written by Idol and Stevens
Chrysalis Records Ltd. 1986.

www.billyidol.com

?Michelle Duffy 2006 (sam1942 on Ciao and dooyoo)

Michelle is a freelance writer in the South of England and owner of the websites, http://www.generationsounds.co.uk, http://nevermindthebloggers.bravehost.com and their successful sister, ?Never Mind The Bloggers? at http://paperback-writer29.tripod.com She has been writing over the two years, for five major consumer websites across the world and is one of the only two music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists/musicians and their fan clubs whilst also reviewing them for local and world wide promotion. She has also launched the blogs; ‘The Ramblings Of An Old Rocker,’ ‘Bohemian Waffle,’ ?The Rhythm Rock And Blues Machine,? ?The Moped?s Musings,? ?Generation Sound Suite? and ?Rock Cocoon.? She is currently working on two shops selling her music styled artwork on cafepress.com.

After several years of studying the art of music and being involved in the music business/marketing I have learned a lot of important lessons that apply to all business and even people?s lives.

Most of my study has been in the field of music marketing, but as the wheels of my mind have been turning and with the experience I?ve had with Direct Sales, I want to encourage you to explore this as a way to expand your business…and provide a new outlet of fun for yourself too!

Why in the world do you want to spend time listening to music?

If you?re like me, you?re business life is already too consuming and you need to spend less time on non-related activities, not more!

First, it?s FUN! Here?s your chance to let your true being come to be fulfilled in a way that is unique and visceral. Everyone has a need to hear music, and everyone seeks out new music as well as the classics. Your business might already employ music in one way or another. It would, without a doubt, benefit your business if you yourself were more content in your day to day life, and music that has real soul and conveys real feelings helps you concentrate on all the things you must concentrate on the function as a professional.

At my newest job which is A&R with Wichita Falls Records I am feeling gratified and fulfilled because we release only what is considered to be non-commercial, real music by artists that uplift the human spirit. I was watching a cable news program the other day and a very well known figure in the business world Stuart Varney was talking about sales in the music business. He made a remark about how the music used to ?mean something? and was referring to his favorite band the Beatles. I sent him an email describing how new artists can release music in the same vein as the Beatles releases in that they contain real melodies, chords, lyrics, etc.

I think that in the flood of releases nowadays you can get lost in the plastic style of music that is out there and unfortunately lose faith in the music industry. There have been numerous reports on the declining sales and the fact that digital downloads are now outselling CD?s due to the fact that people can choose which songs off of an album to buy instead of buying the whole LP with ?filler? songs.

I would encourage everyone who reads this to check out new LP?s which are available everywhere. I think new music can better your life. Seek out whatever music makes you happy and make that part of your life because music will better your life in my opinion.

You?ll see… it will stretch your mind and increase your own productivity.

Second, it?s profitable. As you will clear your mind and accomplish what you set out to do.

Third, it sets you apart. Everyone has their own taste in music.

So much information is available online for maximizing this avenue of marketing. Take advantage of it … and watch your business grow!

About The Author: Lee Holley of http://www.wichitafallsrecords.com is a 20 year veteran of Direct Sales in Music. Take your life to the next level and check out http://www.wichitafallsrecords.com and http://www.frankleesprague.com

Often times music lyrics are simply used to create catchy words that people hear. These words are designed to appeal and convince people to buy CDs and attend concerts of a certain artist. There are other reasons, however, that artists choose their lyrics as they do. Lyrics are heard by all of an artist?s audience and can occasionally be beneficial to a cause or an idea. This article will explore the different reasons artists create lyrics in the way that they do.

A common usage of lyrics in this day and age is to critique the current state, or even form, of government in a country. It is quite common for folk of any nationality to be unhappy with their governing powers for one reason or another. In the United States there is much concern over the way President Bush has handled the issues of terrorism, oil, and even immigration in recent days. Rather than coming out publicly with speeches, many artists hide messages of their disgust into their lyrics. Often times people will hear their message more often and more clearly through music than in a boring speech in which people can simply change the channel. A musical group who created these type of lyrics often was Rage Against the Machine, although they have been broken up for quite some time now.

Lyrics can also be used to reminisce about good times or bad times had as a child or teenager. Often times these years are the ones that shape a person and who he or she is going to be when they grow up. So it makes sense that as an adult, many artists feel the need to pay homage to this crucial part of their life. Many of these song?s lyrics focus in on past relationships long forgotten, good times had with best friends, and even sometimes traumatic experiences with abusive or uncaring parents or relatives. Whatever the topic is, being able to sing about their past memories allows artists to release whatever emotion they are feeling.

Of course it would be a mistake to claim all lyrics are meaningful and are made with some ulterior message underneath. Often times artists are simply looking for songs to make them more money and just garble together some nonsense about dancing and making money into a song. While these lyrics certainly do not have any real positive message, most of the time, they are still among the most popular of the youth today. There is no real problem with this, however, as kids shouldn?t be worried about deep meanings at every point of their life. They should be able to feel good about themselves and have fun for no reason when they are young!

Song lyrics are something that almost every genre of music has, and it is important to realize that some songs are made with interior meanings. Without recognizing that a song may mean more than simply the words it displays from the exterior, it is easy to overlook an artist?s true creation and art and to give them less credit than they deserve.

Joe Kenny is the webmaster at the free music lyrics website, http://www.lyricspost.net. Visit today: http://www.cardguide.co.uk/

Released in 2003, Pass the Flask turned this little quintet from Tucson, into a mainstream success overnight. Classifying this band as ?metalcore? or ?indie? or ?hardcore? is quite futile, because for every genre you pick, someone is going to disagree, and have a solid backing for their view. Everyone however can agree that whatever The Bled are doing, they are doing it well.

This album bursts into action from the first song, and doesn?t let you down for 38 minutes. Personally I would like to see a longer album, but releasing a short disc like this sure does make you long for more. The album is very tight throughout, featuring a ?machine gun? riffing section in nearly every song. If you love the stereotypical ?hardcore? breakdowns, you will love every minute of this album.

As with all bands in the ?metalcore? genre, the guitar work on this album is fantastic, a great blend of soothing indie tones, contrasted next to dissonant riffing doubled by the bass guitar and kick drums. Showcased best in ?The sound of sulfur? guitarists; Jeremy Tally and Ross Ott put on a spectacular performance highlighted by the breakdown section half way through the song. Building slowly with one hard panned guitar, the riff slowly progresses over 8 bars, culminating in a machine gun section with a 4/4 crash beat forcing you to nod your head. ?I hope he loves you like I did/ when you needed me / I came for you that night?

The vocals on this disc are nothing short of phenomenal, the band manages to turn a simplistic guitar melody and soothing vocal line ?and I?d burn alive to keep you warm/when you?re alone/shiver under blankets in the basement? and slowly turn it into a thrash symphony that Metallica approve of. The most important aspect of music is dynamics; there is no use in playing something heavy unless you can juxtapose it next to something quiet. The band knows this, and they have crafted their songs masterfully using this concept.

Known for their intense stage show, the music conveys a sense of urgency, as if the band knew they need to have this music heard, and they aren?t going to sit down until you?ve heard exactly what they have to say. You will hear it, especially since I you?ll find yourself turning up your speakers periodically as the album progresses.

One of the most memorable moments on this disc comes on the 9th track, ?we are the industry? after 3 minutes of heavy riffing and screaming, the song slowly degrades into a simple guitar melody with calm, matter of fact vocals whispering ?we are the industry / the birth and the death? while the drumming and guitar slowly grows over the next few bars; adding a simple change every 4 bars gives the song an epic buildup, eventually the music, and vocals reach a fevered pitch and then drop off, into static.

If you?re looking for a solid album with heavy guitars, solid drumming and excellent screaming vocals, there is a damn good chance that you will enjoy the bled. If not, you have terrible taste in music, and you should be shot! Well, perhaps that isn?t the case, but I really like this disc, and I hope you do as well.

Overall: 8.4

Chris Elkjar is the founder of ‘trust.me’ an online music magazine for the enthusiast. He spends all of his spare time immersed in music, be it writing reviews, interviews with leading bands or writing his own music.

For more of his writing, check out Trust-Me.ca – Music for robots