I remember hearing Rage Against The Machine for the first time on the radio. I thought, another sub-genre in music had emerged. I’ve never heard so much shouting in a song that I took the liberty to call it Holler Rock. Honestly, it wasn’t Zach’s political yawp that got my attention, initially. It was the fact that the band sounded like something from the primitive 70’s. I just love Tom’s approach to the guitar, with the wah wah and the lead work that strays far far away from the traditional shredding that had already been done to death, at the time. And I believe, he took this approach even further later on, in Audioslave. But that’s for another post.

Since I’m not much into politics, I pretty much ignored whatever message their songs attempted to convey but instead simply grooved to the rockin’ beats that made me realized, they were truly one of the greatest bands of the 90’s. And eventually, I got used to the yelling I even began to like Linkin’ Park. But that’s for another post, too.

Meanwhile, here’s something you can’t understand… my fave Rage track. This song’s a riot! Check out the video. Oh, and the lady doing the intro, I wonder who’s mom she is?

You’ve probably heard by now… Rick Wright, Pink Floyd’s genius keyboard player has left the planet today. He was only 65. A sad day in music, indeed. And the end of a great era, perhaps. Pink Floyd is one of those bands that never gets old, I don’t think. Probably because they’ve always been quite ahead of their time, to begin with. They’re just way too cool to be lumped in with the rest of the oldies.

One of my all-time favorite songs happens to be Echoes, from the album Meddle. A piece of epic proportion. It highlights not only Rick Wright’s keyboard playing but his voice, as well. It’s one of those rare moments when he sings alongside David Gilmour. The song is very melancholic in its melodic structure and I love it. Here they are playing the song amidst the ruins of Pompeii.

But as much as I will forever love the Floyd, they better not put out anymore music together under the same name as it might only dilute their legacy. It’s great that they were able to at least reunite one last time during 2005’s Live 8, but I’m afraid it’s now time to lay all things Pink Floyd to rest, as a sign of respect, if anything.

Rick, however, is now free to play that great gig in the sky! Go Rick… shine on!

My taste in acoustic guitar music developed during the 90’s. Before then, I was just your average headbanger who dabbled with everything else every now and then. But acoustic guitars seemed to have made a big comeback after a decade of dominance by the Jacksons and the Marshalls and the AquaNets. I used to acquire a new acoustic every couple of years. At one time I had six different ones. But I still have four left today, thank goodness.

One of the groups I had always admired that played acoustic music was the Indigo Girls. I remember gigging at coffee houses around Venice Beach in California and playing a set of their tunes. Something about their music always grabbed my attention. They’re very simple yet deeply poetic and emotional. They sound very personal and close to the heart. One song I’ll never forget is Closer to Fine. It’s one of my favorite acoustic songs of all time. When you listen to it, it feels like the words and melodies/harmonies transform into oil on canvas. Like it’s painting the song, and you can hear every brushstroke. Weird, I know. I just don’t know how else to describe it.

One of my favorite rock bands of late is an Aussie group called Jet.

Before I even heard their music, I already knew I was gonna like them as their name hinted on Band on the Run, which is one of my all-time favorite albums. And then, a friend at work loaned me her Get Born CD, and I was instantly hooked. It’s a nice blend of AC/DC and sixites British Invasion garage rock, which never gets old in my book.

The song Are You Gonna Be My Girl sounds like it came out of a jukebox in a diner when I was five. It’s got that old-fashioned R&B shuffle beat that makes you want to shake yer booty and party like it’s 1965.

Check it out…

… in my unbiased opinion, anyway. And no, I’m not talking about the cookie monster variety either.

Though I may have deep respect and appreciation for the following, they aren’t necessarily my absolute favorites. Except for one, maybe. Actually, a lot of my personal favorites aren’t even on this list, at all. I only thought these singers, in particular, were unquestionably successful in penetrating through, not only the massive walls of their band’s sound, but more importantly, the hearts and souls of their listeners. Their voices are, without a doubt, distinctively melodic yet forceful.

This list is by no means exhaustive, just what’s coming through my mind, at this very moment. So, in no particular order, I give you my choices… for the most powerful voices in rock music.

• Chris Cornell – I can’t decide whether his voice is classic or unique. Maybe, both.
• Freddie Mercury -  As Stevie Riks would say, he’s the queen of rock and roll. I agree.
• Pat Benatar – She sounds like a rebellious operatic singer who broke out of the mold.
• Ronnie James Dio – When Ronnie sings, don’t look in his eyes or you’ll turn into a pillar of salt.
• Steve Perry – Could anyone possibly sing this good? I didn’t believe it, until recently.
• Jim Morrison, Bono, Eddie Vedder – Could they be related?
• Roger Daltrey – Do you watch CSI: Miami? Enough said.
• Lou Gramm – He’s got pipes of a Jukebox Hero, that’s for sure.
• Ann Wilson – Aretha Franklin’s sistah… from another mutha.
• Melissa Etheridge – My back feels like it’s gonna break when listening to her songs. She’s that powerful.
• Lane Staley – This guy’s voice can make a cobra dance like a snake charmer’s flute.
• Kurt Cobain – I prefer Lane but I can’t deny the hypnotic draw of his voice either. Definitely, heir to the throne of Lennon.

Ummm… did I miss anyone? Of course, I did. Ya?

When I first heard Soundgarden’s Jesus Christ Pose, from their CD Badmotorfinger, I thought it was blasphemous. Then I learned that it was about Chris Cornell’s disdain for how magazine models are made to look like god figures. Or higher than mere humans kind of thing. He finds it distasteful, I guess. Though I think it’s safe to say, this goes along with them holier than thou characters and ego maniacs, too.

Well, what else is new in this world, huh?

But hey, the song rocks like it’s the end of days. I say, that’s righteous!!!

Does anyone remember this song from Missing Persons? Does anyone remember Missing Persons, period? One of the few new wave bands of the 80’s that I really really dug, they combined typical 80’s pop with technical proficiency. After all, they’re remnants of Frank Zappa’s group. That alone should tell you how good these guys are. Although, their more popular tunes include Destination Unknown, Words and Give – and this is because of their obvious pop sensibilities.

However, if you want to hear (or better yet, see) them flaunt their chops, you gotta check out songs like U.S. Drag. It’s kind of like a disjointed funk. Beware of dancing to this tune – you might sprain your ankles.

One of my all-time favorite songs came out of the mid 70’s. A tune by Heart called Dog & Butterfly. I’m amazed that it is not as popular as some of their other songs. But at the same time, I’m really not. It’s not as much a rocker as say, Barracuda or Magic Man.

This song is special, however, because it is deep and poetic and whimsical not only in its lyrical content but also in the feel of the music itself. When you listen to it, it feels like you’re in a garden of flowers and fountains and sunshine.

Dog & Butterfly is one of the few songs you hear today that doesn’t sound dated. Especially, if you’re hearing it for the first time ever. Ann’s voice is so mesmerizing. And Nancy singing in the background sounds like a butterfly trailing all around. Just like the album artwork.

This type of approach to music was lost in the 80’s but was kind of revived in the 90’s. It is simple, basic and poignant. A beautiful and timeless classic, I think.

Back in 1989, I had the pleasure of seeing The Ramones at the John Anson Ford Ampitheater. Johnny, Joey, Dee Dee and Marky, in all their glorious punkness, proved that no props can rock the audience as hard as sheer energy could. The only other band I can remember that delivered the same amount of brute force on stage was Motorhead. And I have seen a lot, in my day.

Anyway, it was worth the price of admission just to see the denim-clad foursome in their trademark stance – legs spread out, guitars hung so low they almost touched the floor, and Dee Dee counting off the beat at the start of every song. And standing front and center, I could feel my hair being blown back by the roaring Marshalls like an airplane turbine would.

From what I can remember, they must’ve played at least 30 songs as each one seemed to have only lasted a mere 60 seconds. Probably because they played their songs twice as fast as the recorded versions. I still have their first four albums to this day, in fact. I think they’re timeless. And if Lemmy thinks The Ramones are the only true rock and roll band, besides Motorhead, and even writes a song about them… you just gotta take notice.

I hate to say it, but I dreaded a lot of music from the 80’s due to its excessive and outlandish nature. But that’s just me. Though every once in a while came a splash of relief in the form of either pure musical genius or novelty entertainment. And other times, luck striked and you got both. At one point for me, it was the band Scatterbrain.

During the peak of metal’s reign, at the time when groups were either outdoing each other’s hairdo or were trying to play faster than they did yesterday, Scatterbrain infused a sense of humor into their act. Fusing technical proficiency with comical elements, they provided serious chops without the need to take it all too seriously. You were definitely entertained. I know, I was.

When I first heard the song Don’t Call Me Dude on the radio, it definitely got my attention. But I was even more delighted to see the song enhanced further by its music video.

By the way, I know, but I’m easily amused. Pardon me.

I was doing some warm-up on my guitar yesterday, as I do more often nowadays (Yay!) – when I happened to strum a D minor chord. For some reason, it hit me. I suddenly had this feeling. I was somewhat melancholic. Blue. Bleak. Down. Somber. I started sobbing!!!

Ummm, no not really…

But wow, it finally dawned on me that D minor is, indeed, the saddest of all keys. No wonder I love it! However, I only felt the sadness when I played it in a down-stroke. And this may only apply on guitar as I have tried it on the piano, as well – it’s no different than playing an F minor, really. Could it be the sequential order of every note played on the guitar, perhaps? That, along with the vibrations of the plucked strings? Maybe. Or, could it be the reason why George Harrison’s guitar gently weeps? Probably not. Besides, that song was played in A minor.

I also discovered that D minor doesn’t sound as sad hearing others play it as much as when you embrace the guitar and strum the chord yourself. Oh, what a thorn in a musician’s flesh. As if you’re sad to see someone cry, but not nearly as sad as when you’re the one crying.

Oddly enough, one of the saddest songs I’ve ever heard in modern music is a song called She’s Gone… by Black Sabbath, nonetheless. This could have very well been performed by Pavaroti, if you could only manage to take Ozzy out of your thoughts. Because of the classical influence in the music, it feels like a requiem or something from Mozart. Beautiful, though.

When I was living in Georgia, I often went to Bluegrass concerts. Now, coming from a headbangers background, I was pleasantly surprised that these pickers were just as insanely fast (if not faster) and proficient in their instruments as their speed metal counterparts. And they do it with no loud amps and distortion to mask the clear definition of every single note they played.

A lot of times I listen to music through a musician’s perspective more than that of a merely appreciative fan. When I go to see shows, instead of dancing and getting entertained, my eyes carefully scan the stage looking at the details. I look at what the players’ fingers are doing. I look at the brand and model of their instruments and amps. And I listen closely to their signature sound, if there’s any. I absorb these things and turn it into inspirations for my own little ventures, later on.

One of the more interesting shows I had the pleasure of seeing back then, was that of a group called Hayseed Dixie. A bluegrass outfit playing AC/DC covers and other rock staples. Now, if you could just get around the fact that this is a bluegrass group and not Guns n Roses, you can start to not only appreciate but be extremely amazed by, as well, the talent oozing from these guys’ fingers, as they rip through rock song after rock song you’d only think is possible to perform with Les Pauls and Marshalls.

Their namesake gives away the fact that they can tear through the entire AC/DC catalogue with ease and precision – but I gotta admit… my jaw dropped when they did their version of Motorhead’s Ace of Spades. I had to listen to the original version just to check. And what I found out is that Hayseed Dixie played the song almost twice as fast as the original. Unplugged!