Getting right down to it, I'll begin with the song Lay It Down by the 80's glam-metal sensation Ratt. I first learned about Ratt through MuchMusic TV, where the band amped up their presence in the biz, thereby pumping up popularity and album sales. And these guys really were big for a while there in the 1980's, rivaling and sometimes eclipsing heavy-hitters like the Hagar version of Van Halen (the original Roth-fronted Halen line-up obviously the inspiration and an influence on the rodent rockers), the older but still kickin' KISS, Cheap Trick, Aerosmith, and Alice Cooper.
Warren DeMartini of Ratt, laying it down heavy
Ratt came out of the L.A. Sunset Strip music scene, alongside artists like Motley Crue, Quiet Riot, New York's Twisted Sister, Warrant, Cinderella, Poison, and Skid Row. Out of that lot, Ratt was the only band that appealed to me at that time. Guitarist Warren DeMartini made an impression on me, as I was woodshedding on my own axe back then. I never reached anywhere near his ability, but hey, it never hurts to dream. Though I've never been a huge Ratt fan, I'd still rank DeMartini among my favourite guitarists. His creative style and technique and sound just do it for me.
Anyway, I was into Ratt pretty much from the beginning... I snapped up their debut album Out of the Cellar in '84, playing that tape endlessly for its hard rockin' hit single Round and Round, plus Wanted Man and Back For More. The whole album was pretty palatable to me, and I admired the guitar technique and flash.
It was Ratt's second album, Invasion of Your Privacy, from 1985, that bore the song Lay It Down. This track rattled my bones to the core and even to this day, I would say this is in my Top 5 guitar songs of the 80's - perhaps of all time. I still get a chill down my spine when I listen to it... DeMartini's incredibly crunchy and catchy guitar intro riff... and that tear-it-up solo that expertly blends blazing shred with memorable melody. That strange kids' birthday party music video for the song kind of bugged me but hey, there was also the band doing their metal shtick, and... that smokin' blonde. Great guitar hooks and a chorus just begging for a sing-along round out this perfect embodiment of great metal of the era.
And now for something completely different... Nobody Does It Better, by Carly Simon, which appeared as the theme song for the 1977 James Bond movie The Spy Who Loved Me. I saw the film upon its release in theatres, and was so taken with the song that I bought the single on 7-inch vinyl record. Still got it. I played that thing endlessly back then as a young teen. The tune is still my favourite Bond theme and it's even among my all-time faves.
Nobody Does It Better was written by accomplished composer Marvin Hamlisch, and scored a Grammy Award for Simon's performance. Carly's smooth yet strong vocals are striking as they blend with and soar over the soft rock-symphonic backing instrumental. Slow and quiet piano and vocal guide us into the track, the orchestra gradually swelling over the verse, then after gently entering the chorus, it builds to a powerful yet elegant crescendo. The Bond-isms aren't in your face here, but it's a classy treatment that's a perfect fit for what I consider the best Roger Moore-era Bond movie.
Nobody sings it better than Carly Simon... a hit song for a James Bond movie
And now for something very different again... Turn of the Century, by British progressive rock giants Yes. I've long been a fan of the band, since the early 80's I think, and as I explored their music, every one of their many albums presented yet another adventure in discovery. Yes was known for experimenting with, and blending, genres such as jazz, classical, rock, folk, and country. Though I love many Yes songs, Turn of the Century is a beautiful and far less bombastic composition that truly resonates with me. From its quiet acoustic guitar and vocal intro to its atmospheric keyboard washes, and the intriguing and emotional lyrical story, the track increases in intensity with splashy, chiming percussion, evocative electric guitar melodies, and a grander synthesizer symphony.
I consider Yes' guitarist Steve Howe among the greatest musicians of all time. His always tasteful, unique, and creative style displays his virtuosity but also his ability to rein things in for a moody complement to the other instruments. Always serving the song, not just a showy player, Howe plays a big role in Turn of the Century. His nimble fingers turn the guitar into an expressive voice to counter Jon Anderson's softly alto-tenor vocals. This is an all-around winner of a song, and I'd class this among Yes' best pieces, and it's certainly the one I'd take to a desert island, if it came to that.
To wrap things up, I'd like to now move on to Veteran of the Psychic Wars, by none other than Blue Oyster Cult. I've always enjoyed BOC's brand of weirdness. They could appear ponderous at times, but then they could also tear off amazing rockers, not to mention some classic progressive tunes (need I mention Don't Fear the Reaper?).
I first heard the song when it appeared in the 1981 animated sci-fi/fantasy movie Heavy Metal. Winner! So I bought the movie soundtrack to relive that tune - and the many other great ones from the film. In fact, over time, I liked the movie less and less, yet the musical soundtrack remained durable and memorable. Veteran of the Psychic Wars was co-written by BOC lead singer Eric Bloom and sci-fi/fantasy author Michael Moorcock (one of my fave writers of the genre). Its lyrics are at once cool and sad and disturbing. The story truly is about a veteran soldier who suffers physically and mentally. Not a happy song.
Veteran of the Psychic Wars kicks off with an ominous, slow thundering drum beat and tension-and-atmosphere-building synthesizers. The brooding, menacing mood pervades... even as a military-style drum part is introduced. Then there's the piercing, chilling guitar solo by Buck Dharma... one of the most evocative solos by BOC. Speaking of guitar, the instrument is absent from much of the song, only offering a riff or two at key points. This strategy works amazingly well in this context, allowing an almost uncomfortable amount of space for the bleak drum and synth foundation. Then the heavy guitar joins in for contrast and emphasis. Crafted with precision and restraint, this melancholy song gets under my skin and it really hasn't lost its appeal after all these years. It's still on my playlist... maybe not every day, but I can appreciate it often.
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