Tag Archives: Columbia Records

Journey – Wheel In The Sky

“The mornin’ sun is risin'”

You never know what the new day will bring. I’ve been listening pretty solidly to death metal this week (Akercocke, Bloodbath, Gorguts) then I woke up this morning and my brain was playing Wheel In The Sky by Journey. Bit of a change of pace, but a fine suggestion, brain! Taken from my favourite Journey album Infinity, Wheel In The Sky is a standout song from the album and from the band’s whole career. It’s in D-minor, the saddest of all keys, but its bouncy rhythm, suvvern twang and Steve Perry’s blissful singing give it a strident, hopeful quality. Throw in an iconic guitar intro and a rich, warm production and you’ve got an absolute rock classic that never fails to put a spring in my step. Now let’s see what my brain’s got lined up for tomorrow… back to the good old zombie infernos I’ll bet.

Alice In Chains – God Smack

“What in God’s name have you done?”

Alice In Chains’ 1992 album Dirt is widely associated with heroin addiction and features many great songs ridden with anguish, turmoil and death. But there are actually only three songs on it that specifically reference drug use. And you’re not getting any points for guessing that God Smack is one of them. It’s got the woozy, sick Layne Staley vocals and an upbeat wah-drenched chorus but musically it’s one of the album’s least remarkable tracks. However, the title and its unflinching portrayal of someone for whom heroin has become everything, gives it a thematic and lyrical importance that makes it a key deep cut on the album even if it’s no great shakes when listened to in isolation.

Blue Öyster Cult – Secret Treaties (Review)

Blue Öyster Cult – Secret Treaties (1974)

Secret Treaties is the last and best of the so-called “black-and-white” trilogy of albums that kicked off Blue Öyster Cult’s career: a trio of mysterious, monochrome-covered rock albums that peaked with this 1974 release. It’s dark, esoteric and also a bit of a hoot. It’s an album of parodic garage-rock horror reminiscent of Alice Cooper’s Killer, full of psychedelic monster mashes like Career Of Evil, the oddly cute Cagey Cretins and the seismic, psychotic Harvester Of Eyes. And those aren’t even the best tracks. Overdriven boogie rocker ME262 puts you in the pilot’s seat of a Junkers Jumo 004 (“Hitler’s on the phone from Berlin, he’s gonna make you a star”) and Dominance And Submission has a superb, swinging groove, an unforgettable climax (“radios appear”) and some creepy interjections from Charles The Grinning Boy… “it will be time”. But the album truly peaks with its closing tracks, Flaming Telepaths and Astronomy. Both are grand, magnificent masterpieces with affecting muscianship and beautifully cryptic imagery. Astronomy in particular is a complete head-scratcher. I’d love to know what “the nexus of the crisis, the origin of storms” really means but then… I feel like not knowing is kind of the point. And the reason Secret Treaties remains so eternally fascinating and alluring.