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(...the "side story" continues from "75 -51" entry page)

Despite the fact that YNGWIE MALMSTEEN feels let down by Sweden, he thinks it's fun that we are starting to open our eyes to his talent and his debut album of the year. 'It's fun that someone even notices what I'm doing. When I left Sweden, I had become extremely frustrated. I worked incredibly hard but no one cared what I was doing. Now I understand why. What I did was very different and, in the eyes of others, very non-commercial. No record company wants to invest in something that does not sell. When I lived in Sweden it felt very important to satisfy my artistic need, I have come out of that period now and want to reach as many people as possible with my music'. According to Swedish media Yngwie is a controversial person. Talented and ambitious like few, he has gone from clarity to clarity musically. But as success increases, the number of enemies increases. Many journalists have had quarrels with Yngwie, who is said to be close to impossible to interview, and even more have gossiped about him in column after column. They say that he is a diva, supportive, superficial and a generally unpleasant person. Surely not?

[1985] One of the worst moments ever in Swedish Metal history would have to be the rather dodgy 1985 project of "Swedish Metal Aid" a charity aimed to raise money for Bob Geldolf's anti-famine project in Africa. Truly a good cause put together by journo Stefan Johansson (Okej magazine). However. The piano ballad song written by Joey Tempest of Europe, "Give A Helping Hand" and the accomplished video, truly awful!! the lame hair metal ballad. Do yourself a favour and do not search for the video at youtube. Once you've seen it, you can not erase the horror. Oh, the horror, the horror! Lead singers were: Joey Tempest (Europe), Robert Ernlund (Treat), Björn Lodin (Six Feet Under, Baltimoore), Tommy Nilsson (Easy Action), Joachim Lundholm (220 Volt), Malin Ekholm (Aphrodite), and they've gathered 100's of musicians in the studio. Great idea, great musicians, not so-great song by Tempest. His worst composition (so far) and the song was produced by Kee Marcello [Kee-O-Meter: 1]. And no, it wasn't recorded in aid of children who couldn't afford hairspray.

LEVITICUS made their breakthrough album in '85 (The Strongest Power). An album so strong and powerful on Heavy Metal that Kerrang thought of it as one of the best albums of the year (reviewer: Mark Putterford). They toured in Europe. They went to USA, USSR, down under, and managed to wreck havoc at the Greenbelt Festival in the UK. Not bad considering that people did not generally appreciate Metal from Sweden (as of yet) and these lads did it all for the Lord and not for the money nor fame? The same year, TRASH and their 'Burnin Rock' album, the world wide release at Atlantic Records and produced by Max Norman (Ozzy, Judas Priest), hardly made the headlines in the states. They did however the US tour as support act to Keel, Helix, and recorded the third (unreleased) album with Eddie Karmer (Kiss, Alice Cooper) before Atlantic decided to put out the bin (pun intended).

In the late seventies the three Nikolausson bros. formed a punk band called High Voltage. With a change in musical direction in 1981 a new name was chosen for the band in CHARIZMA (from Oskarshamn), the name in question highly influenced by the Kiss song. By 1984 the band had gained a significant following in the Christian scene, and when a Swedish bank loaned the band $15,000, they entered the studio to record their full length debut Rock The World in 85. The bank acted as a guarantor for the loan and the album was also released in Soviet Union. Commies? Nah. Sonny Larsson (Motherlode, XT) did a few demos with Charizma as well as a couple of gigs in Sweden and Poland.

I recently asked Charizma guitarist Göran Nikolausson if there were any problems playing Swedish Christian hardrock in the 80s. "Yes, initially, but Jerusalem opened many closed doors. The group was a great role model for us 1980-1985. We sang first in Swedish and then in English when we wanted to reach out internationally. We tried to stay out of the Christian music business, which was one of the reasons we moved to the United States. There we only played in profane contexts. Several Christian record companies wanted to sign us, but we declined. Estonia and the Soviet Union, and Poland, were the profane record companies, which meant that we reached a completely different audience and had a very large impact. Christians in these lands did not know us until long afterward", Thank You, Göran! Charizma was very successful in the east and was also no. 1 on the hitcharts. The album was released by the comunist record company 'Melodiya' and more than 120 000 people came to Charizma's concerts.

SYRON VANES are signed to UK label Ebony. SAD WINGS (Lonely Heart) and SAIGON (One Must Die) release their only albums at the obscure and dodgy UK label Criminal Response. SPELLBOUND went to London to record their second album "Rockin Reckless". Once again the album received raving reviews in Kerrang: "Spellbound, a swanky set of sparkling Swedish sorcerers, this album is a cracker with a message inside which reads: Buy me!". A video for the first single, the title track was shot and the band embarked on a domestic tour to support the new album. No real success or tour abroad as merely Kerrang reviewers loved 'em? Not true. They did some cracking tunes and some are included in the Top-100. No longer in charge of Europe's fanclub, the debut single of TONE NORUM (ex.The Roses), the sister of Europe's guitarist: John, 'Can't You Stay' hit the streets as well as top the charts.

DALTON formed in 1985 and together with Europe and Treat, for a few years in the late 80s, a force to be reckoned with in Sweden. They enjoyed successful touring, teen media coverage, TV appearances and a string of radio hits. Rock stars such as Bon Jovi and Michael Bolton provided songmaterial to their debut album. The band, formed by ex-Treat drummer Mats Dahlberg and named after his nickname, went all in with the current trends in melodic hair metal. The image was cutting edge with designer outfits and enough hair spray every night to challenge the average users yearly consumption.

220 VOLT are in the news with the album "Mind Over Muscle". The title is an extremely crude and rude wink to all the violence glorifying bands who sport Philips' kitchen assistant between their legs and throw raw meat at the audience. What are they talking about? The B'zz? Lol! They have also booked the tour of Copenhagen and Holland, but they have turned down a TV gig in Chile with Quiet Riot. Such a TV show is of course of great importance when it comes to making it over there. But the boys had the good taste to say no when they found out that it was a propaganda campaign to show the good relations between Sweden and Chile.

[1986] The Final Countdown', the most horrible catastrophe to ever take place on Swedish soil? Twenty five countries! The song ended up at the no: 1 singles chart spot in 25 countries all over the world including UK, Italy, France, Germany, Ireland, Spain, Holland, Sweden, etc. You all think about it for a minute or two... let it all sink in. 25, 25, 25. Not to mention all the places such as the states where it merely ended up at top-10 (#8). Can you imagine the complete and total hysteria which took place in the year of 1986? No? Well. Imagine living inside the movie 'Groundhog Day', where every day is the exact same as the previous one. You'll wake up screaming to the sound of 'The Final Countdown' on the radio. Sheer and utter horror! And it's not even a proper song, merely a fanfare with the occasional lyric. Sick and tired of the song? Well, duh! I do enjoy the music of Europe (see list), the fanfare really gets on my nerves though. Trauma theraphy? Yes please.

Back from the sunny riviera, Tommy 'Big In France' Nilsson, the new vocalist at EASY ACTION. Zinny San recorded however the song 'In The Middle Of Nowhere' for the soundtrack to the horror movie 'Bloodtracks' prior to leaving. The band would re-record the track on their album of the year, 'That Makes One'. The working title was actually 'Red Roses and White Wine" and the songs 'Rosie' and 'Partners In Crime' are both included on the soundtrack to the Swedish film 'Gröna Gubbar Från YR' (Green Men/Aliens From YR). Both mentioned movies are real turkeys and some of the worst to ever come out of Sweden.

MOTHERLODE release their cult/classic debut, 'The Sanctuary', produced by Kit Woolven (Magnum) Mark Stanway (Magnum) played keyboards and the art-cover was done by Rodney Matthews. How did all this happen? I asked singer Sonny Larsson (XT), did you want the "Magnum" sound all over the album or what?: "Magnum made "On A Storyteller's Night" and we thought that it was a great record and a great production so we just had to get Kit as producer. Our Manager Dennis Karlsson sent him a demo, and he liked it and took a flight to Sweden to produce our record. And he did a wonderful job. We didn't have a keybord player at the time so Dennis just asked Mark Stanway and he took the next flight. And I can tell you; we had a great time together and later that year we toured together with Magnum on their Vigilante tour as support. You can't but love those guys".

Poppy AOR/melodic hardrock is the best selling point this year. Simply ask GUARDIAN ANGELS from Nyköping/Stockholm as the won POP-86. That's correct Pop, not Metal or even Rock. A contest put together by Ola Håkansson (Secret Service) and Sonet Records. The debut single 'Every Piece Of You' was produced by Ola Håkansson och Tommy Nilsson (Easy Action) and the result? Like a softer version of Tommy's act. Four singles at Sonet before the break-up and singer Fredrik Jernberg (Lili from Lili & Sussie's fave rocker and main squeeze) joined Rat Bat Blue. ROULETTE from Sundvall took also part in the competition POP-86 where they went to the final at Hard Rock Café / Stockholm. In the jury was Tommy Nilsson from Easy Action and Kee Marcello from Europe. In 1987 they signed a record deal with TAB Records and released their first single 'Hearts Keep On Burning' with Tommy Nilsson on backing vocals. It would however be a small time gap until 2018 for their debut album release.

SILVER MOUNTAIN are making headlines in the press due to guitarist Jonas Hansson's fun, young and cocky statements about lack of respect from Swedish folks and media. 'We are the greatest band and I'am the greatest guitarist', and 'all Swedes are a bunch of idiots' are merely some of the desperate cries in the poor attempt to attract the potential fan? Hansson complained about every single thing from their crap tour bus to the fact that they had to bring in their own gear. The contract clearly reads 'we don't have to bring in our own gear', the guitarist yelled at the top of his lungs. Blimey and you thought Yngwie was difficult? 'Thank God for Japan, we're heading back their asap. and we're going to release the first ever live album by a Swedish hard rock band'.

The latter, not quite true since JERUSALEM and 'In His Majesty's Service - Live In America' album from 1985 is the hidden little treasure. Powerful and strong vocals by the criminally underrated Ulf Christiansson and the band's on fire throughout the concert. Shame about the fade outs though. Epicus Doomicus Metallicus, the start of the modern wave of Doom as performed by CANDLEMASS. They are however quickly dropped from Black Dragon Records due to disappointing sales. Sweden was in shock over the assassination of our prime minister (Olof Palme) and I believe it marks the end of the innocence from our small part of the world. I blame the Halley's Comet. Don't you ever come back to our solar system, you hear, you jinx!

[1987] Joey Tempest emigrates in 1987 and is registered on an address in Ireland. CANDLEMASS became the first band signed to David Constable's British label Axis Records. Their album 'Nightfall' was recorded at Thunderload Studios in Stockholm with Ragne Wahlquist (Heavy Load) as engineer. The video of "Bewitched", the first professional work by the former Bathory drummer, now video director, Jonas Åkerlund. Kee Marcello is the new guitarist at EUROPE [Kee-O-Meter: 10] and you could instantly find the cozy 'at home' article with girlfriend Karin Risberg (Pop-singer) at Okej magazine. Very interesting.... zzz! [Kee-O-Meter: 1]

At the YNGWIE MALMSTEEN camp Mark Boals left the band in the middle of the tour and was replaced by the former singer Jeff Scott Soto (Talisman, Eyes, Journey). The tour was however cancelled after Malmsteen had been involved in a serious car accident, smashing his V12 Jaguar E-Type into a tree, which put him in a coma for a week. Nerve damage to his right hand was reported and the Metal guitar world held its breath. The donut loving viking would however return to the battle field the following year with a new singer, album, and song about the crash: 'Faster Than The Speed Of Light'. Is it true that Sonny Larsson (Motherlode, XT) turned down the job as the singer in Yngwie Malmsteen's band after he left Motherlode this year? "One day the phone rang and somebody asked me if I wanted to come and do an audition, but I said no right away. I mean who wants to stand in the shadows of a great guitar wizard when you wanna stand in the front! The truth is that his harmonies and I don't mix, mostly because he is the best guitarist in the world and I'm just the second best singer after? Who knows? Yngwie possibly". The new singer would however turn out to be 'Big-Wig' American: Joe Lynn Turner (Rainbow, Fandango).

JERUSALEM decided to start their own studio and went to London/UK and bought gear from the band '10 CC'. They purchased a 32+24 track mixing console, Soundtracks CM 4400 and a 24 track tape recorder, Soundcraft 760 and some other stuff. 'Dancing on the Head of the Serpent' produced by Ulf Christiansson and engineered by Goran Buller was remade and remixed for the US market in 1988 and re-released by Refuge Records. It was banned by several record stores for its album cover (painted by Rolf Jansson of Norway). The title track was #1 on the CCM charts for several weeks and was also a Dove Award nominee for the Metal song of the year in the USA.

[1988] TREAT decided to get rid of their Swedish managment and started to look else where and abroad. West-German manager Uwe Block (BFS managment) was the right man for the job as he brought them down to Frankfurt, from where he thought it would be a much easier task to promote Treat for the european market. Dreamhunter was released in Germany on the 10th of January 1988 and a deal with Polygram USA about releasing the album in America as good as done. There's also talk about a big european tour as a support act for a major name in the hardrock business and some other things that Block had up his sleeve. Out of this came nothing! In fact, the only good thing that happened in 1988 was when Block managed to get them the opening slot for the German "Monsters Of Rock" festival in August -88. By far the best moment so far in the history of Treat and the largest audience they ever played in front of. The big european tour become only one week of club touring in West Germany in October and the American contract never happened.

ALIEN and 'Only One Woman' at the top of the charts (platinum) while the band relocated to Sound City Studios in Los Angeles with producer Chris Minto (Pat Benatar, Rick Springfield, Kiss), to record their debut album. Two songs featured in the 1988 remake of the US 50's Sci-Fi movie 'The Blob'. Feel My Love and Brave New Love in the end credits. Back from the US, with a single rocketing the charts, Alien brought the album on tour and beating box office records. They signed to Steve Barnett /Hard to Handle Management (Gary Moore, AC/DC) and for the international launch Virgin America made a new album cover and remixes by Duane Baron and John Purdell. Songs were cut out to include the first single with new singer Pete Sandberg, "The Air That I Breathe"/"Now Love". Pete replaced Jim Jidhed in the fall of 1988, making his first appearance performing live on national TV. The video "Tears Don't Put Out The Fire" was shot in LA by director Dough Freel (Def Leppard). Talking to bassist Ken Sandin: "Staying at the Sunset Marquis Hotel, while shooting the video, the phone would ring at night. Girl says: is this the party? What? Axel Rose's!! Should've guessed, he was staying there longtime while his house was being built".

(to be continued)

THE COUNTDOWN CONTINUES: entries 50 - 26

8850. YNGWIE MALMSTEEN - Riot In The Dungeons (1988)
How can less be more? More is more! This song is just a pure guitarmageddon where each note is located perfectly and sounds brilliant. The RPG (Role Playing Game) inspired? fantasy track from the Super-Swedes' 4th solo album 'Odyssey'. This time with American singer Joe Lynn Turner (Rainbow, Fandango) behind the mike and in charge of all the words. He only recorded albums with American vocalists throughout the eighties, but the 1990 effort 'Eclipse' would feature Göran Edman (Madison, Glory). Yngwie goes bezerk at the poor fret board for a minute before Turner finally get a chance to shine and do his magical stuff. The collaboration would merely last one album and tour before Turner managed (somehow?) to end up as the new frontman at Deep Purple? Deep Rainbow? It's a riot.
https://www.youtube.com/watch?v=mZmLZHdMFeM

 

sio49. SHOTGUN MESSIAH - Shout It Out (1988/KingPin)
Originally from the town of Skövde and formed in 1982 by guitarist Harry Cody and bassist Tim-Tim Sköld under the name of Shylock. They changed their name to KingPin and recorded the cult demo in 1984 with several songs that eventually would end up on their debut album 'Welcome To Bop City' in 1988. Singer Jukka 'JK Knox' Kemppainen was replaced by Zinny J San (Easy Action) prior to recording the album. They changed moniker to Shotgun Messiah when Relativity Records re-issued the album for the US market in 89. The song feature the 'rap' verse by Zinny and Tim-Tim and the Swedish KingPin version does not open with the words 'screaming guitars'. Yup. The F-bomb. Excellent stuff! The band would record another couple of great albums before Cody went all 'film/movie commercial soundtrack guy' and collaborating with Tom Waits, appearing on his albums Orphans: Brawlers, Bawlers & Bastards and Real Gone. Zinny did his Zan Clan before going solo and Sköld continued with KMFDM and Marilyn Manson before he went solo too (not to be confused with Zulu 2 - The return of Shaka!).
https://www.youtube.com/watch?v=DTHoCRyvvJk&t=511s

 

48. UNIVERSE - Rollin' On (1985)
What's this you say? Universe? A forgotten classic from Sweden? Strong, personal and charismatic voice and the keyboard-driven hit that never were. Much as you'd expect when you put together a proper band with the outstanding vocalist in Kjell Wallen (Airlines, Trezpass). Catchy, nice keyboards and the best vocal performance of the songs on their self-titled album. The hint of Rainbow yet a very Swedish sounding track. The slightly rougher version of Europe? Well. They are from the same hood and place, Upplands Väsby /Stockholm. In fact. Lead guitarist Michael Kling used to play in a band called WC with Europe's John Norum and Tony Reno, and bassist Hasse Hagman use to play in a band with Joey Tempest. "Rolliiiin' on - I'm looking for paradise". Neat!
https://www.youtube.com/watch?v=ss9XvvMh99E

 

47. STILLBORN - I, The Stillborn (1989)
"The night was cold and the moon was new. This very night you gave me birth. You was old and I so young. For thousand years I ruled the earth". Heavy Metal, Doom outfit with quasi-Goth and Sleaze leanings, and sort of the positive 'Type O'Negative' song and dance number. It's pre Peter Steele (RIP) and his band tho'. Vocals in the style of Doom and original Goth by Kari Hokkanen and listening to the deep booming voice, a man you wouldn't want to meet down a dark alley late at night if this performance is anything to go by? Mighty baryton singer indeed. This is the dark side of Sweden, gloomy, disenchanted and all too aware of how quickly things can go wrong. They are after all Stillborn, you know? "Don't let them take me...back. Black Legion". The debut album 'NecroSpirituals' was released on cult-label Radium in 1989 and became out of print almost immediately. So cool and unusual! Read on to find out more about the song. Thanks to guitarist: Ingemar Scott Henning.
https://www.youtube.com/watch?v=fu4hlkAv8Ic

Ingemar Scott Henning /Stillborn: As the band name itself is a symbol for the vulnerability, suffering and sorrow of being a human being, the song "I, the Stillborn" is an extension of that path of thinking. Often our songs describe the struggle of common man, sometimes in a dreamlike greyzone between reality and dark fiction, and this particular songs lyrics are influenced by such as greektragedian Sophocles ("Not to be born at all is best") and Samuel Beckett (They give birth astride of a grave, the light gleams an instant, then it's night once more). The lyrics are describing a very dark and gloomy underworld where the Black Legion enslaves the main character, inspired by ancient Greek epic poems, but is at the same time a mirrorworld to our own, a metaphor for human struggle for individuality and freedom of mind.

Black Legion itself is a metaphor for totalitarian governments and ideas, oppressive religions and movements, anything and everything that enslaves your mind. And through history to this very day, you can see this "Black Legion" in very different shapes, but it never disappears. And it's always the common man that will pay the price at the end, so you always need to be vigilant for these ideas and movements. Writing the song was a process for a longer time, with lot of "kill your darlings" (Hey, it's lyrics for a song, not a philosophical novel :-), and as we are some kind of metal band, the lyrics also have to sound powerful and blend with the music. The idea with our lyrics is that we always like to give the lyrics a sublevel, that there is more to find if you just scratch the surface. But the listener can also hear just a bizarre, gloomy horror story while listening, that's ok too. We think good lyrics work both ways. Most important is that the listeners always keep their minds free and watch out for Black Legion! Cheers.

hl46. HEAVY LOAD - The Guitar Is My Sword (1982)
"I was born in pain in the everlasting rain". Blimey. It's hard out there for a Viking? The sound of thunder and lightning and the song will hit you like Thor's hammer over the head and then you'll wake up dead? I don't know? Thank Odin for Valhalla though. Heavy Load, a band with cracking viking-themed songs, which makes them awesome? Catchy chorus and the song is kind of sort of stuck in the late seventies sound. They were formed back in 1976 and this from their 'Death or Glory' album in '82 will surely please the traditional Heavy Metal fan. Sure, you can say it's basic stuff. It's somewhat apparent in every album and most songs. But don't let that be held against this tune. The guitar is indeed their sword, and this is not just another soulless Manowar stereotype of performance. There is feeling in the Viking arrangement, the guitarwork is inspired, and the song is memorable.
https://www.youtube.com/watch?v=dPKDAc0I6DA

 

jeru45. JERUSALEM - In His Majesty's Service (1985)
In His Majesty's Service - The extremely powerful uptempo song recorded live on tour in America. In fact. There's (unfortunately) no studio version to be found. The song can only be found on their 1985 Live In USA effort. They made several very successful tours in the states, which finally resulted in this recording from Shreveport and Dallas. The album showcased Jerusalem's radical presence on stage and it's the first ever live album by Swedish hardrockers. Ulf Christiansson is a really underrated vocalist in my humble opinion and it's pedal to the metal from the word go... or in this case, run fast (x2). First time listeners would need to prep themselves for the massive love attack on your heart and soul as they're rocking in his majesty's service. Not to be confused with the 007 film. "Sound the alarm for everyone, calling his people now to come".
https://www.youtube.com/watch?v=L6pIeWgYMa4

 

eu44. EUROPE - More Than Meets The Eye (1988)
The fourth single from Europe's 'Out Of This World'. Only released in France, Spain and Japan and with no video, it really didn't have a chance to become the hit it deserved to be. The song is a rare collaborative effort, with keyboard player Mic Michaeli and guitarist Kee Marcello sharing credits with the band's main songwriter Joey Tempest. Indeed, the song features Michaeli's keyboards upfront, while Tempest sings a sad story of a love gone wrong. "It's more than meets the eye, so much more than just a last goodbye...it's a cold and lonely heart, so sad and torn apart." The lyrics are actually at odds with the bright and bouncy nature of the song. A catchy tune, and one of my favorites from OOTW.
https://www.youtube.com/watch?v=RE5s5mK_SUM

 

 

sm43. SILVER MOUNTAIN - Handled Roughly (1985)
"Years ago I feared the day when I would face the devil". From the south of Sweden/Malmö and formed in the seventies by the Neo-classical guitar virtuoso, Jonas Hansson. Named after a certain song by Rainbow, their 1983 debut album featured the Johansson bros. Anders (drums) and Jens (keyboards). This is however a track off their in my opinion best album, "Universe". It's the bombastic epic track seven minutes of sheer class and the opening minute is the classical guitar intro-thing of highest order. Vocalist Christer Mentzer (Norden Light, Mentzer) delivers a classy vocal performance and it's superbly produced hard rock in the tradition of the mid/late 70s style. I guess you can pick up some influences and sounds from the likes of Uriah Heep, Rainbow/Purple, UFO/Scorpions. However. They maintain an unflinching confidence in the strength of their original music and band throughout the composition. Read on to find out more about the song. Thanks to guitarist: Jonas Hansson.
https://www.youtube.com/watch?v=UTfcZwuyIJA

Jonas Hansson: Actually I do recall what inspired me to write the song. I was 15 years old. It was in the fall of 1976, my dad and I was putting up isolation in the attic and during the breaks I picked up my acoustic guitar that was standing in the hallway. I noticed that the 5th string was broken and missing but that didn't stop me. I picked it up and put my index finger over the 5th fret and strummed the chord. Am7. "My name is not important", Then I moved it up to the 7th fret "even if I'm badly beaten". I didn't like that second line so I changed that later to "even if I'm handled roughly". I remember consulting my english-teacher in school and he advised me to say "handled roughly" because I asked him how to translate "illa behandlad"(swe). I thought it was exellent since it was my wrist that got broken and in swedish that translates wrist(eng) = handled(swe). I knew when I wrote it that I wanted the acoustic to play clean broken chords in the verses and power chords when the chorus kicked in with twin guitars.

The little classical intro-thing on it came later. I think we added that in the studio. Can't remember using it before that. Since it was a ballad it was perfect to have an extension at the end for soloing. This was in the 70's and it was ok to play long solos! :) Most of the time the songs just popped up when I was playing. If it sounded good and it felt right then it was a keeper. Also to vary the songs. If my last song was a ballad I wanted the next one to be something opposite that. Around that time "Sex Pistols" showed up with an attitude that was missing in the hard/heavy rock bands and that brought my writing energy to a faster level. I was 15-16 at the time and I had a lot of energy that wanted out. But sometimes when you are beat you have to chill and write something like "Handled roughly". Even though most songs were faster at the time. I was playing all the time because I loved to play. To find new stuff and new ways to write and listen. I think it has my melodies and the magic that I was looking for.It just came out that way and that's how it's always been with me. I write something and that's it. Most of it was just jamming with the guitar all different kind of licks and songs just developed. Back then it was very easy and it felt natural to write songs on the guitar. Now it's more that I write inside my head but still sometimes on the guitar. I was a big Purple/Rainbow-fan then but I think there were something in some Scorpion-ballads with Uli Roth that I might have been influenced by.

In 1976 I was going to see Kiss at Olympen,Lund, Sweden. Standing in line and it was our turn next to get in to the venue. People were pushing from behind and I got pushed on my friend in front of me and he fell on the bouncer/ticket-guy. The Bouncer told my friend that he wasn't allowed inside. You are drunk, he said. It had nothing to do with him having a few beers. It was people pushing from behind. I told the guy that it wasn't fair, not to let him in, since it was because of the pressure from behind that made him fall on him. He then tells me that I am not welcomed either. I protested and he told me to talk to an older guard who was standing on the side. I walked over to him and tried to explain but he was ignoring me while talking in his walkie-talkie and before I knew it I was attacked from behind by a third guard who pulled my arm up my back so it broke in two places. I wasn't violent at any point. The police came and we missed the consert. A couple of months later I wrote Handled roughly and the lyrics are about being unfairly treated by the devil. In this case the guards were the devils.

In addition to this: In 85 we played at Malmö Isstadion at Lucia (Urban's note: 12th of December). It was an event arranged by the church. We were playing Handled Roughly and after the 1st chorus right when I started my guitarsolo they cut the power and started a disco at the other side of the arena. That's plain rude. Hehe. We found out that it was the lyrics " Mister Lucifer" that made them asume that we were gloryfying the devil and therefor cut us off in front of 5000 people. It actually went further than that but we convinced them in the end that it was all good and no devils. Kind of funny in a way. The song is also about "Faust". "Keep on keepin on" :)

22042. 220 VOLT - Electric Messengers (1985)
"She loves'em, needs'em, Electric Messengers. Listen to the barrier of sound". Proper Heavy Metal inspired by Judas Priest and their electric live show and circus of the early/mid eighties. Sadly you won't find many (great) Priest inspired acts from Sweden in the eighties. 220 Volt would however not continue with the 'Priest' Metal for too long as they kept changing style and sound throughout their career. They started out in my humble opinion as the second rate NWOBHM act in 1979 and became the US melodic metal act at the end of the decade. They mixed however memorable commercial melodies with metal crunch and interesting arrangements. This track is from the 'Mind Over Metal' album and Metal aggression never sounds so good as when it comes flying at you in a Mind-ful approach.
https://www.youtube.com/watch?v=ZTdvU4CY5l8

 

8941. TREAT - Home Is Where Your Heart Is (1989)
"I'm spreading my wings it's my time to fly". The Organized Crime? A brand new start and 1989 was going to be the year when Treat finally found its world wide audience, at least that's what they all hoped for. The new song material was ready and the band moved down to Frankfurt/Germany where they spent six weeks in the Hotline studio recording the new album with producer Peter Hauke. The album artwork was designed by a mighty proud guitarist (Anders Wikström) and they achieved a sound and production that complements their Swedish vibe. HIWYHI is a professional sounding guitar-riff based song that will appeal to people who like their melodic hard rock catchy and fun. Wikström's nick may have been 'Gary', however, there's quite a lot of 'Rudolf' in the riffing and thus also some of the writing (as in Schenker from Scorpions and not the red nosed reindeer).
https://www.youtube.com/watch?v=j8l_QQeOx6M

 

8940. LEVITICUS - Over The Hills (1989)
"They're coming to tell the world, the Message of love. They call them the Knights of Heaven". They call them Leviticus! They just might be Gary Moore or Led Zeppelin, lyric-wise, but there's so much more to Leviticus than first glance. It's soul strengthening music and the song comes lavishly packaged in a box steeped formula where melody and harmony go hand in hand across the land. Yes sir indeed. It's over the mountains and across the atlantic sea as Leviticus recorded the album in America at the Pakaderm studios with The Elefante brothers (Dino and John from the band Kansas) as producers. Its melodic structure and arrangement fit the new vocalist Peo Pettersson (Axia) perfectly. Galopping sound and the ultra catchy hook. Read on to find out more about the song. Thanks to band leader, guitarist: Björn Stigsson.
https://www.youtube.com/watch?v=yyL_QIjY6Qo

Björn Stigsson: I got the chorus and the theme first, it came straight to me one day when I was sitting and playing the keyboard. A chorus that sticks easily and it became a more melodic hard rock song. Quite typical Leviticus at that time around 1988. The text is inspired by the Bible. It's about God's love and how he seeks people all over the world. God's people go side by side and proclaim the message of love from country to country. Like the Knights of Heaven are people driven by the love of God. It is not about violence but just about how God loves all people, and wants to free us from the darkness. "Over the hills" is the title track to the album "Knights of heaven".

tc39. JOHN NORUM - Eternal Flame (1987)
The Bangles? Sorry... correct title wrong act. The song that sounds the most like the work of Marcel Jacob (RIP) and he'd continue to write these kind of numbers for Talisman. Norum's gifted guitar work, heavily influenced by the likes of Gary Moore and Michael Schenker, goes right through the loud speakers and into your pathetic little hard rock brain. It's slightly groovy yet catchy hard rock by the at the time former Europe guitarist. It's a favourite of the guitarist, featuring a wicked groove and a riff so UFO it would give Schenker the spacey out of body experience. It's sort of 'Ninja' part 2? Energetic, but precise riffing and compositions suggested a bright future. John Norum would however join Don Dokken's solo band the following year and you had to wait until 1992 for the next solo album by the guitarist. Great stuff.
https://www.youtube.com/watch?v=VVb_8ZU_jRc

 

8738. LEVITICUS - The Suffering Servant (1987)
The storming track from their 1987 album 'Setting Fire To The Earth', the first without original singer/bassist Håkan Andersson and featuring the at time new vocalist Terje "Terry H" Hjortander (Quinzy, Forest) and bassist Sven "Ez" Gomer. They both left the band shortly after the recording and formed Jet Circus, the strange Christian metal outfit act sponsored by Harley Davidson? and signed to Epic (Step On It/1990). It's the passionate effort, where every beat this song packs has the full force of four hearts and souls behind it and it clearly speaks of the suffering servent. Did you know that Leviticus was voted third most popular (Swedish) hard rock act on a list by the popular national Radio program in the eighties?
https://www.youtube.com/watch?v=jx0XpD4gaUg

 

8837. CANDLEMASS - Samarithan (1988)
"One day I saw a man dressed in rags, with a staff in his hand". Doom metal but strangely uplifting. Formed by bassist and primary songwriter Leif Edling (Trilogy, Nemesis) in 1985, the vikings are plundering the Sabbath-groove, yet they turn in doom that is so authentic and genuine, that it sends a shiver down the spine. Marvelous riff and Messiah Marcolin sounds terrific, making some good use of his lower register in the start before shifting to a higher range for the ending. It's a monstrous little song and dance number full of darkly threatening power and doom and it's about the last samarithan? Great stuff.
https://www.youtube.com/watch?v=hWNS_cBNpeY

 

 

bat36. BATHORY - Blood Fire Death (1988)
"Deaths star on horizon. Lightning and rain. Black winds and thunder. The skyline is in flames". Skyrim, We'll meet again. Quorthon (RIP) deliver in my opinion the second best Bathory song of the decade. Massive and truly evil riff and also proof that Viking/Black Metal doesn't need to be silly-fast to be brilliant. This is more Doom, sludge, and something that could be considered an influence on Burzum and especially Samael on their first efforts: Blood Ritual/Worship Him. It's the title track from the 4th album and the beginning of the Viking saga that would vastly improve Bathory's next couple of albums. We especially enjoy the 'angelic choir' in the background as well as the mix of electric and acoustic guitar. Something Quarthon would continue to explore on the following albums. Everything sounds dangerous and harmonious, even though the bass and drums don't really do nothing but give a little punch to the song. The production had improved a lot since the early albums but it's still pretty vicious. Epic title track (10 minutes).
https://www.youtube.com/watch?v=0ZYa5-LWAYQ

 

22035. 220 VOLT - Beat of a Heart (1988)
"Like the Beat of a Heart everything is changing". They have been going through changes on the 'Eye To Eye' album. Recorded in New York by producer Max Norman as he removed their blunt metal agenda, the 1988 sound of 220 Volt was smooth and US friendly melodic metal. It's a song that sounds like if it's been dragged kicking and screaming from Viking land before being shipped over the pond to perfectly fit the MTV formula and style. The resulting sounds are not hard to categorize. A total sweet but brilliant composition in the vein of commerical melodic stuff with just the hint of Dokken. The guitar amp sound is definitely Dokken and Mr.Lynch. MTV never really bothered to reply though. "Time to rearranged it. It's got to be done, tonight!". Great stuff!
https://www.youtube.com/watch?v=JgijtoxGYPc

 

dalton34. DALTON - Dressed To Kill (1989)
"She's the one, she's everything. That's feminine". The romantic sentiment and harmonies are sweet as bubblegum and stick like it as well. They had bigger hits such as the Bon Jovi/Sambora/Child penned 'You're Not My Lover (but you were last night)' but this has a different take and sense of style around its arrangement and display. It's strangely compelling and interesting in its sharp edged yet soft hearted kind of way. Some really cool ideas, a couple of killer moves and a grasp of bouncy uptempomelodic rock. It doesn't sound like just another eighties track by Treat, Europe or 220 Volt. Nope. This is pure and proper Dalton in its own simplicity and style. In fact. When they struck the bullseye, they were very melodic, very good, and very catchy. Read on to find out more about the song. Thanks to vocalist: Bosse Lindmark.
https://www.youtube.com/watch?v=vULcaZMDRws

Bosse Lindmark: It was actually Leif, the guitarist who came up with the basis for "Dressed to kill" in the studio, and as far as I remember he was the one who did that hook as well ... a good song that was a bit forgotten back then in 1989, but there are many who mention it today, which is great fun. In the 80's we worked together as a band in the rehearsal room or usually in CBS demo studio. It was mostly me and Leif who put together the basics for the songs, and then the other guys came in and played and put their stamp on it. 80's rock made certain demands in the form of strong harmonies and choruses, distorted guitars, a lot of keyboards and loud "castral singing" etc. I wrote most of the lyrics on this record together with journalist Anders Tengner, and these opening phrases I have no direct relation to today. I probably had it then over 30 years ago ... because we always tried to relate to someone or something, that's how I come up with texts even today... but unfortunately the memory of this one disappoints! We never did it live as far as I remember... but, we did over 500 gigs between 86-92, so it's a little hard to remember just that!

When you listen to it today, I think it reflects the 80s pretty well, big arrangement and big choirs etc. I have influences in everything from Queen, Kizz, DIO,
also listened a lot to Bon Jovi, Europe and Journey etc. Since I am a singer, big choir arrangements have always inspired me. On the 1st record Tommy Nilsson and Matti Alfonzetti did a great job on background vocals. On this we did the choirs ourselves, tried to do what they did, but they have strong personal voices, so we did not quite get 'there' I think... but when I listen today I think it was good anyway! When I write songs, I usually do drumfills, guitarwork, and arrangement considering someone in mind, the band member or someone I have played with or heard before. I need to have input from other people. Most of the time I sit and write by myself, it works well, but I'm probably deep down a "bandmember" anyhow. There is nothing like to stand in the rehearsal room, laugh, gnaw, jam and make music, but it is unfortunately just a memory in this computerized world!

First of all, I think it's really fun to get noticed in this way, and with this song, I really thank you for that. And I can take the opportunity to reveal that I am now compiling a solo album. I have made songs for as long as I can remember, but only released 5 albums, (3 with DALTON 1987-1989 -2014, and 2 with R•A W 1994 -1997) I have since 2000 been out and touring so much, worked as a musician for a lot of artists, such as Nanne Grönvall, Anne-Lie Rydé, Sanna Nielsen, Carola, Tommy Nilsson, Björn Skifs, Lena PH to name a few. I simply have not had time to get to grips with it. Have thought a lot about a solo album the last 5-6 years, and now I will do it! I'm still out touring a bit, but today I also work in a completely new studio in Uppsala called Soundfront, so the opportunity to realize this is perfect right now! 5 songs are pretty much finished, and I intend to let different musicians / friends play on it, have so far asked Ian Haugland, Robban Bäck and Rob Marcello if they want to be on any or some tracks, and they want, we will see what happens to it, but it would be great fun to get help from such fantastic musicians! I plan to release some or a few songs before the summer, continuation follows.

tott33. TALK OF THE TOWN - Free Like An Eagle (1988)
"My eyes are red and open wide. Those scars everywhere I see". Originally named Scandinavian Dynamite, but changed their moniker in 1988. The single went gold in Sweden and the eagles were flying high. The rather dodgy video was constantly aired on national TV and at the popular show 'Listan'. Their record label did however not promote or support these guys correctly and you could find them on tour with pop-sters Carmen Kane?? They also suffered from poor management. Really catchy AOR/Melodic rock and the superb vocalist Thomas Vikström (son of a famous Swedish opera singer) became the Swedish Disney singer as he did all the TV signature songs for Winnie The Pooh, Ducklife /tales, etc. He also joined Candlemass though and nowadays you can find him upfront at Therion. Quack! Read on to find out more about the song. Thanks to vocalist: Thomas Vikström.
https://www.youtube.com/watch?v=Hm_aU527ybc

Thomas Vikström: We were in the process of making the Talk Of The Town album and our record company thought we needed one more song. So I went home and wrote it. The whole song came to me very easy. I think it took me around 15 min to write it (apart from lyrics). This is one of the times when the song came to me instead of the other way around. I wrote all the songs back then on an electric organ I had in my room. One of those who look like a furniture before you open the lid. I was trying to write something a little darker in a minor key since the rest of the album is much pop or schlager dressed in distorted guitars. Since I was going for something a little darker, so the lyrics is about a guy waiting for his execution. One of the most scary situations I can think of. And how he tries to come peace with death. I never saw myself as a lyricist, but this one came out pretty good.

All the songs I wrote was from this Electric organ. I sometime recorded the song on a casette recoreder and played it up and then played along in acoustic guitar and singing harmonies to see how it would sound. Far from how it is today. But it worked. As I remember no input from others. At least not in Free like an eagle. The song came very fast to me and natural. Its pretty much like how it was written. Our keyboard player Mats was doing his Military service at that time and could not participate in the recording of the song so we hired Mats Olausson (RIP) who later played with Yngwie Malmsteen. He came up with the iconic keyboard intro. He was never credited for that. I think that riff/intro became very important for the song. That song is the reason that I still can be a musician today and it opened up the door for me totally. Talent is one thing, but people need to know that you exist and this really put me on the map. A funny thing is that we were having together with our record company a vote for what song was going to be the first single. everybody voted for 'Free like an eagle' except me. I thought it was a filler. Sometimes its wonderful to be wrong.

sup32. EUROPE - Superstitious (1988)
"Keep on walkin' that road and I'll follow. Keep on callin' my name I'll be there. And if a mirror should break it's easy to take. Cause deep down I know that you care". The ambitious and at the same time very pompous attempt at another world-wide hit-single 'ala Final Countdown. Not similar in style or sound though. The first single from Out Of This World was recorded in London at Olympic Studios with producer Ron Nevison. According to Tempest: "It's got that old hard rock with a hint of blues sound to it, which I love, and it reminds me of the days when we used to go and see Whitesnake with Bernie Marsden and Micky Moody. I recorded the main melody for the guitar solo on a demo, and Kee Marcello added some amazing scales and runs to it". In any case, it's no doubt one of the best and most amazing melodic guitar solos of the eighties and Sweden. "So keep on walkin' that road and I'll follow"...
https://www.youtube.com/watch?v=BvUqntgGHMs

 

se31. SWEDISH EROTICA - Down Town (1989)
"Have you heard the news? The boys are gonna rock tonight". How can you not enjoy the well crafted lyrics and they're also singing 'Bon Jovi's on the radio'. Blessed with a massive guitar riff and at risked of sound terribly cliched, some of those notes are from rock n roll heaven. Good look finding out more about this band through the google. Ehem. You'll definitely end up with "Swedish Erotica". Originally formed in Stockholm in the mid-80s as Swedish Beauty and with Norwegian Dag Ingebrigtsen (ex. TNT) on lead vocals. Dag was replaced by Tony Niva whom was replaced by Mats Levén (Treat, Yngwie Malmsteen) in the middle of the recording of their debut album. They had bigger hits, but they were previously recorded by Evenrude and covers aren't allowed on this particular top-100 list. Vocalist Leven would later join Treat, Yngwie, etc. and it's basically "Party all night, rockin' all night". Read on to find out more about the song. Thanks to guitarists: Morgan Lefay Jensen and Magnus Axx.
https://www.youtube.com/watch?v=zFUjqjxapVo

Morgan Lefay Jensen and Magnus Axx: "Downtown" was actually an old song written by Magnus Ax and Andy La Rocque (King Diamond) in their old band Trafalgar (before Swedish Beauty and Swedish Erotica), and one of the first songs we recorded for SE. We kept the catchy chorus and the lyrics on it, but Magnus rewrote and rearranged the verses to get a more straight forward rock, and upbeat approach. Then me (Morgan) and Magnus rewrote the lyrics for the verses. Andy La Rocque is also listed as songwriter by the way. And we realize that going downtown could also mean something else, but that's not what's intended here ;) The song is basically a getting ready to party-kind of song, a very simple context, of people getting ready to let loose and party with the boys after a long working week. All coming from the suburbs, and going into the city to party. We wanted a positive and energy filled vibe to go with the lyrics. The writing process of this song was a bit different, because it was a new take and a rewrite of old material. Usually during our writing process Magnus mostly came up with the riff, and the basic melodies, and then he and I got together and arranged and then I wrote the lyrics after we discussed the melodies, themes or contents.

The first line "Have you heard the news, the boys are gonna rock tonight", is both meant to set the scene, but is also a flirt with Thin Lizzy's "Boys are back in town", Lizzy was a big influence on both me and Magnus with their twin guitars. It was actually Magnus who suggested that opening line. The rest is about partying after a long working week. Called out by the city and the neon lights, letting loose, drinking, having fun, and in the end looking for love "To find someone who needs me". That's what it's all about really, most of us go out to meet someone. At least we did back then. Now nobody goes out due to a certain pandemic. We always liked the catchy chorus, that's why we kept it, but looking back on all our songs, most of them were a bit harder and maybe more in the LA-vein at the time. And the lyrics kind of went that way too, a little more sex, sex, and rock'n'roll. "Downtown" was from our debut album. For a later album "Blindman's Justice", we tried to write about a little more nuanced or serious themes, but our fans still liked the old stuff. Maybe things really were better in the 80's before everything got hard, angry and serious? The hairspray was cheaper.

The lyric speak of Bon Jovi on the radio? Bon Jovi wasn't really a big influence on us as a band (they used keyboards), but it was the mainstream rock act at the time, and that's why we chose something that everybody listening to FM radio could relate to. SE in general were more influenced by the glam bands of the 70's and maybe even more by the LA-bands of the 80's like Van Halen, Ratt, Dokken and Cinderella. The song "Rock'n'Roll City" on the same album, which actually has a Bon Jovi feel to it, was written by the producer Ole Evenrude and released as the second single. The record label liked "Downtown" so much they wanted to make it our first single. All the songs for the first album were already written when the singer Mats Levén joined the band. But we arranged most of the songs together and all the members had input over their instrumental parts. And of course the producer had a say before anything ended up on tape (which was the case back then). What can I tell you. We're dinosaurs.

The main riff in "Downtown" is played in E and the verses in A. The guitars used are Magnus' Guild with EMG pickups and Morgan's Kramer Nightswan with Seymour Duncan full shred pickups. The solo is played by Magnus. The first single version was produced by Magnus and me, and recorded at Tuff Studio in Gothenburg in 1988, more known to house the recording of Ace of Base's 26 million selling debut-album. However "Downtown" didn't sell quite that much... Tony Niva sang on the single release, but the lead vocals were then re-recorded by Mats Levén in 1989 for the album release (recorded at Studio Nova, Norway and produced by Ole Evenrude). All instruments were also re-recorded and the song rearranged for the album, where also a melodic hook was added throughout the song. In the first single release it appears in the fade. And helping out with the backing vocals were the Tuff-studio owner John Ballard, Tony Niva and the tv-show host Lasse Kronér (but not at the time). How about that? Best regards, Morgan Lefay Jensen & Magnus Axx (Swedish Erotica).

eu30. EUROPE - Ninja (1986)
"Tell me the story, tell me the legend, tell me the tales of war. Tell me just one time, what it was like before". One of the first songs written for the Final Countdown album, and premiered on the band's Wings of Tomorrow tour in 1984/85. The hidden gem album song performed by Swedish Vikings from the land of the Midnight Sun and it's about Nippon Assassians from the land of the Rising Sun? Indeed. Strange but true and the lyric feature absolutely nothing about Japan, except for the title of course. Nonetheless. The splendid memorandum when you take into consideration that it's only meant to attract more fans from Japan. John Norum's solo is amazing, heavenly, powerfull, evilish, and darn right magical. And even if there's no proper lyrical master magician 'ala Gandalf, Tempest could still conjure up the dodgy swedish meatball or cast a spell or three. You'll find thick swathes of bass lines and guitar combine with eleborate keyboards and drums to form the excellent Tempest composition from their best selling album. Underrated. "If I were a noble ancient knight I'd stand by your side to rule and fight".
https://www.youtube.com/watch?v=tC_3zTIQLd4

29. ALIEN - Brave New Love (1988)
"She took a chance and led with her heart. Passion played and she took the part". Formed in Gothenburg by guitarist Tony Borg, vocalist Jim Jidhed, bassist Ken Sandin (Swedish Erotica), keyboardist Jimmy Wandroph and drummer Toby Tarrach. They are perhaps best known for their single 'Only One Woman', a cover of a Bee Gees/Marbles song, and this very tune, "Brave New Love", which was featured in the end credits of the 1988 remake of The Blob. Great song and ehhh, great movie? It's a powerful and memorable AOR tune and message from their 1988 debut and originally supposed to be a hair spray commercial? Nah. Great stuff. Janet Minto and Pamela Barlow co-wrote some of the best Alien tracks of the eighties and with tried and trusted Swede musicians, everyone should be pleased and content with the classy result. Read on to find out more about the song. Thanks to bassist: Ken Sandin.
https://www.youtube.com/watch?v=b9I7e6wmnes

Ken Sandin: I clearly remember hearing the Go Easy demo tape for the first time, though, while driving our rental, already in LA for the recordings. I instantly loved the idea of tracking and adding it for the album. Not sure when we first heard the writers tapes of "Brave New Love", think it might've been during pre-production with the producer being over here in Sweden, but I was really happy about the type of songs we were presented. I wouldn't do it any other way, then or now. Strong melodies, nice build from verse to chorus, mid breakdown. A standard pop formula arrangment, but just right for the song. I believe we cared mainly about the overall sound of the band to be captured, and making things match, album wise. The songs came out more or less like we'd planned at rehearsals/pre production, nothing much was changed or added. Drums and bass were tracked together on all songs, in full song live takes. Guess we were well rehearsed. Yes, the style was prefered as in suitable for this band. To me, we could (and should) do a great take on that 80's aor wave happening, like Heart, Starship, Journey, Survivor etc. Again, that's my opinion. Others felt differently. Alien was always a melting pot of compromises.

We had written all the songs needed and had no intention using anything but our own material. The cover of 'Only One Woman' was meant as a single release only, while we made the album. It's actually not present in the running order on the pre-cut tapes! That had to change, obviously, as it became this massive hit. To me it felt just right to add a few of these outside writer songs, as they were straight forward melodic aor songs. Our songs tended to be a bit complicated in arrangements, given the genre. A bit too clever, as one of our producers stated. So, I think the blend turned out great. Catchy, but with a depth to it. Short answer is, I didn't have a problem with outside writers, but that's just me. The song was included in the end credits of the 88 remake of The Blob. Our producer was friends with this Hollywood film industry guy. Also, Sound City Studios where we recorded was right next door to the studio of Keith Olsen, so the whole complex was constantly housing high profile rock acts and, I guess, the right place to pop by to get ideas for possible sound tracks. He liked what he heard and sorted both the end credit, and a spot in the film for another song of ours. Any weird story? I recall the time at Sunset Marquis, having brunch outdoors, I had two scopes of ice cream with my plate of fruit... or, so I thought. If there was only a photo of my face, when that (garlic?) butter hit my tongue! Didn't make it any less uncomfortable that Paul Stanley was at the coffee table right next to me.

kingpin28. SHOTGUN MESSIAH - Nervous (1988/KingPin)
The spark of Glam/Sleaze in motion is particularly relevant to the lyric, which is all about feeling Nervous? Your typical US teenage horror movie, meeting someone out in the streets, and you know it's going to get ugly and/or messy. More fun than most if not all US Glam/Sleaze acts of the Sunset Strip, these four Glam-Rockers liked singing about snuff movies and featuring flashy high-speed solos by guitar hero, Harry Cody, who gets to show off his fretboard tickling skill to the full on Nervous. It's long drawn-out horror story held together by a kind of deranged Glam Metal madness that screetches out at you with no prior warning or sign of danger. It will most definitely "tickle your spine". Read on to find out more about the song. Thanks to vocalist: Zinny J San.
https://www.youtube.com/watch?v=DTHoCRyvvJk&t=2081s

Zinny J Zan: The inspiration to the song Nervous came from Harry, Tim and my love for typical horror movies from the 70-80s you know girl n Boy parked on lovers lane! The chorus is more like instead of a scream we sing Nervouuus! We Wanted to capture that creepy feeling! The lyrics is really a story starting out just like a typical teenage horror movie "outta gas in the dead of night" And you start to get scared right then and your little romantic rendezvous at Lovers lane have quickly gone south! I can't say it is my typical way of writing and then again all three of us wrote the lyrics to this particular song and we came up with the horror movie theme and then we just went for it. I would say that the song 'Nervous' has a Alice Cooper homeage to it ! Both Harry and myself where huge Alice Cooper supporters and I think Tim was too so that would be the influence.It is one of my favourite songs on the album and to play live. The guitarwork from Harry on this song is just jawdropping!!

8627. CANDLEMASS - Solitude (1986)
The opening track on the band's debut studio album, 'Epicus Doomicus Metallicus', released in June 1986. It is one of the band's signature songs, it's really with this release that modern doom metal started to take shape. These guys just took it to the next level. This album feature original singer Johan Langqvist, Edling sang on the first demo though, the utter gloom and doom lyrics are written from the perspective of someone who suffers from severe depression and longs for death. For those who arrived here through the love of eighties metal should find plenty of soul food on this platter. The group's clear conviction and sheer determination to take on the metal nation would eventually lead them to the very top of world Doom-ination. It's slow, loud and indestructible. What more could you ask for? Edling, you piece of %¤#¤%
https://www.youtube.com/watch?v=woe_4gkS4XU

 

st26. HEAVY LOAD - Run With The Devil (1983)
'In the dark, grim winter of 1974 it dawned upon us that by playing hard rock, in its heavier forms, we could actually express what we felt in our hearts -The Wahlqvist brothers'. I'll be the first to admit that I heard this song as covered by Hammerfall in the mid 2000's. Didn't think much of it at the time really and haven't been listening to Heavy Load for more than a couple of years by now. The true eigthies image and not to mention album artwork and cover(s) kept me away for years. Where The Americans of Van Halen are 'Runnin', the Swedes merely ask you to 'Run'. The structure of the song is built on the driving beat and the blunt agenda of 'no matter what - we're still vikings', so the guitar kind of stabs you in the back as you run. And they will most definitely plunder your treasure chest and culture as they reach the shores of your homeland. Slamming drums, pure viking vocals, and the excellent display of heavy metal. Read on to find out more about the song. Thanks to vocalist/guitarist: Ragne Wahlqvist.
https://www.youtube.com/watch?v=NzoJdsNc1vg

Ragne Wahlqvist: Oh, it was thirty-eight years ago so it's a bit hard to remember everything. The music itself usually comes to me while I strap on my guitar and crank up my amplifier. What happens first is usually the guitar themes and the riffs and later the song melodies just pop up in my mind. The songs come to me in varied ways. Sometimes with a lyric line but this time, it all started with the guitar riff. The sentiment and ambience of the first riff gave birth to what the lyrics should be about, as well as the mood for the songs feeling in general. Well, the guitar riff was sort of evil and made me think of the struggle between good and evil within the individual. Suddenly a few lines of lyrics popped up in my head, as well as the main part of the chorus. Before long, these fragments developed into a song. In addition, my guitar solo is aimed to illustrate this struggle within us as well.

Does it capture my typical song writing style at the time? Perhaps you could say that. On the other hand, we think that Heavy Load's songs are very varied in the sense of tempos and moods. And yet, people often say that we have a very characteristic sound. "Run with the Devil" could be argued to be a good representative of our up-tempo songs. Other songs in the same vein are, for instance, 'Still there is Time' and 'Singing Swords' – out which both are on the same album Stronger than Evil (1983). I sort of knew beforehand what Styrbjörn would do with the drums on this song. He was just bound to thunder away with his two bass drums on the chorus parts. I could almost feel them shaking the floor long before he started exeperimating with his part. Since the record label Thunderload is owned by us Wahlquist brothers, you could argue that the label had an input. We are currently working on our new album as well as the re-release of our five track Maxi MP Metal Conquest from 1981 which will be remastered and accompanied by some unreleased bonus tracks.

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