vault (1)
Every Monday Night at 11:20, Rock 105 reaches deep in “The Vault” searching for those deep track you know, love and maybe forgot about!

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Oct 17th
A product of New York City’s early-’70s glam rock scene, Twisted Sister were eager students of the New York Dolls, with the theatrics of Kiss and the shock rock of Alice Cooper thrown in for good measure. While providing an excellent role model from an artistic standpoint, the Dolls’ disappointing record sales and subsequent implosion would make it difficult for such faithful disciples as Twisted Sister to land a record deal, and the band wound up struggling for nearly a decade before finally getting their big break in the early ’80s. Unfortunately, when this break finally came, the band would then embody one of the most gruesome examples of record company overexposure in the history of rock & roll (or at least since Kiss’ late-’70s decline), bringing an abrupt end to their brief moment of glory.

Founded in December 1972 by guitarist Jay Jay French (who as John Segal, legend has it, played in a pre-Kiss band called Rainbow with Gene Simmons and Paul Stanley), Twisted Sister based their every move on the aforementioned New York Dolls. Their apprenticeship on the local club scene was a slow one, but by late 1975 a somewhat stable lineup had coalesced around French, fellow guitarist and high school buddy Eddie “Fingers” Ojeda, bassist Kenneth Harrison Neil, and drummer Kevin John Grace. A number of different vocalists filed through their ranks, but it was only with the arrival of Dee Snider in early 1976 that the band found its true leader. Snider brought a strong Alice Cooper influence to the band, giving their by then antiquated, fey glam sound a welcome kick in the ass. He also quickly developed into the band’s dominant songwriter, and with new drummer Tony Petri in tow, Twisted Sister really started making a name for themselves in and around the city.

Club Daze: The Studio Sessions, Vol. 1 A significant growth spurt ensued; Snider wrote a wealth of original material and the band’s live performances grew in local legend, setting attendance records that still stand in many clubs and culminating in a fruitful May 1978 recording session that would yield most of the material released 20 years later as the Club Daze album. Twisted Sister’s transformation from glam rock also-rans into metallic hard rock contenders was completed later that year with the arrival of ex-Dictators bass player Mark “The Animal” Mendoza. November 1979 saw another studio session (this time at Electric Lady Studios with famed Hendrix engineer Eddie Kramer), which resulted in their first single, “I’ll Never Grow Up Now!,” released on the band’s own TSR label in early 1980. Another single, “Bad Boys of Rock’n’Roll,” followed that summer, but for all their hard work, come 1981 the band had only a growing collection of record company rejection slips to show for their efforts. Finally, independent Secret Records decided to take a chance on the group and after cutting the four-track Ruff Cuts EP, the group flew to England with new drummer A.J. Pero (ex-Cities) to record their first full-length album, Under the Blade, under the direction of UFO bassist Pete Way as producer. And despite obtaining only a mediocre sound from the inexperienced Way, the album became a surprise underground success, generating enough buzz to attract Atlantic Records, which came calling with a major distribution contract — the final ingredient for Twisted Sister’s assault on the charts over the next two years.
You Can’t Stop Rock ‘N’ Roll 1983’s seminal You Can’t Stop Rock ‘n’ Roll laid the groundwork for things to come with its more polished production values and more consistent material, yielding only one chart-flirting single in the title track (for which the band filmed their first, incredibly cheesy, but rather amusing video) but garnering serious cred with the metal crowd. Later that year, L.A.’s Quiet Riot topped the charts with their smash hit Metal Health (the first heavy metal album to do so), and Twisted Sister took advantage of this sympathetic musical climate to unleash their own definitive statement, Stay Hungry. Digging deep into his pop and glam roots, Snider infused added commercial appeal to the band’s hard rock onslaught, and with such monster hits as “We’re Not Gonna Take It” and “I Wanna Rock” leading the way to radio and MTV saturation with their hilariously tongue-in-cheek videos, the album soon exceeded multi-platinum sales. The extensive touring that followed guaranteed the album’s stay near the top of the charts for many months to come and, against all odds, helped make the “sick mo-fos” from Long Island into household names in America.
Come Out and Play Of course the backlash, when it came, was equally sudden and incredibly vicious. Overexposed to the breaking point after converting every angry teenager in America and most of their parents, Twisted Sister had lost the edge of their dangerous image, not to mention the respect of their loyal but terribly possessive core metal fan base. To complicate matters, 1985’s Come Out and Play album was very uneven; attempting to cater to both the band’s hardcore elements and their newfound pop constituency and introducing an excessively glammed-up image makeover to boot, it quickly slid off the charts. Not even Atlantic Records’ timely reissue of Under the Blade (with an added bonus track, “I’ll Never Grow Up Now!”) could staunch the bleeding, and a dumbfounded Twisted Sister found themselves quickly transformed from media darlings to favorite whipping boys.
Love Is for Suckers For his part, Snider remained in the camera eye, however, appearing before a Senate committee later that year (along with such rock & roll luminaries as Frank Zappa and Bob Denver) to testify against the Parents Music Resource Center’s demands for music censorship legislation. Sadly, it would prove to be Twisted Sister’s highest profile appearance all year, as their concerts were frequently marred either by low attendance or crowd animosity. Adding insult to injury, drummer Pero had rendered his resignation at tour’s end, opening the door to a very troubled 1986 for Twisted Sister, as rumors ran rampant about an irreparable rift between Snider and French over the band’s direction. They eventually re-emerged with 1987’s Love Is for Suckers, featuring new drummer Joey “Seven” Franco, but not even the services of flavor-of-the-month pop-metal producer Beau Hill could save the album from disappointing sales, and despite still getting by on the basis of their reliably fierce concert performances, Twisted Sister wound up disintegrating shortly thereafter.
Big Hits and Nasty Cuts: The Best of Twisted Sister Except for Dee Snider, who gamely soldiered on with an ultimately unsuccessful new hard rock band named Desperado (later renamed Widowmaker and featuring guitarist Bernie Tormé and drummer Franco), the members of Twisted Sister pretty much vanished from sight over the next few years. Grunge came and went, and posthumous releases like 1992’s Big Hits and Nasty Cuts and 1994’s Live at Hammersmith provided the only memory of Twisted Sister’s meteoric flight across the hard rock firmament. As the ’90s wore on, Snider’s voice was heard promoting the New York State Lotto as often as shouting “I wanna rock!” and by decade’s end he’d transitioned into a widely syndicated radio DJ and even sometime movie producer. He wrote and starred in the 1998 horror flick Strangeland, for which he also managed to reunite Twisted Sister’s final lineup to record a brand new song entitled “Heroes Are Hard to Find.”
Still Hungry His reconciliation with TS founder Jay Jay French (who’d kept busy managing bands, most notably nu-metallers Sevendust) eventually paved the way to a never-dreamed-of, full-fledged reunion of the “classic” Stay Hungry lineup, which performed publicly for the first time in almost 15 years at a post-9/11 benefit concert for New York City. By then, Spitfire Records had reissued much of Twisted Sister’s original catalog, along with a pair of Club Daze collections documenting the band’s “lost” ’70s recordings, and, in 2004, released a re-recorded Stay Hungry (retitled Still Hungry) to mark its 20th anniversary. All of this activity fostered further demand for a more permanent return to action — they even released a holiday album (Twisted Christmas) in 2006 — and Twisted Sister have since toured sporadically across the globe, even, as documented by 2005’s Live at Wacken DVD, performing to massive European festival audiences. In March 2015, the band announced that drummer A.J. Pero had passed away; he was 55 years old.

Oct 10th
chevelle_stencillogo_02_2Inspired by the lurching riffs of Helmet and the soft-loud vocal dynamics of Tool, Chicago-based trio Chevelle formed in 1995 with an aggressive, heavy sound. Comprising brothers Sam (drums), Pete (vocals, guitar), and Joe Loeffler (bass), the band began playing parties and outdoor events, which quickly led to bookings at Chicago clubs when youngest member Joe was just 14 years old. In 1999, Chevelle released their Steve Albini-produced debut album, Point #1, on Squint Entertainment. Three years later — and following tours with bands like Filter, Sevendust, Powerman 5000, and Machine Head — the band had inked a deal with Epic and issued Wonder What’s Next, released in August 2002. The album went platinum by the following summer, propelled in part by its second single, “Send the Pain Below,” which became a number one hit on modern rock and mainstream radio. Main stage dates with the annual Ozzfest tour followed that summer, and 2003 brought a concert album, Live from the Road.
Chevelle returned in the fall of 2004 with their third full-length effort, This Type of Thinking (Could Do Us In), and with it came another hit song, “Vitamin R (Leading Us Along).” Joe parted ways with his brothers in July 2005, and though he was replaced on bass a month later by Dean Bernardini, Chevelle remained a family affair, since Bernardini was the siblings’ brother-in-law. With the new member came a newfound energy and optimism that replaced the internal bickering of the past, and the guys carried that spirit into the recording of their next two albums, 2007’s Vena Sera and 2009’s Sci-Fi Crimes. The following year, the band celebrated its ten-year anniversary in the music business with a pair of live shows in Chicago, later released on the DVD Any Last Words.
In 2011, Chevelle announced that they were taking a break from touring to head into the studio, eventually releasing their sixth album, Hats Off to the Bull, in the winter of that year. Following the touring cycle for that album, they went back into the studio with Joe Barresi (Kyuss, Tool, Queens of the Stone Age), utilizing the producer’s vast collection of percussion instruments to subtly reinvent their sound once again. Arriving in early 2014, their next release was the groovy, aggressive single “Take Out the Gunman,” from their seventh album, La Gárgola, which followed in April of that year. Two years later, the band released its eighth album, North Corridor. The heavier direction — once again produced by Joe Barresi — was showcased by lead single “Joyride (Omens).”

Oct 3rd.
disturbednewlogo2015Heavy metal band Disturbed came together through the matching of a band with a singer. Longtime friends Dan Donegan (guitar), Mike Wengren (drums), and Fuzz (bass) played together in Chicago for some time before hooking up with singer David Draiman around 1997. Draiman had grown up in a religious family against which he rebelled, being expelled from five boarding schools in his adolescence. His anger found an outlet in the thrashing sound of Disturbed, and the band built up a following on Chicago’s South Side before a demo tape led to their signing to Giant Records, which released their debut album, The Sickness, in March 2000. The band gained more fans and exposure playing the main stage of the 2001 Ozzfest, then broke away to do their own self-described “victory lap” around the U.S. that fall. Also during this period, they managed to record a vicious new version of wrestler Steve Austin’s theme song that was so good it managed to receive radio play, and they were one of the bands announced to work on a high-profile Faith No More tribute album.
BelieveDisturbed stepped into the studio after stepping off of the road and began work on a new disc that would reflect their growth as a band. Feeling experimental, the bandmembers worked with producer Johnny K and mixer Andy Wallace in order to create an album that could compare to other classic metal records they admired. Amplifying their fondness for groups like Judas Priest, Iron Maiden, Pantera, and Soundgarden, Believe was released in the fall of 2002 and was recognized as a heavier, more varied, and ultimately superior record to their debut, ultimately reaching the top of the Billboard 200. After completing a tour to support the album, Fuzz left the band and was replaced by former Union Underground member John Moyer. The tour document Music as a Weapon II appeared in 2004, followed by the ambitious studio full-length Ten Thousand Fists in September 2005 and Indestructible in 2008. In 2010, Disturbed released their fifth studio album, Asylum.
The Lost Children In July 2011, the bandmembers announced that they would be going on an indefinite hiatus. The Lost Children, a collection of rarities and B-sides, arrived in November of that year. During their time apart, Moyer joined Adrenaline Mob and formed Art of Anarchy (with Scott Weiland as lead singer), Draiman started an industrial metal band called Device, and Donegan and Wengren formed Fight or Flight. After a dinner meeting between Draiman and Donegan in early 2014, the band began hatching plans to return. The duo wrote songs together in the same room for the first time since 2001 and recording sessions were soon booked. Working with producer Kevin Churko in Las Vegas, their next album harked back to a classic heavy metal sound. Immortalized was released in August 2015 and became their fifth consecutive studio album to top the Billboard 200.