Considering all that has been going on in our world and the way I/we have been isolated, the lyrics kept haunting me night after night, and I was compelled to re-record the song acoustically. Of the track, Matijevic avowed, “I wrote this song back in 2006 and recorded a full band version which was released on my last SH album. Originally available on their most recent studio album, 2017’s Through Worlds Of Stardust, this newly-recorded, stripped-down, solo acoustic version of the song and corresponding video exemplify the potency of lead singer Miljenko Matijevic’s impressive vocals and impassioned delivery and message. The song will be released digitally worldwide on July 3 rd. I have no idea whether he can still hit those terrifying notes at the end of this song Á¢€” I searched in vain for recent live performances on YouTube Á¢€” but hey, either way, he’ll always have the summer of 1991, and he’ll always be the guy who murdered the power ballad.The video for hard rockers SteelHeart’s timely, powerful, anthemic ballad My Freedom has just been released and is available now at. “Steelheart” ended that night, after a very impressive career.īut wait! Don’t cry for Matijevic, tender readers! Like any other singer with half a hit under his belt, he ended up reforming “the band” a few years later, and is presumably still big in Monaco and/or Japan. Matijevic miraculously found the strength to walk off the stage and he was immediately taken to a hospital. The 1000 pound truss hit Matijevic on the back of the head, driving one of the greatest vocalists of all time, face first into the stage, breaking his nose, cheekbone, jaw and twisting his spine. Matijevic tried to dodge the massive rig, but without success. While performing, “Dancing in the Fire,” a hit from the “Tangled in Reins” album, Matijevic decided to climb a lighting truss, which was inproperly secured. The show took place on Halloween night, a night which will forever be remembered by Steelheart fans. Steelheart’s lead singer, Mike Matijevic, would pay dearly for his crimes against rock music, as outlined in the below paragraph, which I swear to God I cut and pasted directly from the band’s Wikipedia entry: You can almost picture a young Scott Stapp wearing out his VHS dub: (The answer, in case you really wanted to know, is “To the store to buy a copy of Nevermind.”) Where was anybody supposed to go from here? Technically, there’s really nothing wrong with it, as far as power ballads go, but in the context of the ten years of rock & roll that came before it, it’s nothing more than a craftily engineered tracing of a ditto of a mimeograph of a Xerox. “I’ll Never Let You Go (Angel Eyes)” is Step Four in a nutshell. Whatever anybody loved about the new genre is lost to endless, crass repitition A few more geniuses perfect said reinventionĤ. Look, every genre, sub-genre, and sub-sub-genre has a lifespan, and they all follow pretty much the same arc:Ģ. (Firehouse’s noxious “Love of a Lifetime,” for instance. (After Steelheart), this type of song was increasingly regarded as a novelty. There were bands who had hits with power ballads after Steelheart killed the genre to death with “I’ll Never Let You Go (Angel Eyes)” (download), but not many, and in the months A.S. Here it is: The song that killed the power ballad.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |