Ray West of Spread Eagle: 10 Albums That Changed My Life

Feature Photo courtesy of Ray West

As the vocalist of Spread Eagle, aka New York Cities street metal-playing sons, Ray West provided stone-cold killer vocals across songs like “Switchblade Serenade,” “Broken City,” “Revolution Maker,” and more recently, “Speed of Sound.” Albums like Spread Eagle (1990), Open to the Public (1993), and Subway to the Stars (2019) are hard rock staples and should be a part of any heavy rock collection. But that’s not all, as West has now breathed life back into his All Pointz West tracks, adding new touches under the moniker of SupaFly, who has a fierce single out in “I’m Your Boogie Man.”

Few can balance screams with emotive balladry like West, which checks out, seeing as his influences seem to run the gamut. In conversation with West to run through the ten albums that changed his life, we found that he agrees: “I found choosing ten albums that changed my life to be quite a difficult challenge,” he tells ClassicRockHistory.com. “But with the amount of time I’ve spent on this planet, I find my musical taste is always evolving.”

“So here it is,” he says. “I like so many voices from all different generations of music and a ton of different styles. Some of these will be obvious if you know me or my work, but others might not be. Regardless, I hope you dig ’em all and learn something.”

Alive! – Kiss (1975)

I was first introduced to Kiss on a show called The Midnight Special. They played “Deuce,” I reacted as if aliens had landed and were speaking to me through the airwaves, saying, “Ray, you must join our Kiss Army and dress up like your favorite Kiss member now! And then, do all the crazy stage moves for whoever will watch.” But for me, my captive audience was my mother and my grandmother [laughs].

I went insane with rock ‘n’ roll exuberance for Kiss, so I did chores and used the money to buy this live album. Alive! made you feel like you were witness to something huge, and you felt transported to another realm, aka “The Live Rock Show.” I still remember the opening lines, “You want the best, you got the best, the hottest band in the land…” as it made me dream of being at Cobo Hall.

From “Deuce” to “Rock and Roll All Night,” Alive! is packed with songs that hit me at an impressionable time in my life. All those melodic, singable Ace Frehley solos, Peter Criss’s almost Keith Moon-like drum fills, not to mention his raspy vocals on “Black Diamond” are just a few reasons why this album affected my youth. But the biggest thing was Alive! made me feel like I was a part of something bigger than myself. I could wax nostalgic all day, but the reality was Alive! was my first double album, meaning I finally had something to clean and roll my weed on [laughs].

Rocks – Aerosmith (1976)

I spent many days and nights living in between my headphones, absorbing Rocks into my DNA. This is the album that made me take notice of how vicious Steve Tyler’s vocal delivery was and why he is one of the greatest voices ever to have been captured to tape. Rocks opens with a song called “Back in the Saddle,” and when I first heard it, the adrenaline rush made me bounce all over my room and break shit [laughs].

Steven Tyler’s blend of attitude, raspy-toned vocals, coolest of screams, percussiveness, and wordplay is perfect. It made me wish I could sing just like him. His signature screams in the outro stay with you after the song ends. And then, there’s a song called “Nobody’s Fault,” which, in my opinion, and I’ve listened to all kinds of heavy music, is one of the heaviest songs ever written. Again, Steven Tyler’s vocals are heavy and intense, and the lead, rhythm guitars, bass, and drum performances are, too.

Steven Tyler’s phrasing is scary amazing, and Joe “Fucking” Perry is “Joe Cool” on each and every note. Them aside, the rest of the band grooves to infinity and beyond. And then there’s “Last Child,” which has a cool, bluesy barnyard stomp vibe, which is fucking genius. This song is pure swagger. I’d be remiss if I didn’t mention “Home Tonight,” the last song on Rocks, as it always leaves me emotionally spent.

During “Home Tonight’s” intro, Steven Tyler does this really cool soft thing, and then he kicks the vocals into high gear. It feels like someone just slapped you in the face with pure sound. Overall, Rocks is wickedly vicious and will always be my favorite of Aerosmith’s records.

We Sold Our Soul for Rock’ n’ Roll – Black Sabbath (1976)

As a growing and impressionable youth, I had yet to figure out what it was to be “cool” like the older kids in my hood in that I’d yet to own a Black Sabbath record [laughs]. So, when I caught up with them and got one, We Sold Our Soul for Rock ‘n’ Roll started things off for me. It was a greatest hits collection, and that’s because I thought, “Why take just a small bite when I can eat the whole fucking thing?”

This collection of songs grabbed my soul, and I proceeded to give it a dark hug. I would spend hours upon hours listening, singing along, and air guitaring. I mean… come on… when you hear the intro to “Black Sabbath,” and you hear Ozzy Osbourne lay into the opening lyrics of “What is this that stands before me?” and then end the phrase pleading, “Oh, no, no, please, God, help me” your mind goes numb.

It was akin to an emotional flood washing over me, and then, I air guitared until I passed out [laughs]. You’ve got emotionally charged, highly visual lyrics, beautifully dark riffs, and Ozzy’s unique vocal tone, all accented by nibbled-fingered, singable guitar solos. The rhythm section helped create a sonic movement, with me marching along. Every song is beautifully crafted, and this was the perfect album for someone like me, who couldn’t draw enough upside-down crosses on my notebooks.

Cheap Trick – Cheap Trick (1977)

As someone who identifies as a singer/vocalist, for me, Robin Zander is one of the greatest voices ever recorded. And on Cheap Trick’s self-titled debut, his voice is an example of intense perfection and the point at which I became interested. There’s a raw quality about this album that I love compared to later albums like Dream Police and others that are more polished. I love that this record is raw, sexy, and cool as fuck.

Rick Nielsen isn’t Eddie Van Halen, but he didn’t need to be. He’s full of youthful exuberance and was an innovator with quirky sensibility. He recorded great solos and wrote awesome songs that were so special and very unique. This album showed me that rock ‘n’ roll doesn’t have to be too serious or dark through its comical playfulness, which I still love.

From the first track, “Hot Love,” to the last, “Oh, Candy,” all the songs cut you to the core. I’m partial to “He’s a Whore,’ as Robin Zander’s vocal delivery is extremely intense to the point of being crazed—especially during the chorus. I mean… you can’t sing a song like that in the studio and not want to break shit [laughs].

In the best ways possible, that song has a very raw rock-meets-punk vibe, and it’s cool as fuck. And the youthful melody in the verses is straight-up infectious, and you can’t help but start singing along right away. If you can’t tell, I am very fond of Robin Zander’s voice, as it’s one of the grandest voices ever recorded in rock history. This album showed me just how across-the-board special he and Cheap Trick were.

Van Halen – Van Halen (1978)

This is the band and the album that spurred me to dedicate my life to being in a rock band. The album reeks of a pure live-in-the-studio experience, and it features a sound that’s entirely about innovation and easily holds people’s attention. The album certainly held my attention 24/7 for the longest time, and I simply can’t say enough about how impactful it was on me.

The first time I heard “Runnin’ with the Devil,” Eddie Van Halen’s riff hit me so hard that I couldn’t think of anything other than the fucking insane sound I was hearing. The guitar tone and style are nothing short of epic and innovative. The fact that Eddie was a virtuoso goes without question. His playing had so much personality and was a perfect vehicle for David Lee Roth’s off-the-hook vibe.

I love every song on this album, but “Runnin’ with the Devil’s” lyrics, like “I love my life like there’s no tomorrow…” spoke to me, made me want to pack my bags, leave home, and hit the road—even though I came from a good home [laughs]. David Lee Roth’s style and delivery were perfect, and he merged Barnum & Bailey with Frank Sinatra, creating his rock ‘n’ roll blend. He was a crooner, a banshee screamer, a circus freak, and an athlete all rolled into one.

And then, to top it off, you had Michael Anthony’s unique harmonies that were in lockstep with Eddie, adding icing to this great big fucking cake. Van Halen was three-part harmonies merged with big rock ‘n’ roll balls; that blend was infectious to me. The first Van Halen album’s innovative guitar sound, Roth’s devel may care vocals, and the harmonies changed the game. It set the bar for every band that came after. This was Van Halen at their rawest, and, to me, it’s a perfect album.

Off the Wall – Michael Jackson (1978)

I grew up listening to The Jackson 5, but when Michael Jackson put his own album together with the great Quincy Jones, holy shit, none of that other stuff mattered. I didn’t care if you were black, white, red, yellow, green, or had purple polka dots; if this album didn’t move and groove you, then you simply weren’t a good human [laughs].

Michael always sang with the highest energy and was filled with rhythmic and soulful intensity that has never been duplicated. And on this album, he was able to say to the world, “I’m on my own, and I’m gonna make you feel what I’m feeling.” A song like “Don’t Stop ‘Til You Get Enough” is a full-on epic masterpiece. The percussion work alone is otherworldly, showing how creative Michael was.

The intro makes me wanna groove wherever I stand, which makes standing in line at the grocery store with headphones on a bit tricky for me [laughs]. And then there’s “Workin’ Day and Night,” a song that even the most stubborn blues and rock enthusiast can’t help but feel the funk of. That song and “Rock with You” are straight-up smooth. Enough said!

To this day, Off the Wall remains the blueprint of integrating cool and percussive vocals with rich harmonies spilled all over these ear candy cuts, with bits of rock ‘n’ roll sprinkled in. Remember: Off the Wall is a soul and rock album, so that should make sense to you as you read it back. You had Michael, Quincy, a host of great musicians, brilliant songwriting, and out-of-this-world production. This album remains a colossal masterpiece.

It Takes a Nation of Millions to Hold Us Back – Public Enemy (1988)

This album is an exercise in beats per minute, but definitely done so at the highest level. I remember sitting in Green Street Studios with my old manager down in SoHo, where Public Enemy was recording this album, and that’s when I got turned onto it. The rhythm of the track “She Watch Channel Zero?!” was amazing. It used a sample from Slayer’s “Angel of Death” riff, added a funky drumbeat, and boom!

I experienced the birth of hardcore New York City hip-hop merged with this sort of heavy metal and groovy hybrid. Public Enemy was the first to do that and did it so well. Chuck D is a master blaster provocateur, and Flavor Flav adds the perfect amount of color throughout this record. He’s such an original, and nobody says “Yeeeeaah boooyeeee” like him! Every song here is dope as fuck, and so clever at the same time.

War – U2 (1983)

To begin, Steve Lillywhite produced this, so you knew it was gonna be great. When I was in one of my baby bands and just coming up, my guitarist was a real new wave freak. One day, he said, “Listen to this band, U2. They’re going to be the biggest band in the world.” Well, I heard this not long after, and my mind was blown.

In my early days, my musical taste was more on the aggressive side of rock, but U2 changed all of that for me. I had listened to The Cars and many other bands, but I was always looking for inspiration and paths toward reinvention. The soundscapes of War’s songs, for me, were otherworldly. Bono’s lyrics, melodic feel, and brilliant tone made me rethink what being a hard rock singer meant. To that point, I thought you had to scream to get my point across, but all that changed here.

Bono sings with great intention and a gorgeous tone, and his lyrics dig down to the core of the human spirit. With that, he made me rethink songwriting. The rhythm section of Larry Mullen Jr. and Adam Clayton is one of human history’s greatest pairings. When you listen to the drums on “New Year’s Day,” you can’t imagine it being played any other way. It’s the perfect beat for the perfect part. This kind of music and songwriting only comes from pure, natural instinct, and during this time, they didn’t even consider themselves gifted or technical musicians.

On War, they tapped into something new, heavy, and large. An album like this is meant to be broadcast in an outdoor arena because it fills up so much space. I’ve seen U2 live so many times, and every song on this record has so much feeling and energy. War made me obsess over U2, and each album after it has something special. U2 is a beautiful collective, and they changed my life for the better. I could say more and offer a million words, but even that wouldn’t be enough.

White Pony – Deftones (2000)

I wanted to put a modern band into the mix here, so here’s White Pony by Deftones. I say “modern” as I hate the term “nu-metal.” I mean… fuck, man, good rock music is good rock music, right? I find Deftones to be an important and extremely innovative band. Say what you will, but they’re one of those bands that other new bands attempt to imitate but fail every time they try.

A tie between Love Deluxe (1992) and Lovers Rock (2000) by Sade

I had a hard time deciding between Sade’s Love Deluxe and Lovers Rock. I couldn’t choose one, so I’ve put them both here, neck and neck. I love Sade’s world music vibe on these two records; it’s larger-than-life, universal, and the sexiest music ever recorded. There’s so much cool swagger and amazing atmosphere on these two albums that just takes my breath away, relaxes me, and just feels so damn good.

Sade’s voice is beautifully rich and smooth on these records. It’s almost taboo and makes me want to cherish the day, creating this kind of intimacy I’ve never heard on any other records by any other artist. On Love Deluxe, there’s a song called “No Ordinary Love,” and it’s a masterpiece.

It’s emotionally resonant, restrained, and loaded with musical tension. The guitars on this track are rhythmic and heavy, creating a pulse that puts me in a trance. I dig the harmony and layering, too. This stuff changed what I knew “cool” to be. Sade is the “coolest.”

The Game – Queen (1980)

This is a perfect album. It caught Queen as they were reinventing themselves to fit modern ’80s culture, and it’s so sweet. For me, “Dragon Attack” is the song that made me spin this record over and over again. The song’s cool, rhythmic nature, the killer vocal delivery, and the way Brian May attacks the solo… I mean… holy shit! It’s fucking awesome.

Again, on “Dragon Attack,” it almost seems like Freddie Mercury is spitting out some lyrics in a sort of stream of consciousness type fashion, but maybe that’s just me overthinking [laughs]. In fact, I’m sure of that! But I have never met anyone who doesn’t like this song, and if I ever do, I will obviously have to turn and wall away from them immediately, as I can’t know that type of negativity [laughs].

And then there’s “Play the Game,” which has a beautiful, dramatic vocal flair that Freddie was famous for and only he could execute. There are so many gems on this album, with others being “Another One Bites the Dust” and “Don’t Try Suicide.” The Game is a great work of art from start to finish.

I was always a fan of Queen, but this one has been at another level since I first heard it as a kid. It made me groove at a higher level and changed my life because it made me want to make percussive, rhythmic, and harmonic music. I continue to work on those things as I transition through my life as an artist.