Monthly Archives: June 2014

Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Luv Power From The Sacred Groove

By 1993, everything changed. The Record Labels threw their lots in with the Grunge movement, abandoning the majority of the hard rock and heavy metal bands they had on their roster. However, the hard rock and metal releases still kept on coming. The only issue was that they became harder to get in Australia.

My initial top ten at that time consisted off the following albums;

1. Vince Neil – Exposed
2. Coverdale Page – Coverdale Page
3. Blue Murder – Nothin’ But Trouble
4. George Lynch – Sacred Groove
5. Savatage – Edge Of Thorns
6. Aerosmith – Get A Grip
7. Meat Loaf – Bat Out Of Hell II: Back Into Hell
8. Candlebox – Candlebox
9. Scorpions – Face the Heat
10. Poison – Native Tongue

In five years time, the list would retroactively change to include Tool – Undertow, Smashing Pumpkins – Siamese Dream, Harem Scarem – Mood Swings, Death – Individual Thought Patterns and Rush – Counterparts.

But a real favourite of mine at that time was “Sacred Groove” from George Lynch. It is god damn solid album, combining guitar instrumentals with hard rock songs that featured some of the best singers.

The best instrumental track by far on the album is “Tierra Del Fuego”. A six-minute tour de force in Flamenco Hard Rock music.

Then you have the D-tuned instrumental, “Luv Power from the Mama Head”, which has all the trademarks riffs and licks that George Lynch is known for. From the outset it is prototypical Lynch and man I was hooked in by that groove.

Finally, there is a nice little Western sounding number in “I Will Remember” that Lynch also used when he returned to Dokken.

The best vocal track on the album is “We Don’t Own The World”, that has vocals by Matthew and Gunnar Nelson. The song is actually written by George Lynch and Don Dokken.

The intro guitar figure reminds me a little bit of “Street Of Dreams” from Rainbow, a little bit of “Woman From Tokyo” from Deep Purple and slightly reminiscent to “Nothing Can Keep Me From You” from Eric Johnson. I love that in a song.

Don Dokken was supposed to sing on the track, however he failed to show up at the studio. So Lynch got the Nelson twins who were in the studio next door recording the ill-fated “Imaginator” album, which ending up being rejected by Geffen and John Kalodner.

Prior to hearing this track, I really had no idea who the Nelson brothers where, however afterwards I sought them out and I came across their excellent “After The Rain” album that also features the great lead guitar talents of a certain Australian called Brett Garsed.

“Flesh And Blood” based on the album sequencing is actually the first vocal song. It is written by George Lynch and Jeff Pilson and this time it has the excellent Ray Gillen on vocals. This is a rare gem as Ray was to pass away that same year. That awesome groove sets it up and Lynch owns that solo. How good is that whammy bar trill lick that kicks it off? Then Ray Gillen just takes over on the outro.

Glenn Hughes involvement with George Lynch goes back to the Lynch Mob days, when he recorded scratch vocals on the second album, so that new singer Robert Mason could follow. On Lynch’s first proper solo outing, he sings on two songs, “Not Necessary Evil” and “Cry Of The Brave”. Both of the songs have music written by Lynch and lyrics by Hughes. This period of Hughes’s career is the one I like the most. He was everywhere. Solo project, George Lynch, John Norum, blues project and many more.

It’s a shame that we never saw further collaborations between Lynch and Nelson or Lynch N Gillen album or Lynch N Hughes. album.

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Copyright, Music, My Stories, Stupidity, Treating Fans Like Shit, Unsung Heroes

The “Respect Act” Does Nothing For The Artists But Everything For The RIAA and SoundExchange

I have been doing some reading on the “Respect Act” that is being pushed by SoundExchange the performance rights organization in the US that collects royalties. So the 1976 Copyright Act, made sound recordings from 1972 and after covered leaving all pre-1972 sound recordings in legal no mans land. Proponents for these recordings have suggested that one way forward is to retroactively say that all pre-1972 sound recordings are under federal copyright law.

BUT….

The RIAA has battled tooth and nail against this. Here are the reasons why;

Did you know that the copyright under state laws lasts so much longer. So in turn the record labels get to keep the copyright for a longer period. So the Record Labels and the RIAA like this.

Did you know that the copyright under state laws does not have any termination rights. The Record labels and the RIAA like this. In the 1976 Copyright Act, the original creator is allowed to take back their copyrights for all recordings released in 1978 and after. The Record Labels and the RIAA don’t like this and this is one of the main reasons why the RIAA has battled hard to not put PRE-1972 Recordings under FEDERAL COPYRIGHT.

Did you know that the copyright under state laws does not have a public performance right. That means that there are no necessary licenses for the streaming of such works. And it has been accepted in this way for over 40 years. And the “RESPECT Act” would only extend the performance rights part of the state laws to pre-1972 sound recordings, while leaving everything else about those works uncovered by federal copyright law. So the RIAA with SoundExchange is putting only the parts of copyright law that it likes on pre-1972 sound recordings, while keeping the remainder under state laws.

Yep it sure sounds like some RESPECT for the artists. This is from the press release;

“Project72 kicks off with an open letter, signed by more than 70 recording artists, calling on digital radio to treat all sound recordings equally and to “pay for all the music they play.”

I like how they emphasise the “pay for all the music they play.” So who will actually get paid? History has dictated that it will not be the artist.

I remember reading a statement from Roger McGuinn that he made before the U.S. Senate Judiciary Committee on July 11, 2000. And yes he is a supporter of “Project 72”.

Hello, my name is Roger McGuinn. My experience in the music business began in 1960 with my recording of “Tonight In Person” on RCA Records. I played guitar and banjo for the folk group the “Limeliters.” I subsequently recorded two albums with the folk group the “Chad Mitchell Trio.” I toured and recorded with Bobby Darin and was the musical director of Judy Collins’ third album. In each of those situations I was not a royalty artist, but a musician for hire.

My first position as a royalty artist came in 1964 when I signed a recording contract with Columbia Records as the leader of the folk-rock band the “Byrds.” During my tenure with the Byrds I recorded over fifteen albums. In most cases a modest advance against royalties was all the money I received for my participation in these recording projects.

In 1973 my work with the Byrds ended. I embarked on a solo recording career on Columbia Records, and recorded five albums. The only money I’ve received for these albums was the modest advance paid prior to each recording.

In 1977 I recorded three albums for Capitol Records in the group “McGuinn, Clark, and Hillman.” Even though the song “Don’t You Write Her Off” was a top 40 hit, the only money I received from Capitol Records was in the form of a modest advance.

In 1989 I recorded a solo CD, “Back from Rio”, for Arista Records. This CD sold approximately 500,000 copies worldwide, and aside from a modest advance, I have received no royalties from that project.

The same is true of my 1996 recording of “Live From Mars” for Hollywood Records. In all cases the publicity generated by having recordings available and promoted on radio created an audience for my live performances. My performing work is how I make my living. Even though I’ve recorded over twenty-five records, I cannot support my family on record royalties alone.

In a Ultimate Classic Rock interview, Roger McGuinn mentioned the following;

“In my case, I recorded ‘So You Want to Be a Rock ‘n’ Roll Star’ with Chris Hillman and the Byrds. Chris and I wrote it in ’67 and it was on our ‘Younger Than Yesterday’ album that came out that year. Then Patti Smith covered it in the ‘70s and Tom Petty covered it in the mid-‘80s and they both get paid royalties for performance but the Byrds don’t. It doesn’t seem fair.”

The RESPECT Act would still not change the part about getting paid royalties from the cover versions that people made of the song and the unfortunate part is that most of the royalties paid for digital streaming would go to the record labels who only paid him a small advance.

Did you also know that George Holding, the American Representative that is bringing in the legislation used to work for a law firm called Kilpatrick Townsend & Stockton that is well-known for its intellectual property practice. Sure sounds like a lot of RESPECT for the artists.

Did you also that John Conyer, the American Representative that is also supporting the legislation was involved in a copyright controversy when he opposed a bill that would make federally funded research freely available to the public. Conyers was influenced by publishing houses who contributed significant money to him.

Did you also know that Mark Farner, of Grand Funk Railroad would still not get a cent from his pre-1972 songs because after a dispute with the band’s manager over his $350 a week employee payments, he had to give up all the rights to the music.

I am all for artists getting paid. BUT in this case they are being used. They will not see a cent of these monies.

Another great article on the subject.

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A to Z of Making It, Classic Songs to Be Discovered, Music, My Stories, Unsung Heroes

Daybreak Embrace And The Music Business

Let me tell you a truth.

Once upon a time, back in the Record Label controlled music business no one would have heard any music from Daybreak Embrace is outside of their South Florida scene. Back then, bands would release independent EP’s and singles in the hope to generate a big enough buzz at their live shows that they would get signed. Then once they got signed there was no guarantee that the band would still get a chance to release music on that label.

So a band like Daybreak Embrace could be at it for a long time before the world could get a chance to hear their music. However that is not the case in 2014. And I for one, am glad about that.

I really enjoyed Daybreak Embrace’s 2010 EP “Tomorrow Awaits”. From that EP “Thirty–Six” is a dead set classic and “Sanctuary” is not that far behind. This is where people should start.

So I was curious as to what new music they had released since then.

I go to Spotify, type in their name and I see that they have new music. The “Mercury” EP was released in 2013. Damn, how did I miss that. The Modern Rock scene in the U.S is a very crowded marketplace. You have bands like Shinedown, Three Days Grace, Three Doors Down, Alter Bridge, Lifehouse and many more. So if a band is to rise above the saturated marketplace, then they need to be great.

Producer and songwriter, “Paul Trust” has played a big part in recording the band at a high level. Sometimes all bands need these kind of experienced people. Daybreak Embrace by the way is James Wamsley (vocals), Giann Rubio (drums), Dan Cartagena (lead guitar), Keneth Figueroa (guitar) and Dani Costa (bass).

Yep, I know they are not rock star names like Slash, Nikki Sixx, Jay Jay French or Ace Frehley. But that doesn’t mean they don’t rock.

With all the beautiful things that the Internet has brought us, one thing hasn’t changed.

It is still difficult for a band to get attention and the odds of success are still very low.

However good bands always came from left field and from a place completely unexpected. They are around for years before they are fully embraced. Like all technological startups there are early adopters before critical mass.

For any band, first comes the music and then comes the fan base.

For managers and record labels, they don’t care what the music sounds like. They only care that it has an audience.

And that is the hardest part for any band. Proving that it has an audience so that they can gain entrance into a bigger league. And that doesn’t happen overnight or within a year or within five years. Remember that every overnight sensation is years in the making.

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Kamelot

I don’t mind my fix of metal that is now known as a whole separate genre called power metal or symphonic metal. Back in the Eighties it was just metal. Pure and simple. I think that the press at that time just needed something to define certain styles of metal. So they started to come up with different names like Pop Metal, Thrash Metal, Hard Rock, Glam Metal, Death Metal, Power Metal and so on.

In relation to Power Metal here is my own 10 second wrap up of a whole genre beginning from the Seventies.

It started with Deep Purple, Rainbow and Iron Maiden. Then Yngwie Malmsteen and Helloween came along. They both increased the tempos and Yngwie Malmsteen exaggerated the classical elements which led to the current Power Metal movement which is just a higher tempo version of the beast that Yngwie Malmsteen and Helloween inspired.

The thing with power metal at the moment is that there are so many acts out on the market that are just not good enough to be there. They think by playing at break neck speeds it makes them good enough. They think by having a hot female opera singer in the band makes them good enough. Basically if the song is shit, then the whole band is shit. Like in Sport, you are only as strong as your weakest link.

Kamelot is not one of them. Because Kamelot is not all about higher tempos. There is more variation in their music.

Symphonic – CHECK
Progressive – CHECK
Groove – CHECK
Classic NWOBHM – Check
Hard Rock – CHECK
Classical – CHECK

Credit Thomas Youngblood, one of the bands original founders. In 1991 he along with drummer Richard Warner founded a band steeped in technical guitar playing. He stayed with that style during and after the Grunge wave. Eventually in 1995, Kamelot released their first album on the German Record Label “Noise”.

Yep, it’s that same label that specialised in melodic speed metal and they also had Helloween on its roster. It’s also the same label that took Helloween to court and won a seven digit payout in their favour when Helloween broke ranks and went to the majors direct.

So I’m listening to “Silverthorn”, Kamelot’s tenth studio album and their third concept story.

It’s the song “Veritas” that connected with me. And the connection comes in the form of a band called Savatage, who I am a big fan off, especially the era of Criss Oliva. Because it sounds like something that could have been recorded for a Savatage album. And the song is not even well-known. YouTube has a few fan audio videos with numbers less than a thousand. Spotify doesn’t even rate it in the Top 10.

The next song that appeals to me is “My Confession” and its the Within Temptation and In Flames connection that hits home. On YouTube, the video to “My Confession” is at 1,176,127 views. The other single from the album, “Sacrimony (Angel of Afterlife)” is at 1,141,127 views. Actually, the bands YouTube numbers are way better than their Spotify numbers. If I was the band’s manager I would be taking note of this. The fans like the clips and the visuals that go with it.

I can’t say that I like everything that Kamelot has put out, however they have done enough on each album to keep me interested to come back and invest my time to hear each new album. And that is what matters today.

Are people listening to your music on a daily basis?

That is more important than how many first week sales are achieved.

One final note, when the cover by Stefan Heilemann reminds me of a cover that Gustavo Savez did for the last band I was in. I just found it bizarre that the styles are so similar.

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A to Z of Making It, Classic Songs to Be Discovered, Copyright, Derivative Works, Influenced, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit, Unsung Heroes

Invasion Of The Swedes – The First To Embrace Streaming and Guess What… Their Scene Is Flourishing

What do all of these bands have in common?

Evergrey, Corroded, Yngwie Malmsteen, Crashdiet, Avatar, In Flames, Europe, Soilwork, Jeerk, John Norum, Angeline, Baby Jane, Arch Enemy, April Divine, Cervello, The Night Flight Orchestra, Pretty Maids, Wig Wam, Fatal Smile, H.E.A.T, Hardcore Superstar, Scar Symmetry, M.ill.ion, Machinae Supremacy, Meldrum, Meshuggah, Overload, The Poodles, Shotgun Messiah, Sister Sin, Coldspell, Kee Marcello, W.E.T, Work Of Art, Audiovision, Dream Evil, At The Gates, Angelica, HammerFall, Tad Morose, Hollow, Pain Of Salvation, Opeth, Sonic Syndicate, Dead By April, April Divine, Bonafide, Crazy Lixx, Diamond Dogs, Plan Three, Treat, Takida, Royal Republic, Renegade Five, Vains Of Jenna, Amon Amarth, Bathory, Candlemass, Karmakanic, Degreed, Diamond Dawn, Eclipse, Gemini Five and House Of Shakira.

They are all from Sweden. And it was “Tearing Down The Walls” the fourth album from the band H.E.A.T that got me thinking about this invasion.

And the thing is they have always been producing so many good bands and great music. But when the record labels controlled the market, we didn’t know of the bands unless they broke big like Europe, Roxette, Yngwie Malmsteen and so on. Now with the internet, we know a lot more.

“Address The Nation” from 2012 was the first piece of music I heard from H.E.A.T and then I went back and heard their 2008 self-titled debut and it’s 2010 follow-up “Freedom Rock”. I liked them all, so I had high hopes for the fourth album. Going in blind, “Point of No Return” didnt disappoint. After listening to Bonfire a few days ago, I can honestly say that H.E.A.T reminds me of a cross between Europe and Bonfire. And that is a good thing.

Which melodic hard rock band these days isn’t from Sweden. It’s a Viking musical invasion in so many ways.

Max Martin is rocking the Billboard Top 10 charts with his pop formula. Other artists are also breaking through. Avicii and Swedish House Mafia are the big EDM artists that have crossed over recently.

And a lot of the hard rock and metal bands that I mentioned earlier would probably not tour the Americas or Australia on a frequent basis however they have a career touring around Europe and Japan. And trust me, they are big markets to hit.

H.E.A.T for example have shows all over the continent. And you know their name is built on the backs of song number 14 on album number 1. Yep, “1000 Miles” almost has 3 million streams on Spotify.

And for a Swedish band, H.E.A.T’s new album is not even available to be streamed.

Which is a big contrast to say the band called “Takida”. Yep, they are another Swedish band and their song “You Learn” from their 2011 album “Burning Heart” has 21,853,323 streams on Spotify. WTF.

I can tell you that a lot of American major label acts do not have those stats. I just checked Five Finger Death Punch and they are nowhere near this figure. To prove that it is not a one-off fluke I checked out some of their newer material from 2014 and the song “One Lie” is sitting at 900,000 plus streams. I went deeper and the song “Curly Sue” from their 2007 album is sitting at 7,677,597 streams. Bands would kill to have these stats and I bet a lot of people reading this would be saying, who the fuck is Takida?

The same could be said for the band “Mustasch”. Their song “Double Nature” from 2007 has 8,627,129 streams. Yep they are another rock band from Sweden. If you want to compare streams, Dream Theater’s “On The Backs Of Angels” has 1,419,649 streams.

Then what about the band called Sabaton? Their song “Ghost Division” has 7,817,664 streams. Or the Swedish band “Dream Evil” that features Gus G. Their song “The Chosen Ones” has 1,161,146 streams. Or the band “Dead By April” and their song “Mystery” that has 11,643,378 streams.

Isn’t it funny how the home country of Spotify also has one of the most vibrant rock and metal scenes in the world. But wait a second. I am sure I have heard the RIAA and their proponents scream that because music has been devalued, no one will create anymore.

Well it looks like someone forgot to tell the Swedes.

But, the RIAA and their proponents still screams piracy and the copyright industry still screams for stronger copyright enforcement. But the truth of the matter is that all eyes should be on Sweden. Here is a country that has embraced streaming and guess what, their musical scene is flourishing.

Once you add in all of the crossover artists like Swedish House Mafia and Avicii, along with songwriting king Max Martin (aka Martin Sandberg) it is safe to say that free music to a consumer DOES NOT MEAN THAT CREATORS HAVE NO INCENTIVE TO CREATE.

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A to Z of Making It, Music, My Stories

Bands: Do You Want To Know What It Is Like?

This one gig forever lives in my memory.

After slugging it out in our regional area, we finally had a decent buzz to get a show in the City. Now this venue is renowned for its metal and rock nights so people of those genres always ventured to it. However, it’s location was a deadest nightmare. Without being able to stop in front of the venue due to it being a no stopping zone, our only option was to find a parking station which was a decent 10 minute walk. The venue was basically at the corner of two main streets in and out of the city.

So yippee we had a gig in the city. Great.

We drove two hours to get there. Double Great.

We parked at a parking station that charged us $52 dollars. Triple Great.

We walked for 10 minutes, carrying amps, guitars and drums. Quadruple Great.

We played the show. We got it filmed via the venue and paid an extra $150 for it. Multi-Great x Five.

I never had an image in my head that music was a way to meet chicks and travel the world. My image was one of writing and playing. However on this day, I really needed to reassess the whole playing live part in my life. As this wasn’t fun anymore. And the reason why it wasn’t fun is that the venues just didn’t respect music. Having a venue in the middle of the city with no loading dock for musicians shows that disrespect.

All the years of hard work doesn’t prepare you for the crap you need to deal with in relation to venues and other bands.

It doesn’t prepare you for the sense of elitism between genres. Our style was Progressive Metal. The other bands on the bill were Death Metal bands. Having a chorus that soared melodically was frowned upon because the singer could actually sing. The other bands just screamed and growled their way through.

The years of practicing and writing do not prepare you for the realities of the music business. To me the big one is the sense that bands just can’t get along. Because the odds of success are so rare no one wants to give an inch just in case that inch was their chance at making it. It got to the point where fans of one band were told to wait outside while the other bands played, just in case some magic record label rep was in the audience and saw people having a good time.

I started to see band members from other bands admonish their fans for enjoying our performance. I started to see hostility around start times and set times between bands. For example, the opening band started late but didn’t cut their set which meant the second band got squeezed.

We played one show in Melbourne where there was a management company and a record label A&R dude there. We had no idea that they would be there. Even if we did, I do not believe that it would have changed our performance. Musically we delivered a killer set. Vocally I could never tell, because on stage I couldn’t even hear the vocalist. The in-house monitors just didn’t cut it.

After the show, the Record Label A&R rep and the management team introduced themselves, we went and had dinner and they said that they are interested in the band but a few things need to change.

“The singer was off-key the whole night”, said the prospective manager.

They mentioned that right in front of the singer.

Then they mentioned that they had a singer from another band that would be a perfect fit for our style. Again they said this right in front of our current singer. It was their way of destabilising the band and getting their own guy in.

I said a flat-out NO.

I said that we will fork out the cash to get proper ear monitors for the current singer and work on that as the on stage monitors just don’t deliver when it comes to independent bands.

The drummer looked at me with dagger eyes. This was his chance to make it and I was getting in the way because I stood up for the singer. But the drummer didn’t do anything about his animosity towards me because I was the songwriter in the band. And this upset the drummer to the nth degree.

But this is a reality. There are always people there, ready to push their own agenda. In this case, the manager and the label wanted to push their vocalist into the band that I formed. The drummer and the bass player were happy for it to happen. But for me, it didn’t sit well.

So what happened after that?

Within four months I had left the band because the arguments of holding each other back got to the point of fisticuffs.

They then got a fill in guitarist and within six months they burned everything that I built up over the last two years down to the ground.

And that’s what its like to be in a band.

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Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Complicated Copyright and Why Do People Pay Good Money To Go To A Concert And Then Spend The Whole Time Filming It?

I do not understand why people go to a rock show or a metal show to film the whole damn thing on a smart phone. Seriously are they going to go back home and watch it over and over again afterwards? Of course not because it will sound like crap as smartphones are not designed to capture high volumes without distorting the sound.

Having been a high gig attendee my whole life, I have also been known recently to break out my iPhone and capture some footage or a few photos for posterity. However, I can honestly that 99% of the time I’ve never gone back and referred to my amateur filming or photography.

The reasons are simple, those captures can never accurately reflect the concert as I witnessed it.

So why did I do it? Why do other fans do it?

Is it for them to validate or prove to other people that they were there at the concert?

Like does anyone care these days. Everybody goes to concerts these days. Maybe once upon a time it was a big thing to go to a concert but these days it’s a nothing thing. Hell, I took my kids last year who were 8 and 7 to see, Kiss, Motley Crue and Bon Jovi. This year I took them to see Richie Sambora.

Do you think my father would have taken me to a rock concert at the age of 8? No chance.

Even if those people placed their concert video footage on YouTube, would anyone really care?

For example, Metallica is the biggest metal band in the planet right now. So they played “Frayed Ends Of Sanity” live for the first time and a fan of the band put it up on their YouTube account called MetallicaSoloFan and it has a whopping 2,473 views. Other accounts have the same song filmed from different viewpoints and again the view count is dismal.

Because no one cares that you went or for the crappy footage on display.

And what about the poor old fan that is standing behind a person filming the concert. As is the norm, in order to film a concert, you would need to hold up your device high above your head to capture the footage and in turn you are taking away from my viewing experience. Me and my boys copped that at the Richie Sambora gig.

However it is a product of the times. I get that.

In 2014, we don’t leave home without our Apple or Samsung devices. It is part of our make and build.

There are bands out there that would like this process of filming their show to be stopped.

The Eagles are one such band.

They want to stop people from filming their concerts by banning the use of the smart phone. Don Henley has hinted their tour of Australia could possibly be the band’s final tour and he wants fans to experience it with their eyes not their phones.

Of course we all know that Don Henley is very knowledgeable about artists copyrights and he is also opposed to fan filmed footage ending up on YouTube. For him it is all about CONTROL. He should be the one that CONTROLS how his music or the music that he is involved in is distributed.

So is videoing a concert with a phone a violation of an artist’s copyright. Don Henley says it is, however he also said that he doesn’t want the shows posted on YouTube because it spoils it for people who are going to come to a show in the future and that he doesn’t want to see Eagles content out there that sounds horrible.

However, live concert filming is done every day by multiple people at the same show. Some use it as a form of a diary record, to remember or relive that moment when their favourite song came on. Some do it to share the moment and their love for the artist. Some do it because they simple can. A smart phone or an iPad or Tablet, allows us the convenience to do so.

To put into context about how messed up the current music copyright business is you need to get your head around the Copyright laws that have been written over the last sixty years.

At a high level, every live performance has a multiple set of rights that come into play.

(1) the copyright in the music, usually controlled by the publisher;
(2) the copyright in the lyrics, also usually controlled by the publisher;
(3) the copyright in the live performance, usually controlled by the label;
(4) the band’s right of publicity;
(5) trademarks owned by the band;
(6) contractual rights (potentially arising from signage posted by the band or the venue, the ticket stub or the terms and conditions of the website to which the footage is posted.
(7) the performance rights organisation like APRA or ASCAP, from which the venue needs to obtain a license.

Music was never meant to be this complicated but over the last sixty years it has come to be so.

And what about the rights of the fan who paid $600 for a front row ticket and another $100 plus at the merchandise store.

What about the rights of the fan, who had to drive 90 minutes to get to the venue and then pay another $30 in parking fees and then get charged $10 for a beer and $20 for a Hotdog and Chips.

There needs to be a sensible re-think but due to the money involved the copyright holders are not playing ball. They want stricter copyright laws, which is contrary to the public and culture in general.

ARTICLE

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Hey Stoopid

Once upon a time we purchased albums based on recommendations by the rock press. Otherwise we had no idea what they sounded like until we broke the shrink-wrap and dropped the needle. Oftentimes we were surprised. For the “Hey Stoopid” album, I bought the album based on my expectations of what Alice Cooper would do after “Trash”.

Alice Copper had a string of hit albums in the Seventies. Towards the end of the decade and in the early Eighties his output was of a poor standard. Then he started to gain some momentum with two very underrated releases in “Constrictor” and “Raise Your Fist and Yell” which set him up for the massive mainstream comeback with “Trash” in 1989 and it’s hit single “Poison”. For the dummies, “Trash” was his Eighteenth studio album. Yep, Alice’s career at that point in time was eighteen albums deep.

So when it came time to record the follow-up to “Trash” another star-studded cast was assembled.

In the record label controlled era, the label wanted to achieve the same sales as the “Trash” album or more. Anything else would be deemed a failure. So a lot of cash was thrown at every body. Advance payments got paid to the songwriters, producers and engineers upfront in exchange for any future royalties earned from the album.

The whole album is like the “Super Session” formula conceived by Al Kooper. Back in 1968, Al Kooper got guitarists Mike Bloomfield and Stephen Still to play on Side One and Two respectively of a record and all they did was cover songs. Imagine that formula today. Put someone like Zakk Wylde in a room with Jared Leto and let them hash out a few covers. Then get someone like Billy Howerdel and Justin Timberlake to hash out a few more.

The Alice Cooper “Hey Stoopid” experiment takes it to a different level in every department.

The Song Writing Club

Alice Cooper is the main lyrical force. However he is not alone. Check out the list of songwriter partners.

Bob Pfeifer was an executive at Epic Records who signed Cooper to the label plus a former musician.

Jack Ponti has a long story in the music business. Originally a guitarist and his origins go back to the late seventies/early eighties New Jersey club band called “The Rest” that also had a young Jon Bon Jovi in it. The band ended up scraping enough cash to get Billy Squier involved and in the end he did nothing to push the band. Eventually the members went their separate ways.

A song that Ponti and Jovi wrote called “Shot Through The Heart” ended up on the Bon Jovi debut album released in 1984, as well as Surgin’s debut album “When Midnight Comes” released in 1985. Of course Surgin was the next band that Ponti became involved in.

Vic Pepe is another songwriter. Actually, Ponti and Pepe are the two guys that went back and did their homework on the early Alice stuff especially “Killer” and “Love It To Death” era Alice.

Lance Bulen and Kelly Keeling from the band Baton Rouge (who of course had Jack Ponti and Vic Pepe as songwriters) make an appearance as songwriters. At this point in time, Baton Rogue had two commercially disappointing albums, however the song writing team of Ponti, Pepe, Bulen and Keeling became formidable enough to lend their talents to Alice Cooper and Bonfire.

The super talented guitarist Al Pitrelli writes one song. What a music business story Al has.

Dick Wagner was back. Yep, the same Dick Wagner that co-wrote “Only Women Bleed” with Cooper back in the mid Seventies for the “Welcome to My Nightmare”.

Zodiac Mindwarp, Ian Richardson and Nick Coler lent their talents to “Feed My Frankenstein”.

Mick Mars and Nikki Sixx from Motley Crue co-write a song and also contributed their talents on a few other songs.

Jim Vallance from Bryan Adams and Aerosmith fame is on hand to lend a hand.

Of course, the person that orchestrated the “Tras”h comeback, Desmond Child also makes an appearance.

The Producer

Peter Collins is on hand to produce having recently worked with Saraya, and notably, Rush and Queensryche. This time around, Alice Cooper wanted a sonic producer. On previous albums he wanted producers who were also song masters, somebody who could tell Alice what worked and what didn’t. That is why Bob Ezrin fit in perfectly with Alice Cooper.

“Hey Stoopid”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Slash and Ozzy Osbourne make an appearance. Hard to believe that the song got no traction. Even today, on YouTube has the song at 482,974 views. Which is nothing in the grand scheme of things. On Spotify, it has a better 1,114,461 streams.

Cooper was inspired to write “Hey Stoopid” from reading sporadic mail from fans that all started to have a similar sounding theme. The title track is an anthem in the same way that ‘School’s Out’ or ‘Elected’ are and it should be heralded as such by Alice’s new generation of fans.

“Love’s a Loaded Gun”

It’s written by Alice Cooper, Vic Pepe and Jack Ponti. It’s got that “I’m Eighteen” feel and on YouTube has it at 2,268,116 views.

“Snakebite”

The sound of the rattlesnake sets the tone for the sleazy lyrics and melodies to come. It’s written by Alice Cooper, Vic Pepe, Jack Ponti, Bob Pfeifer, Lance Bulen and Kelly Keeling from the band Baton Rogue.

“Burning Our Bed”

It’s written by Alice Cooper, Al Pitrelli, Bob Pfeifer and Steve West. Joe Satriani makes an appearance.

“Dangerous Tonight”

It is an Alice Cooper and Desmond Child composition but this time is sleazy and dirty.

“Might as Well Be on Mars”

It’s written by Alice Cooper, Dick Wagner and Desmond Child. Of course it’s got that “Only Women Bleed” inspired guitar line.

“Feed My Frankenstein”

It’s written by Alice Cooper, Zodiac Mindwarp, Ian Richardson and Nick Coler.

Joe Satriani and Steve Vai communicate musically with each other throughout the song. Nikki Sixx lays down a bass groove and Elvira, Mistress of the Dark adds her sultry voice to proceedings.

“Hurricane Years”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Guitarist virtuoso Vinnie Moore makes an appearance. ‘Hurricane Years’ rips off the ‘Teenage Frankenstein’ riff but it is still a powerful track in its own right,

“Little by Little”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Joe Satriani is back adding his magic.

“Die for You”

It’s written by Alice Cooper, Mick Mars, Nikki Sixx and Jim Vallance. Mick Mars makes an appearance on the song.

“Dirty Dreams”

It’s written by Alice Cooper, Bob Pfeifer and Jim Vallance. Vinnie Moore adds his talents to the song again. It’s classic sleaze ridden Alice.

“Wind-Up Toy”

It’s written by Alilce Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. “Hey Stoopid”, “Feed My Frankenstein” and “Loves A Loaded Gun” got the most airplay. But they were not the best tracks on the album. It’s this song. It’s a classic and equally as good as its predecessor in “Steven”. I remember one reviewer describing it as a haunting carousel ride.

“It Rained All Night”

It was a Japanese Release Bonus Track and it’s written by Alilce Cooper and Desmond Child. The first time I heard this track was today.

Alice Cooper had about fifty songs written for this record. Songs were written with the guys from Skid Row that didn’t even make it onto the album.

Then you look at the who’s who roster of quality musicians that also played on the album.

Stef Burns did most of the guitar tracks.

Hugh McDonald played bass. I believe it was his last studio gig before becoming Bon Jovi’s payroll bass player.

Mickey Curry is on drums who came from Bryan Adams and played with “The Cult”.

John Webster is on keyboards and he is part of that Bob Rock and Bruce Fairbairn crew.

Then you look at the calibre of musicians that made up his touring band.

Eric Singer was on drums. Of course he would go to become Kiss’s mainstay drummer

Derek Sherinian was on keyboards. Of course he would go on to join Dream Theater and eventually move on to a solo career.

Stef Burns from Y&T and Shrapnel guitar virtuoso Vinnie Moore stepped up as the touring guitarists.

Greg Smith, Vinnie Moore’s bass player became the new bassist.

Alice Cooper was one of the biggest rock stars of his day. Today the youth of the world might find that hard to believe, however his output and constant musical rebirths have just added to his legend.

Listen to it and re-evaluate.

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Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

What I Am Over Reading …..

Metallica’s New Album

Seriously it has been six years since Death Magnetic was released. For the last six months, the band has been working on songs. They have mentioned in press interviews that they have thousands of riffs stockpiled. The hype means nothing in 2014. Do people want a full Metallica album every six or seven years? I know what I would prefer, more quality frequent releases.

In relation to new music, “The Lords Of Summer” is the only new offering, while “Beyond Magnetic” broke the cobwebs on some old Death Magnetic demos. And the less said about “Lulu” the better.

However the Metallica live show sells out.

Led Zeppelin ReIssues

Seriously. How many times can someone own the original three albums or the songs contained within those albums.

Rockstars becoming owners of ,insert business venture here>

The fans want you to write music and play for them. Instead we get our heroes become owners in football clubs, technology start ups and so forth.

Piracy

Seriously. Is this still an issue in 2014?

YouTube and Spotify more or less have everything that a person would want. However the labels along with the RIAA still use piracy as a means to get more laws written. In Australia, our Attorney General is talking up a three strikes policy as a means to combat piracy even though evidence from all over the world has shown that these policies have done nothing to stop copyright infringement.

It’s because the people have no respect for copyright law anymore and the corporations that abuse it. Music survived for centuries upon centuries because there was no copyright. Artists copied each other. Music and melodies got passed on from family members to family members via copying each other.

Google Needs To Do More

People like U2 manager Paul McGuinness or the RIAA or the MPAA or the various bots they employ to issue takedowns need to get a life because Google is not to blame for copyright infringement. Google is not to blame for the THEFT of music. I believe the latest comment from McGuinness is that “Google is the greatest theft enabler on the internet”.

Seriously McGuinness should look up what THEFT means because as far as I know, U2 still has their music on iTunes. No one has stolen the mp3 that exists there. However if millions of copies of that same mp3 exist all over the internet, is that Google’s fault.

Streaming Doesn’t Pay

It does pay. If you are not getting any of the pie speak to the label or the organisation that is getting the pie. But according to Paul McGuinness again, bands should gate their releases like the good old days.

Sales

Seriously,they are irrelevant. All they do is give the old guard a way to measure something that is irrelevant because the new way to measure an artists reach is just too hard to fathom for them.

Are people listening to the album? That is the question. Instead of focusing on Soundscan numbers, what is happening on the live front?

Press Releases for new albums

People can see through the hype and bullshit. In other words, we don’t care about what the bands say about “how great this new album is” or “how it is a definitive statement of the band right now”. All we care about is if we like it. If it is great we will push it. If it is crap, expect it to disappear.

Because if publicity does increase sales, then bands should be selling by the millions and selling out their shows. But they don’t.

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A to Z of Making It, Classic Songs to Be Discovered, Music, My Stories

The New Nursery Rhymes

What child doesn’t love nursery rhymes? You know the ones “Humpty Dumpty”, “Rock A Bye Baby”, “Mary Had A Little Lamb”, etc.. One thing that is certain is that these tales have survived hundreds of years.

The recording industry tells us that we need more Copyright for music to thrive. But nursery rhymes survived all this time without the recording industry and copyright.

Nursery rhymes survived because they were passed on by word of mouth and taught to children before the rhymes got committed to print.

That word of mouth promotion is the pure essence of culture. That is how culture thrives. That is how bands become superstars and have careers.

Even those beautiful sounding nursery rhymes had their origins as protest songs or political songs. “Baa, Baa, Black Sheep” is about the Great Custom, a tax on wool that was introduced in 1275. “Three Blind Mice” was about the burning of three Protestants at the stake for heresy, in their attempt to overthrow Queen Bloody Mary.

Say bye-bye to the old and say hello to the new. Here is a list of the nursery rhymes that my two-year old loves.

“We’re Not Gonna Take It”

The ultimate song about standing up against authoritative figures that want to mold you and stifle your creativity. The video clip will be forever remembered. It’s part of pop culture history. The song tapped into the psyche of a whole generation of kids who felt pressured by parents and teachers to conform.

Back in the Eighties, the PMRC listed “We’re Not Gonna Take It” as number 7 on their filthy fifteen list. And the reason why it was on the list. Violence. Yep, Tipper Gore and her housewives found the song to be violent while millions upon millions of adolescent teens found it empowering.

“Cum On Feel The Noize”, “Rock and Roll”, “Rock N Roll All Nite” and “I Wanna Rock”

Four songs about letting your hair down. That is what rock and roll is all about.

We just want to rock.

“Livin On A Prayer” and “Dont Stop Believin”

Two songs about believing in yourself. And 25 plus years, people are still believing. Combined they have over 100 million streams.

“Eye Of The Tiger” and “Burning Heart”

Finding that inner animal when your back is against the wall. The “Rocky III” producers wanted to use “Another One Bites The Dust” however they could not get permission to use the song, so Sylvester Stallone hired Survivor to write an original song instead, which turned out to be “Eye Of The Tiger.”

“We Will Rock You”

The boom boom cha. It’s undeniable.

And the way these songs are getting passed on is via word of mouth, from father to sons. That is how culture rolls. So the recording industry better deal with it.

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