AJ Pero died a few days ago. That iconic drum beat at the start of “We’re Not Gonna Take It” that was him. A.J Pero wasn’t the pretty boy in the band that is for sure. He was the street dog that could groove. Dee Snider might have grabbed all the fame but that doesn’t mean that A.J Pero wasn’t a star. If he didn’t roll, the Twisted machine didn’t rock. And man he was a perfect fit for Adrenaline Mob as well.
Remember that it is tough being in the music business. A.J Pero from what I know didn’t write not one song however he had a career that spanned 40 plus years. It’s because he didn’t get into music for the riches and the fame. He got into music because he loved it and he kept that love going for his whole career. He even died while on tour.
And the piece d’resistance A.J. Pero song for me is “The Fire Still Burns” from the “Come Out And Play”.
I really enjoyed Revolution Saints and when I looked at the song writing credits, it’s all Alessandro Del Vecchio. There is not ONE Doug Aldrich credit. Maybe the money incentive to do Revolution Saints from Sergio Perufino was too good compared to what Whitesnake had on offer.
Speaking of money, everyone reckons Metallica is losing it. Maybe its true and maybe it’s not. But what I do know is that in every business as soon as you forget about the tasks that bring in the bread and butter, two things begin to happen. Stagnation and bankruptcy. Leave the festivals to the promoters and leave the movies to Hollywood. Metallica’s bread and butter is music and it has been now 7 years since we had any new tunes from them.
Continuing with the money topic, the recording industry wants to rip apart Spotify’s freemium model.
Which is typical?
Instead of working with Spotify to make the premium option super enticing that fans of music feel the need to purchase a subscription, they want to make the premium option the freemium option and place restrictions on the freemium option. What’s even worse, studies are coming out showing that the spending on streaming music is outperforming CD sales. And in countries that adopted streaming much earlier than the U.S and Australia, streaming is even outperforming digital sales.
I had this debate with others. A lot of people would be happy to pay an annual subscription amount to listen to music of their favourite artists, provided that they KNOW that the money would be divided among those artists and not others.
This is typical of the recording business, trying to be paid multiple times for the same product. That is why all of the record labels had class action suits brought against them from artists. The label is applying the same vinyl math to digital music and the artists don’t like it.
Getting people to pay attention just once is not enough. The ones that have a music career have done it over again and again and again. Quiet Riot got me hooked with “Metal Health” and then disappointed the fans with “Condition Critical”. Then they disappointed the fans even more with the one after “Condition Critical”. So guess what happened to them. They started a steep downhill slide.
Meanwhile, Motley Crue hooked people in with “Too Fast For Love” and then blew them away with “Shout At The Devil”. Then, even though they kept on making albums, they became a video/singles band, with “Smokin In The Boys Room”, “Home Sweet Home”, “Girls, Girls, Girls” and “Wild Side” making decent inroads into our head spaces. There was still enough consistency there, that when “Dr Feelgood” came out, it blew us away.
Metallica was the same. “Kill Em All” was different and energetic however it was a tribute album to the NWOBHM. “Ride The Lightning” kept that energy and started to make it technical. “Master Of Puppets” refined the “Ride The Lightning” format and then “And Justice For All” took it to a whole new progressive technical thrash level. Then the paradigm shift happened and groove was back in with the self-titled “Black” album.
Currently, bands like Five Finger Death Punch, Volbeat, Avenged Sevenfold and Shinedown are showing that they are no one album/hit wonders. Machine Head was a bit inconsistent after “Burn My Eyes”, but since “Through The Ashes of Empires” they have been on song and in the process, Robb Flynn re-established the Machine Head brand.
I am a great believer that original music is a sum of the creator’s influences. That craziness over a stupid Marvin Gaye song and his greedy heirs has reinforced my views.
For the last time YOU CANT COPY A FEEL OF THE SONG.
In other words, all music is derivative. The aim is to make it sound fresh. Look at the biggest albums or biggest songs of any bands career and you will hear similarities to other works.
Metallica’s piece d’resistance album amongst fans is “Master Of Puppets”.
We all know that “Welcome Home” is an amalgamation of songs from an obscure NWOBHM band and Rush. The format/flow of the album is based on “Ride The Lightning”. The songs are also constructed in the same way. Even their biggest selling album led off with a riff that was taken from another obscure skate punk metal band albeit this one being from California instead of England.
“The Unforgiven” had the same chords in the Chorus as the “Fade To Black” verses. “One” had an intro that was taken from “Fade To Black” and “Fade To Black” had an intro taken from “Goodbye Blue Sky” from Pink Floyd. And it goes on and on.
2 thoughts on “Death, Money, Consistency and Originality”
Revolution Saints for sure that gig must have offered Aldrich more $. Great article!
I think it’s cool that Aldrich is like a studio cat reinterpreting songs written by others but it’s also strange because I am sure if he sat down with Blades some magic would have happened.