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

The Record Vault – Coheed And Cambria (with Rick Springfield)– Jessie’s Girl 2

“Jessie’s Girl 2” was released as a standalone single on August 21, 2020 by Coheed and Cambria featuring Rick Springfield.

The original “Jessie’s Girl,” tells the story about jealousy and the song went huge in 1981, turning Springfield into a superstar. And the song is still played today, generating a nice income stream for Springfield or for the Corporation who holds his Copyrights.

Like all hits, it felt that someone should write a sequel.

Enter Coheed And Cambria.

Coheed and Cambria have this power pop rock vibe in their music. So back in 2019, the band was jamming on a riff, when Sanchez sang the melody from “Jessie’s Girl”.

Claude Sanchez said in the press release;

“Has anyone ever written a sequel to another artist’s song?

I don’t think so.

As a fan of movies, it just seemed like a really interesting idea… It’s kind of like a “National Lampoon’s” movie meets “So I Married an Axe Murderer”.

And this also triggered an idea to do a sequel to a famous song, and a grander idea to do an album called “Sequels”. They reached out to Springfield and he was keen to be involved.

This song is from the perspective from “Jessie’s Girl” narrator and things just didn’t turn out the best for him.

While he did get the girl, he regrets it. The girl is out of her mind, has a sinister side as she stalks him and wants to kill him for leaving him, has dirty habits and he regrets burning a friendship to get her.

As I was doing my Super Deluxe pre-order for the new album, I saw the 7 inch vinyl single, so I added it to the cart.

Oh, so I changed my number
To 867-5305
That didn’t, that didn’t, that didn’t stop her
She wouldn’t let me leave her house alive
She’s out of, she’s out of, she’s out of her mind

Press play and let the stalker rock ya.

Classic Songs to Be Discovered, Copyright, Influenced, Music, My Stories

The Week In Destroyer Of Harmony History – February 21 to February 27

4 Years Ago (2018)


It’s a favourite.

Back in 1992, “The Crimson Idol” ended up being a perfect album for me, in a time when the labels started to put all of their marketing monies into Seattle. I played it a lot, learned riff after riff and lick after lick and it didn’t matter how much time passed between listens, I still knew every lick, every drum roll and every word.

Fast forward many years later (circa 2008) and “The Crimson Idol” was released as a Double special edition CD, with two new tracks. “Phantoms In The Mirror” (which I would place after “The Invisible Boy” in the story arc) and “The Eulogy” (which I would place at the end).

Fast forward another decade (2018) and “The Crimson Idol” has been “Re-Idolized” with additional songs added to the storyline however, “Phantoms In The Mirror” and “The Eulogy” have been left off.

Confused. Me too.

But the review might clarify some things for ya.

8 Years Ago (2014)

RICHIE SAMBORA – Live At The Enmore Theatre, Sydney; 26 February 2014

It renewed my faith in live music.

The previous night to this, I watched Five Finger Death Punch and Avenged Sevenfold. While that was a great concert, the songs got played more or less “note for note” as per the album recordings.

But, Richie Sambora was “communicating musically”. The sheriff was back in town. With three different hand motions he led the band into jams, out of jams and into sing a longs.

Sambora engraved himself into our hearts. He stopped and he talked. Sometimes it felt like for ages. I haven’t seen a lot of people do that kind of a rock show for a while as they are scared in case they lose the audience. Sambora was a true pro. He was endearing himself, creating a bond. And what a show he delivered.

Read the review here.


A lot of people don’t know who Jake E Lee is. Do a survey and you will see?

US sales for week ending February 5, 2014 had Red Dragon Cartel listed with 5,300 sold. The hard-core fans. The niche. And then it didn’t show up on any of the sales charts the following week.

Then again sales of recorded music is not a true measure of success these days. Streaming is.

Are people still listening to the music?

Red Dragon Cartel has a small audience of approx. 2600 who are listening on Spotify.

But there isn’t a song on the Red Dragon Cartel album that can market/sell/push the album.

“Bark At The Moon” marketed the album that carried its title, while “Shot In The Dark” marketed “The Ultimate Sin” album. When Badlands released their self-titled debut, “High Wire” was the song that marketed the album, while “The Last Time” marketed “Voodoo Highway”.

Opening track “Deceived” has a riff, very similar in style and structure. So it is fitting that the vocal melodies are styled from the Ozzy Osbourne vocal phrasing book. I have no issue with artists referencing the past.

“Shout It Out” sounds like it belongs on a Saliva album. Not that it’s a bad thing, it just wasn’t what I was expecting from Jake E Lee.

“War Machine” sounded like a joke as the “War Pigs” intro moves over into “N.I.B”. I guess progress is derivative.

“Fall From The Sky” has a solo that is very reminiscent to the “You’re No Different” outro solo from Jake’s Ozzy’s days and “Redeem Me” captures the Badlands vibe.

Unfortunately, the Robin Zander (Feeder), Maria Brink (Big Mouth) and Paul DiAnno (Wasted) vocal songs just don’t resonate.

If there is a song to comes close to being “the song” to push the debut, that honour goes to “Slave”.

It has the best of Jake E Lee. Metallic riffing, fast single note picking, tritone melodic infusions and it encompasses what Jake E Lee is all about.


The majority of the music that I like will still be under copyright by the time I die. And it’s a tragedy.

Let’s use “Smoke On The Water” as an example.

It was released in 1972.

Copyright on the work is meant to last the lifetime of the songwriters plus 70 years. The male life expectancy is 80 years. The songwriters listed for “Smoke On The Water” are Richie Blackmore, Ian Gillan, Ian Paice, Roger Glover and Jon Lord (RIP).

Let’s start with Jon Lord. Due to his death in 2012, his copyright in the song will expire in 2082. However the song will still remain under copyright due to the later deaths of the other members.

Let’s assume that all of the members live to the life expectancy age of 80 years old. That would mean Richie Blackmore, Ian Gillan and Roger Glover would have an end date of 2025. Add another 70 years to that and the copyright that they hold in the song would expire in 2095.

In other words the copyright monopoly held by the corporations on “Smoke On The Water” will finally expire in 120 plus years after the song was released. It is at this time, the public (provided that no more retroactive extensions are added) are allowed to use the song to build other works on or to create derivative versions or to cover it without any penalty.

But when the artists created this work, the copyright term was 56 years. And the short copyright didn’t stop them from creating.


The days of rocking all night and partying every day are gone, replaced by social media/gaming/surfing all night and going to work every day. Rockers are not drinking heavily anymore, nor are they doing copious amounts of drugs.

The sound of a stereo is now captured in expensive headphones.

The days of becoming the legends of the local scene first and then the world are gone. If a band/act is doing great in a city, the whole world will know about it. But you can have a career within a niche.

And it’s not a rockers world anymore. The new rockers are the technologists. The podcasters. They are the ones that everyone is listening too. Check out the applause they get when they hit the stage.

Once upon a time, guitar heroes mattered. They broke ground in song writing, technique, sound and guitar making, inspiring us by demonstrating simplicity in complexity.

I remember when a record could bring about change. When “Shout At The Devil” broke, every band dressed up in leather and studs. When “Slippery When Wet” broke out, all the bands went to pop metal. When “Appetite For Destruction” broke out, bands moved to a more blues based sound. When Metallica broke out twice, bands moved to a faster dirtier sound and then moved to a big heavy groove orientated sound.

The rock dream was never about the money. It was about a lifestyle.

And that’s a wrap for another week.

Influenced, Music, My Stories, Unsung Heroes

Australian Method Series: Karnivool – Asymmetry

Atonal. It means not written in any key or mode.

It’s one way to describe this album musically.

But it’s not the correct word either as the album is full of melody and atmospheric melodic passages.

The voice even acts as an extra instrument in some songs with the Ohhhs and ahhs.

Karnivool are pushing boundaries here. There are no genres you can use except the word progressive.

But progressive in the sense of how the songs are stuctured and arranged. Because when people think of progressive rock, they think of virtuosos playing super fast passages over complex time changes.

Even progressive is not the correct word.

The band was burnt after a massive worldwide tour in support of their second album, “Sound Awake”, so they took a break in 2010.

Vocalist Ian Kenny started work on his, Birds of Tokyo project.

The band would get together on occasions over a two year period and write the album.

“Asymmetry” is the third studio album by Karnivool released in 2013.

Produced by Nick DiDia, he got the band of Ian Kenny (Vocals), Drew Goddard (Guitar), Mark Hosking (Guitar), Jon Stockman (Bass) and Steve Judd (Drums) to fire on all cylinders and record the album in 3 months.

It divided people.

One review I read said that the band needed someone to tell them “No”. Another review said to “listen to this album with headphones to fully appreciate the album”.


It’s a short atmospheric ambient introduction that’s hard to even hear.


The words “Hash” and “Nac” is backwards for Can and it sounds like they used hash writing this.


The drumming is dominant, the bass is distorted and progressive while the guitars feel jagged and grey.

Vocally, Kenny is channeling his love of Maynard from Tool.

At some stages it’s hard to keep track of the beat as the tempo competes with the other instruments.

There is a lot happening so press play.

We Are

The single.

If you like funk and the kind of funk that Omar Rodriguez is known for, then you will like this.

Stockman rumbles throughout on the bass and Kenny is singing with passion.

Goddard and Hosking are going nuts decorating on guitars.

Like all albums that are classed as progressive, this song is like the commercial song. If you want to call it that.

The Refusal

Bass guitarist Jon Stockman does the screaming vocals. It feels dystopian and industrial. Almost like early Tool.


It’s atmospheric and echoey with fast picked guitar notes in the beginning.

The song moves between full heavy sounds and clean tone sounds. And by the time the 6th minute rolls around and Kenny is singing about chemical fires signaling our death, you can only press repeat.


It’s like Muse but like the other songs, there is so much going on.

Sky Machine

This is how the live child of Tool and U2 would sound like.


A little interlude that sets up the next song.

The Last Few

The love child of Tool and The Mars Volta.

It feels frantic yet restrained.


Psychedelics are back. Kenny’s vocal is like an instrument throughout the song.

Alpha Omega

Tool and Led Zeppelin this time get together and out comes “Alpha Omega”.


A weird way to finish the album with a spacey instrumental

In Australia it went to number 1 and a Gold certification.

Music, My Stories

1976 – Part 4.2: David Bowie – Station To Station

I’m not the biggest Bowie fan, but his music got a second life in the late 90’s and onwards and I kept checking his albums out. I go in with an open mind with the hope to find something that I could use in my song writing.

Now, “Station to Station” is album number 10 for Bowie, released in 1976. It has been regarded as one of his most significant works, so it was on a list of album’s to check out for me.

The band for the album is stellar and on fire. Guitarist Carlos Alomar, bassist George Murray and drummer Dennis Davis all bring it, and guitarist Earl Slick contributes along with pianist Roy Bittan.

Bowie was too drugged out during this time and his memory of the album is vague. And with all the drugs artists do, they always find a way to create and the people around them, always find a way to get them to create. As their livelihoods depend on Bowie.

Station To Station

A 10 plus minute opening track which starts off with train noises created by the guitar. And somehow when it was released as a single, the song was creatively edited down to 3 minutes.

It’s typical of the era, blues rock and with arrangements that didn’t stick to a radio formula, because the artists ruled and the label execs didn’t really have a say, until they became more powerful than the artists in the 80’s because of MTV.

In keeping with the Blues Rock theme, Bowie was loaded up with cocaine and he kept asking Earl Slick to keep repeating a Chuck Berry lead over and over again.

Golden Years

This could have ended up on a Steely Dan album as it has this jazz rock fusion vibe.

Word On A Wing

It’s like a mid-tempo rock ballad, with a vocal delivery that reminds me of Joy Division.


Bowie wrote this while he was filming “The Man Who Fell To Earth”. But it’s a skip for me.


I like the riff, it’s almost Santana like with a bit of Doobie Brothers thrown in and you should definitely press play to hear the bass groove.

But man, Bowie’s vocals are really not connecting with me at all on this album and in this song in particular, because musically, this song is gold.

Wild Is The Wind

Musically, the song is great. It’s like a rock ballad. Like all the previous songs, the vocals and melodies from Bowie just don’t connect with me on any level.

And while this album is held in high regard amongst Bowie’s fans, there isn’t enough there to make me a fan. Although there are a lot of lyrics to digest.

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

The Record Vault – Def Leppard – Make Love Like A Man (CD Single)

Single #2 from ADRENALIZE – “MAKE LOVE LIKE A MAN” is our tongue in cheek look at a significant facet of human existence.

Take note!

Meanwhile we’ve got a couple more unreleased tracks for you. “MISS YOU IN A HEARTBEAT” is a Collen song of somewhat recent vintage, first recorded by Paul Rodgers’ group, The Law.

“TWO STEPS BEHIND” is an Elliot composition performed totally acoustically bass, 2 guitars and voice. Our first recorded acoustic performance.

And finally a version of a song by a group Joe really wishes he could’ve been in “ACTION” by Sweet. For those too young to remember, go listen to Sweet’s “Greatest Hits”.

A revelation and for those who remember the original, let me say that our efforts to duplicate every part recorded by Messrs Connolly, Priest, Scott and Tucker, we discovered some very interesting bits.

Don’t worry guys, we won’t let on.

It felt like they were giving us insights into their thinking with these little extra blurbs on the back. I always felt starved of information from my favourite artists.

I’m not a huge fan of “Make Love Like A Man” but I do get it that others like it as “Adrenalize” was their entry point into the band, while “Pyromania” was for me.

Miss You In A Heartbeat

I had to call up the track on Spotify to re-acquaint myself. Def Leppard has an electric version, an acoustic version and a revised version doing the rounds.

The electric version is classic Def Leppard. It could be a leftover from “Hysteria”.

The revised version has the piano as the dominant instrument and I like the gospel feel the piano gives it.

The acoustic version also has the piano as the dominant instrument and the Chorus doesn’t have those ohh, oh oh.. And the acoustic solo is a press play moment for me.

I also pressed play on the version done by The Law. And this one is close to the electric version that Def Leppard did, but Paul Rodgers is a bit more soulful with his vocal delivery.


Def Leppard are on fire with this track. I always liked this track from Sweet, and the Lep’s do it justice.

Two Steps Behind (Acoustic Version)

Written by Joe Elliot, it feels like a camp fire track, very Bryan Adams like.

By the end of it, I pressed play again, because I liked the variation.

It’s a shame that the art of the single is lost within the current world as Def Leppard, Metallica and Bon Jovi really knew how to deliver a killer single release.

Alternate Reality, Derivative Works, Music, My Stories, Stupidity

Matrix Resurrection

It’s always someone else’s fault.

There are no spoilers in this post as I watched “Matrix Resurrections” and stopped half way through it.

And I was thinking, what was its purpose?

If they needed more time to develop the story, Netflix, Amazon, HBO, Disney, and any other streaming service would have been okay to give them a budget to develop the story over 10 episodes or over a couple of seasons.

Because the story needs to be engaging. The plot needs air.

If the creators wanted to capitalise on the existing fan base they should have looked at shows like “Cobra Kai”, “The Mandalorian” and “The Book Of Boba Fett” to see how it’s done. These shows are appealing to the existing fan base and as a by-product, a whole new fan base is also being created at the same time. But those franchises also had some false starts with the movies.

And sometimes, a movie trilogy just doesn’t need another movie.

On a different note, and if you haven’t watched it yet, make sure you check out “Sense 8” from The Wachowski’s on Netflix. One of the best TV shows that did the rounds between 2018 and 2019.

Copyright, Influenced, Music, My Stories, Piracy

The Week In Destroyer Of Harmony History – February 14 to February 20

2018 (8 Years Ago)


When artists write lyrics that reflect society and our politics back at us, people get upset. When I think about the past, people who made real change persisted even when others tried their best to silence them.

Artists once formed the chorus of dissent to social ills and corruption. It’s probably a reason why we got so many songs that still stand the test of time today.

Artists told the record label heads what to do, not the other way around.

Machine Head’s new album at the time “Catharsis” was causing division amongst their American fan base. Europe, Asia and Australia didn’t really care about its Anti-Trump stance. Fans of any artist come from different sides of the political debate. It’s expected. No one can agree on everything. If people did, everyone would wear the same outfit. The world would be pretty bland if people all agreed. Wouldn’t it.

It never would occur to me to stop listening to an artist because of a stance they have on an topic.

Artists are not the enemy. They are mirrors, reflecting the world back to us. What we choose to do with the reflection is a different story.


Copying of music has always been there. We used to listen to the radio and record songs from it. We used to record video clips from TV music stations. We would make a copy of an LP from a friend or a family member. We would even re-copy a copied album. The music industry grew because of copying.

So if we used the buzzword of the modern era, piracy was rampant back in the 80’s. Most of my music collection during that period was made up of music copied onto blank cassettes.

You know that peak year of sales for the recording business in 1998. Well there is research out there which suggests it was due to two reasons. One reason was people replacing their vinyl collections with CD’s and the other reason is the people who had music copied on blank cassettes in the 80’s had enough disposable income to buy those albums on CD.

If I didn’t borrow and copy (which the labels call stealing and piracy), I probably never would have become the fan of music I am. As my Dad would always say, “I probably would have had four houses paid off, instead I have a tonne of grey concert T-Shirts, ticket stubs and a wall to wall record collection.” I wouldn’t have it any other way, because the memories are the stories I tell.


Here is the kick off from 1979.

AC/DC – Highway to Hell

Six months after the album release date, Bon Scott would be dead. Mutt Lange is on board to produce at the strong insistence of their U.S record label and it was the start of the holy trinity of albums. Malcolm was less than pleased because it meant older brother George, was no longer involved.

“Highway To Hell” is a rite of passage. It might have been about touring, however timeless songs have lyrics that can be interpreted in many different ways. Plus the riff to kick it off is iconic. Credit Malcolm.

Livin’ easy, Livin’ free

Pink Floyd – The Wall

“The Wall” is Roger Waters lasting legacy. But the best song on the album to me is “Comfortably Numb” written by Gilmour and Waters. Credit producer Bob Ezrin for persisting to get Gilmour’s music on the record. However, it was “Another Brick In The Wall Part 2” that was all over the radio.

Check out “Goodbye Blue Sky” as well, which served as the inspiration for “Fade To Black” from Metallica.

And that outro solo in “Comfortably Numb”. Perfection.

Judas Priest – Hell Bent for Leather/Killing Machine

The first time I heard “Delivering The Goods” was via Skid Row’s “B-Side Ourselves” EP. I enjoyed the Skid’s live take on it, so I went seeking for the album in the second hand record stores. I actually own both copies, the “Killing Machine” version and the “Hell Bent For Leather” version.

Or the iconic riff in “Hell Bent For Leather” which is so derivative that many other bands had a similar riff before and after this song, like the opening riff in “2 Minutes To Midnight”. They even used it again for “Running Wild”.

In relation to guitar playing, Glenn Tipton always kept an eye and ear out for what was hot in guitar circles and he would go away, master these new styles and incorporate those influences and styles into his guitar playing. In this case, he breaks out a tapping lick which was obviously influenced by EVH. On albums from the mid 80’s, Tipton would start to incorporate sweep picking courtesy of Yngwie Malmsteen’s influence.

“The Green Manalishi (With The Two Pronged Crown)” is a great cover of a Fleetwood Mac song, which is written by their original and largely forgotten guitarist Peter Green (RIP), and it works pretty cool in the hands of Judas Priest.

Journey – Evolution

It has “Lovin, Touchin’ Squeezin’” but it’s not my favourite. The three listed songs are for various reasons.

“Lovin’ You Is Easy” has upbeat music and it’s always good to hear Schon rocking out.

“Do You Recall” has melodies which appear in Jovi songs.

“Lady Luck” grooves, taking its cues from Led Zeppelin.

The Police – Reggatta de Blanc

The Police didn’t really write a perfect album from start to finish, but they could write classic tracks.

The intro to “Message In A Bottle” hooks me. And it’s guitarist Andy Summers who saves the day with his add9 chord voicings over a simple bass groove.

Whitesnake – Lovehunter

I didn’t hear this album until very late in the 90’s. During this time I was buying so many second hand LP’s from record fairs and second hand book shops, I can’t even place a memory as to when I purchased it. But I do know I was always a sucker for the 3 for $5 bins.

Press play to hear “Walking In The Shadow Of The Blues” which is written by David Coverdale and the underrated Bernie Marsden.

It all started with the blues. Rock was built on the bones of the 30/40’s blues artists. Metal was also built on the bones of those same artists, along with the defiance and rebellion of rock music. Without the blues, the music I listen to, would not be possible.

KISS – Dynasty

One of the first albums I owned from Kiss and I played it to death, so it’s no surprise I have a few songs from it on my list.

“I Was Made for Loving You” was the obvious single, but it was still an unexpected hit, written by Paul Stanley, Vini Poncia and Desmond Child. Stanley also performs bass duties on this one.

“Sure Know Something” is a mixture between melodic rock, disco and new wave. In the end, it’s still Kiss. The bass groove is unique and the lead guitar break from Stanley is worth the listen.

“Dirty Livin’” is an excellent track. It could have been on a Steely Dan album or a Doobie Brothers record. Instead it’s on a Kiss record and it rocks. Peter Criss sings, it and he co-wrote it with Stan Penridge and Vini Poncia. It’s actually the only track that Peter Criss drums on. Anton Fig played drums on all of the other songs.

“Magic Touch” is solely written by Paul Stanley, which comes loaded with a melodic riff and a pop melody. Still to this day it’s a favourite, purely for its sense of melody.

“Hard Times” is from Ace Frehley and its another Kiss rocker.

2014 (8 Years Ago)


The record labels just kept getting my attention like trying to get the Courts to set a precedent in which the Internet Service Providers act as the Police to monitor music pirates based on the labels say so.

And my favourite was Principle Management (U2’s Management Company) losing money for the fourth year in a row, so its Chairman Paul McGuiness was quick to blame Google for his losses. Talk about sense of entitlement.


With Jake E Lee excommunicated from the Osbourne camp no one was sure what he would do next. But in 1988, Badlands formed.

The original Badlands line up was Ray Gillen on vocals, Eric Singer on drums, Greg Chaisson on bass and of course Jake E Lee on guitar. And we will never be able to see the band that cut the self-titled debut album reunite. Ray Gillen has passed and Eric Singer said in an interview on the “Daves on Tour” website that his memories of Badlands aren’t good ones.

Eric Singer auditioned for Ozzy back in 1985 and he didn’t get the gig. Greg Chaisson also auditioned for Ozzy around the same period and he also didn’t get the gig. Both of them lost out to Randy Castillo and Phil Soussan. The outcome for both Singer and Chaisson was that they got to meet Jake E Lee and have a jam with him.

Eric Singer also did a stint in Black Sabbath during the Glenn Hughes/Ray Gillen era. Music is a relationship business and it was these relationships, albeit small ones once upon a time, that ended up getting together to create one hell of a debut album.

In an interview with Kerrang from May 1989, this is what Ray Gillen had to say on the bands beginnings;

“I was particularly keen on the project because I had to pick myself up off the floor after my involvement with the Blue Murder project had gone sour. I was basically asked to leave the band due to outside record company pressure. John Kalodner, one of the top people at Geffen Records, simply said that I couldn’t sing!”

Wearing their Seventies classic rock influences on their sleeves and very cleverly merging the minor key riff remnants of the mid-Eighties heavy metal sound, Badlands hit the target. Each song was unique.

The standout song on the debut is “High Wire”. It cemented Jake’s reputation. You can’t keep a super star down and what a great way to open the album.

Seriously, how good is that opening riff?

The beauty of the song is the simplicity. It is a simple A to C, A to D riff, the cornerstone to all classic blues/classic rock songs.

“Winter’s Call” is the most Zeppelinesque song on the album, especially in the verses, combining Middle Eastern drones with Celtic modes. It is also one of the oldest songs on the album, as the song’s roots go back to 1983.

“Streets Cry Freedom” is the next gem and a great way to close off side one. When vinyl was king, albums got sequenced by having a great opening track and a great closing track. The comparisons to Led Zeppelin, Humble Pie and Bad Company are prevalent in this song. The song’s verses are a typical 12 bars blues. Instead of playing it in the standard way, Jake E Lee shows his guitar smarts by arpeggiating the verses.

“Seasons” is the gem on the second side. It reminds me a lot of Led Zeppelin’s “Kashmir”.

This was 1989 and MTV ruled. Bands needed a hit to get recognition. So while “Dreams In The Dark” did the video rounds, as the record label decided it had the most “hit” potential, songs like “Winters Call”, “Seasons” and “Streets Cry Freedom” slipped under the radar.

The self titled album is brilliant. While other artists went with the one hit single per album and the rest as filler, Badlands delivered an album strong from start to finish.


So how did a TV show, based on a niche Zombie comic, explode into the mainstream and into people’s consciousness.

In order to understand the answer you need to go back to the beginning. And the beginning for “The Walking Dead” goes back to 1968 and a movie called “Night Of The Living Dead”.

“The Walking Dead” is a classic case of building on works already in the public domain as well as building on existing copyrighted works by creating derivative works.

First the whole Zombie genre owes a large debt to George A. Romero’s classic “Night Of The Living Dead”. Many of the accepted Zombie formulas started here. Something that is quite common to us in 2014, was all brand new to audiences in 1968.

Due to a late name change from “Night Of The Flesh Eaters” to “Night Of The Living Dead”, the distributor forgot to include a copyright symbol on the release and due to this omission, the movie entered the Public Domain on its actual release date. That meant that anyone could do derivative works and also build on the existing story.

The whole opening scene from “The Walking Dead” of Rick Grimes waking up in the hospital alone, is a combination of what has come before.

In “The Day of The Triffids, the main character awakes to a silent hospital to find that his town has been overrun with blinded people.

In “28 Days Later”, a bicycle courier awakens from a coma to find the hospital and the city, completely deserted and overrun by people infected by the rage virus.

In “The Walking Dead”, Rick Grimes wakes from a coma in the hospital to find his town overrun with walking corpses, referred to as ‘walkers’.

Romero did miss out on a hefty payday due to the copyright bungle with “Night of The Living Dead”, but Romero’s story ends well. The film’s popularity OPENED UP MORE OPPORTUNITIES. Romero continued to create movies and the fame that his Public Domain movie gave him, opened up other offers around comics and novels.

In the end, the lack of copyright around one movie, grew and helped define the zombie genre in the same way that the lack of copyright around earlier blues and folk standards helped define the classic rock genre. So next time someone tells you they need stronger copyrights or longer copyrights, point them to the “Night Of The Living Dead” example.


I got a 8GB USB stick of music given to me recently by a musician friend who told me that I need to check out the bands on the stick. When I was growing up we used to these kinds of trades on cassettes. Back then we had an hours or hour and a half worth of music. Today 8 gigs worth of music is about 270 songs at 320kbps. Yep, that is how it is done today.

Some of the bands on that key are still favourites today like Degreed and Riverside.


In between solo albums, Henley was busy with the Eagles, Geffen contract issues, Copyright issues against Record Labels, termination rights on songs and the Eagles again.

Henley knows his rights.

While people criticise musicians who turn into business people, it was inevitable that musicians would end up taking the business path.

The great record label rip off/exploitation made them seek this path. It is just unfortunate that a lot of the musicians that didn’t achieve world-wide domination still don’t realise their rights on their songs. Not a lot of hard rock and heavy metal artists are serving notice to their record label to reclaim songs they had written 35 years ago.

While I don’t agree on everything Henley does, like sending a cease and desist letter to an independent band or trying to get a remix law taken off the radar, the bottom line is this, he is a musician that looks out for his own interests. And that is why we loved our heroes.

And that’s a wrap for another week.

Classic Songs to Be Discovered, Influenced, Music, My Stories

The Record Vault: Def Leppard – Let’s Get Rocked (CD Single)

You hold on your hands the first single from our new album, ADRENALIZE. A simple little ditty, LET’S GET ROCKED just about sums up our feelings about life.

Also check out ONLY AFTER DARK, a Mick Robson song we’ve always liked. Mick’s been I’ll and this track is our acknowledgment of his microphone.

It sure feels good to be back. Play it LOUD!

I should have written about the CD single first if I was chronological with my posts on Def Leppard.

Well “Let’s Get Rocked” is part of pop culture at this point in time. It’s Chorus is massive and instantly recognizable in the same way “We Will Rock You” from Queen is.

Only After Dark

Their tribute to Mick Ronson.

If I had to pick between the original and the cover I would go for the original Ronson version. It just feels loose, raw and fun.

Def Leppard stays faithful to the original, so what we hear with the Def Lep version is an updated sound and Joe Elliot vocals.

Women – Live

Now this sounds massive.

Each snare hit and pulsing bass note is perfect.

And check out the Chorus riff with those extra pinch harmonics added. The beauty of playing live and feeding off the energy of the crowd.

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

1976 – Part 4.1: Peter Frampton – Frampton Comes Alive!

Its listed as one of the definitive live albums ever.

“Frampton Comes Alive!” was released in 1976. It’s weird how his trajectory is so similar to Kiss. Following four solo albums with little commercial success, “Frampton Comes Alive!” was a breakthrough for Frampton, the same way “Alive” was for Kiss.

The album is mostly live except for the first verse of “Something’s Happening”, the rhythm electric guitar on “Show Me the Way” and the intro piano on “I Wanna Go to the Sun”. These were fixed in the studio.

In a genius marketing move, the double album was released in the US with a reduced list price of $7.98, only $1.00 more than the standard $6.98 of most single-disc albums in 1976.

And the band is on fire.

Peter Frampton is on Vocals, Lead guitar, but Bob Mayo fills up a lot of the space with his Rhythm Guitar work, plus he plays the Piano and Hammond Organ. Stanley Sheldon on Bass Guitar and John Siomos on Drums provide a solid foundation.

There is crowd noise, fake or real, I’m not sure and the GM of Winterland, Jerry Pompili starts off the concert with the words “If there was ever a musician who was an honorary member of San Francisco society, Mr. Peter Frampton”

Somethings Happening

The blues rock groove is clichéd and heard in many different songs, but it’s always cool to hear it.

This track and the next are from the “Something’s Happening” album released in 1974.

Doobie Wah

It follows on from the blues rock groove from the opening song. And with Doobie in the title, it does sound like Doobie Brothers.

Show Me The Way

From the “Frampton” album released in 1975.

When people talk about talk-boxes, this is the song that was listed as the definitive talk-box song, until an Italian American called Richie Sambora changed the game with “Livin On A Prayer”.

Musically, its excellent, a strummed guitar progression, a hooky vocal melody and that talk-box melodic lead.

It’s a Plain Shame

A blues rock dirge from the “Wind of Change” album released in 1972.

At this point in the set, it sounds okay and fresh.

All I Want to Be (Is by Your Side)

The album goes into ballad rock territory for the next three songs. This one is from the album “Wind of Change” released in 1972.

Wind of Change

An acoustic folk rock song.

Baby, I Love Your Way

From the “Frampton” album released in 1975.

It’s a song that I’ve heard on radio and TV commercials and movies and when I heard it here, I was like, ahhh, it’s from Frampton.

The song flopped when it was released in 1975, but it took on a new life when it was released as a single from this live album a year later.

I Wanna Go to the Sun

From the “Somethin’s Happening” album released in 1974, it could have come from any Southern Rock album released at the time. And Frampton is wailing away throughout the song in various solo spotlight moments.

Penny for Your Thoughts

The shortest track here at 1:23 and along with the next track are from the “Frampton” album released in 1975. It’s one of those major key finger picked campfire tunes. It doesn’t sound like “Albatross” from Fleetwood Mac, however it has this feel.

(I’ll Give You) Money

From the album “Frampton”, released in 1975 and its back to the hard blues rock.

I dig the “Stormbringer” and “Mississippi Queen” feel in the song. And 80’s Y&T comes to mind when I listen to this.

Check it out.

Shine On

From the “Rock On” album released in 1971. The blues rock dirge is sounding too much same/same.

Jumpin’ Jack Flash

A Rolling Stones cover which was released on “Wind of Change” from 1972 and given the 7 minute live treatment here. .

Lines on My Face

From the “Frampton’s Camel” album released in 1973. The fingerpicked clean tone intro hooks me. It’s very Eagles like when they played Folk Rock.

Do You Feel Like We Do

From “Frampton’s Camel” album released in 1973. The 14 minute closer of the album.

The intro riff will grab ya straight away. It’s Santana like, its bluesy and its rocking. But that whole section in the middle is unnecessary.

In Australia it charted to the top spot and was certified 3x Platinum. In the U.S, it also went to Number 1 and is certified 8x Platinum.

There is a theory that this album became so big in 1976, because the year was insignificant when it came to rock music and most of the artists who had fame prior to 76 had either stalled their careers with drugs or breakups or if they were still together they were running on fumes.

And Frampton never captured this glory again and the subsequent albums didn’t do anything great either.

It’s because his face and looks got more time than his guitar skills. Suddenly, his audience was more female than male and his musical credibility was questioned. All of those years honing his guitar chops and song writing abilities were ignored by a vicious press who saw him as a disposable teenage idol.

And while this was happening, he was hooked on morphine and his manager was ripping him off, leaving him bankrupt, along with a terrible decision to star in a film version of “Sgt Pepper” and to pose a certain way for the album cover of the follow up, “I’m In You”.

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

The Record Vault: Def Leppard – Adrenalize

“Adrenalize” came out on 31 March 1992 through Mercury Records.

I was a first day buyer because of Steve Clark (RIP). I heard it a couple of times and put it on the shelf. It stayed there for a long time. I wanted to like it but my bias and loyalty to Steve Clark was making me not like it. And I kept telling anyone who listened to me that it was missing the special melodic decorations that Clark was well known for.

Many years later, I did come across various interviews in which Phil Collen stated that he recreated Clark’s parts from the demos because Collen was there with Clark when he played his original ideas for the songs.

And “sort of gone” from the ship was Mutt Lange as he decided it was time to drive Bryan Adams crazy. After three albums, AC/DC didn’t want to work with Lange again. Malcolm Young hated him because he felt his methodical studio takes sucked the life out of the music. Foreigner stopped working with him but Def Leppard still wanted to work with him, and they did the pre-production with him as Lange is there in the song writing department as the fifth member.

I’m not sure what the point of the above is. Is it an eulogy or a “hey, we tried to save him but couldn’t”?

The recording band was Joe Elliott, Phil Collen, Rick Savage and Rick Allen. Interesting to note that backing vocals includes a certain John Sykes who was heavily rumoured by the magazines to be the new guitarist.

Let’s Get Rocked

I couldn’t shake the “Pour Some Sugar On Me” vibe in the verses. And I liked the cleverness in the lyrics, like “I suppose a rock’s out of the question”.

Heaven Is

The music is derivative of Def Lep songs that came before, like “Photograph”, “Armageddon It” and “Let It Go” and I like it.

Make Love Like a Man

It was only a matter of time before a song title would come about to challenge “Dude Looks Like A Lady”. And this one is it. While the song lyrically does nothing for me, the song is great to jam along with.


One of my favourite tracks as it has a feel from “High N Dry” and “Pyromania”.

White Lightning

The tribute to Steve Clark.

It’s long droning guitar intro gives way to a “Billy’s Got A Gun” style groove.

Stand Up (Kick Love into Motion)

How good is the start?

It reminds me so much of “Hysteria” and I like it.

And press play to hear the lead break.

Personal Property

It’s back to the AC/DC style riffage on this but the track could have been interchange with any Bryan Adams cut during this time.

Press play to hear that section from 2.17 to 2.38. its classic early Def Leppard.

Have You Ever Needed Someone So Bad

Lange is rewriting, “Everything I Do” here. And it’s a big reason why I was off this album. Like how much Mutt Lange can we really have in our lives. According to the charts and sales of Adams and Twain in the 90’s, a lot of Lange.

I Wanna Touch U

Typical Lange style of song, with a clichéd un-inspired riff that mimics AC/DC.

Tear It Down

My favourite song on the album and it’s an oldie, a B-side from “Hysteria”. It rocks hard and I like the simplicity of the Chorus, which reminds me of “Let It Go”.

In Australia it went to number 1 and to a Platinum award. In the U.S, it went to number 1 and its 3x Platinum. In Canada, it also went to Number 1 and a 4x Platinum award. In the U.K, it also went to number 1 and a Platinum certification. And the trend continued in other countries like Finland, Sweden, Norway, Switzerland, Germany, New Zealand and France.

The tour for “Adrenalize” went for 18 months, beginning in April 1992 and finishing in October 1993. After it, we got the excellent “RetroActive” in 1993 (a collection of unreleased tracks to close off the Steve Clark era) and a Greatest Hits package in 1995 called “Vault”. And the music scene kept changing but we didn’t think that Def Leppard would change that much. Then they dropped “Slang” in 1996 and man, they changed. But that’s another story.