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

New Jersey

I felt like listening to Jovi, so I called up “New Jersey” on Spotify. 

“Slippery When Wet” was written while Jovi and Sambora still lived at home and had a million dollar debt to the record label. The start of the “New Jersey” song writing process began as soon as the band came off a gigantic 18 month world tour with millions to their name. A double album was demoed and rejected. Desmond Child was brought in and a few more songs got written. Other outside songwriters like Dianne Warren and Holly Knight also contributed. The double album then became a single album and months after the conclusion of the “Slippery” tour, Bon Jovi had a new album ready to release and another world tour on the cards.

Jovi once said in an interview (and I am paraphrasing here) “What I didn’t get out of New Jersey was the pure pleasure of it”.

“Slippery” changed everyone around the band before it changed the band. Suddenly people around them started to make money because the band was making money. It was only natural that the band was sent right back into the studio.

Also after working so hard to make it, Jovi and Sambora realised that it’s even harder to stay on top. The success they had post “Slippery” could not be there tomorrow. “Slippery When Wet” moved 9 million copies in the U.S between 1986 and 1988 so the pressure was on to repeat it. Suddenly the band needed to deliver hits, where in the past they delivered songs that became hits. It’s a big difference in the mindset of the writer. Gone was the ignorance problem and in was the fame problem.

The problem that record labels don’t understand is people don’t always care about what the bands care about. And the reason they don’t care is because they don’t believe what the band believes in at certain points in time. In some cases, people just grow up and fall out of love with the soundtrack of their youth. And Bon Jovi’s challenge was to engage with their fan base and communicate in a way that shares the same emotion, values and beliefs. The fan base was also much larger than the fan base they had coming into the “Slippery” sessions.

They did their homework, looking at what Mutt Lange did with “Hysteria”. In addition, Aerosmith used Bruce Fairbairn for their 1987 smash “Permanent Vacation” so they had a fair idea as what kind of production was required.  

“Lay Your Hands On Me” was meant to be Bon Jovi expressing the feeling to the fans, that the band is still accessible. The same old dudes with new shoes, but the song was marketed as something totally different. Plus it kept in line with Bruce Fairbairn’s methodology that each opening track needs to have a cool intro for the live show.

“Bad Medicine” was a simple little romp linking making love to bad medicine. It might taste bad but you keep on going back.

“Born To Be My Baby” was a title Sambora came up with while Jon was playing the chord progression. It was more Dylanesque in the demo version with harp and harmonica in the mix than the final amped up version released on the album. 

“Living In Sin” is Springsteenesque. It had a pretty cool film clip with a decent amount of skin showing and Jovi is trying to move away from sugar pop into more serious territory lyrical.

“Blood On Blood” drew inspiration from the Stephen King film “Stand By Me” with River Phoenix and Keifer Sutherland. Jon had the draft, Sambora and Desmond Child further developed it. It’s also another song that’s very Springteenesque. “Blood On Blood” and “Wanted Dead Or Alive” are two songs Jon Bon Jovi would like to be remembered by.

“Homebound Train” is a rolling rocking good time song, perfect for the live show. But in an era that was controlled by MTV it would never have been a hit to the record label machine.

“Wild Is The Wind” and “Stick To Your Guns” are good pieces of AOR and occupy a similar place that “Without Love” and “I’d Die For You” occupy on “Slippery”. Both are fan favourites.

“I’ll Be There For You” was the unexpected hit on the album, buried deep at track number 10. “99 In The Shade” and “Love For Sale” close off the album. To be honest “Love For Sale” along with “Ride Cowboy Ride” should have remained off the album.

The foundation of any good record is the SONG. The song is meant to hit you in the heart, bring up some sentimental feeling or some feeling about the now. And the music we like accompanies us throughout our life. Human songs about what we go through in life are what end up sticking with us in the long run. 

“Jersey” came out, another 2 year tour happened and in between Jon Bon Jovi got married. Once the tour ended, Jon Bon Jovi went on a road trip, released a solo album for a movie and achieved even more success. Richie Sambora was left in limbo, picked up the pieces and also released a solo album. While “Jersey” didn’t have the same sales success as “Slippery”, it is a solid album and the band earned its keep as one of the best live shows.

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Music

The Spirit Of 83 To 85 Returned Between 1990 and 1992. Part 2…

I’ve been writing about 1983 for quite a while now. I didn’t think that when I started the series that more than 12 months later I would still be on the same topic. I guess the year was revolutionary to me. I always held a view that metal and hard rock music committed its own demise between 1990 and 1992 by dumbing down lyrics and simplifing their song structures. So when the bands from Seattle came out singing about social problems and personal thoughts, it was a no brainer to take the more serious lyrical subjects over the “having a good time and getting laid” lyrics.

However, during the writing of the 1983 series, most of the bands that had an impact in that year to me, also released music between 1990 and 1992 and I didn’t see much dumbing down of lyrics. Instead I saw better lyrics, more mature lyrics, lyrics that showcased highs and lows.

And my view of hard rock and metal committing suicide is changing. Yes, bands got signed to mimic another popular band.

Britny Fox = Cinderella. Tuff = Motley Crue. Steelheart = Whitesnake. Poison – Motley Crüe. Warrant = Motley Crue/Poison. Bullet Boys = Motley Crue/Poison. Faster Pussycat = Guns N Roses. Tora Tora = Guns N Roses. LA Guns = Guns N Roses. Danger Danger = Bon Jovi/Motley Crue. XYZ = Dokken. Roxy Blue = Van Halen and so forth. From memory, 95% of the lyrics of the clones dealt with having a good time, getting it on with someone and I guess having a good time again.

Here are another 6 records that have lyrical ideas and themes far removed from the clichéd sex, drugs and rock n roll themes.

  • Megadeth – Rust In Peace
  • Ozzy – No More Tears
  • Black Sabbath – Dehumanizer
  • Pantera – Cowboys From Hell
  • Pantera – A Vulgar Display of Power

“Holy Wars… The Punishment Due” deals with killing in religions name. I guess people are still killing for religion, something I struggle to understand. “Sins Of The Father” deals with a person paying for a crime committed in the name of religion. “Heresy” deals with religion corrupting the world;

People, they go to war
Because religion gives them
Reason to fight

“Dawn Patrol” deals with the aftermath of global warming, with the lyrics “the green house in effect, our environment was wrecked”. “Letters From Earth” also addresses the destruction of our environment as the lyrics deal with sending letters to an unnamed source/planet from a cold world called Earth. “Rust In Peace.. Polaris” deals with nuclear weapons and the threat of nuclear war. Polaris also refers to the star that sits over the North Pole, so is Mustaine singing about a new ice age brought on by nuclear war. “Master Of Insanity” deals with killing rain falling down from the sky and cities burning. “Shattered” deals with the world as we know it ending from below. “Computer God” deals with our infatuation to technology, virtual reality and artificial intelligence and Dio more or less sums it up with the following lyrics;

Virtual existence
With a superhuman mind
The ultimate creation
Destroyer of mankind
Termination of our youth
For we do not compute

“Primal Concrete Sledge” addresses social inequality.

There’s a double standard for the way we live
If there’s nothing to have, well then there’s nothing to save

“Rise” is about how we need to push aside our differences and the influences of our tribes, so we can unite and rise and dominate the world. “No Good (Attack The Radical)” addresses the race divide in the U.S.

In the states
There’s a problem with race
Because of ignorant past burned fires
From evolution
We’ve been killing each other
I figure man should have it down to a science

In “I Don’t Want To Change The World”, the chorus lyrics deal with how a person doesn’t want to change the world and they don’t want the world to change them. It’s the metal head commandment. Just leave us be and we will get by. “The Art Of Shredding” addresses social wrongs with the lyrics;

Unity is a rare thing
Blind eyes of society bring
The category of minority
Now what are we supposed to be?
Born free to be
Powerless to change the world
With our lives in the hands of madmen

“TV Crimes” deals with evangelists on TV guranteening instant glory if people send their money. Dio again nails it. It’s basically the same topic Daisley wrote about for “Miracle Man” a few years before.

Gotta send me a plastic Jesus
There’s a check in the mail today
That’s what I need
Somebody to love

“Desire” deals with wants. In it’s essence it’s a self-reflection song of what it means to be Ozzy. “I gotta keep rocking, ’cause it makes me crazy, it makes me crazy, who needs to be cool”. In “Hellraiser”, the lyrics deal with living on an endless road, around the world for rock and roll. That’s what people wanted, to be on the road, live the life and the groupies. All the money might be in tech and banking, but they don’t have this. “Time Machine” deals with a person who refuse to change and stays the same for their whole life. “I” is also about wants.

“Poison Was The Cure” deals with Mustaine’s addictions. “Zombie Stomp” addresses drug addictions and liking the users to zombies. “Psycho Holiday” also addresses addiction while being on the road.

“Mama, I’m Coming Home” deals with being away from a loved one. It was a hit, not because Ozzy sold out, but because he crossed over to country courtesy of Zakk’s Southern Rock influence.

“Tornado of Souls” deals with a relationship break up. “Too Late” also deals with the same issue. “Walk” deals with so called friends talking crap about you to other friends and then those other friends telling you what the so called friends said. “This Love” also deals with a relationship breakdown.

“Road To Nowhere” is about reflection and how in the end we are all on roads that really lead back to ourselves and if we are too caught up with our heads in the clouds, we will pass ourselves by. “A New Level” addresses moving on from the past that involved being stepped on and spat on by lesser men to a new level of confidence and power.

“Hanger 18” deals with government/military conspiracies/cover ups. “Cemetery Gates” deals with religious conspiracies/cover ups.

“S.I.N” addresses how we deal with our thoughts when we are alone. “Mouth For War” is about using your aggression and hate for good instead of evil. Be creative instead of destructive. “Live In A Hole” also addresses our fears of breaking out of our shell and if we allow the fear to take over, we are unable to break out of the cage it creates.

Metal and rock was good. The record labels on the other hand chased the dollar and fucked it all up.

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

Short Term

Thinking short term is hurting us. Every leader in charge thinks about the now and never about what’s around the bend. The majority of people in charge of corporations only care about the now. What is our bottom line looking like? There is no care about their environmental footprint or employee well-being.

Record labels are the same. They focus so much on first week sales and charts as they believe it brings in an instant payday, without understanding that the payday they are really earning is from music created 30 plus years ago and it just percolated, slowly rising to the top.

Have you heard of the record labels starting to employ artists as employees and offer them retirement plans? 

Of course not. That’s long term thinking. 

So Disney is pulling its catalogue of movies from Netflix in 2019. As a Netflix user, I say who cares. I never started subscribing to Netflix because they had Disney movies. I started subscribing because I wanted Netflix Originals. And with the addition of a comic book company with a cult like following, Netflix is looking at creating its own shared universe. It’s positive and long term thinking.

How often do we hear that people have no reason to pirate from the movie studios and record labels, as their catalogues are available online legally?

Amnesia seems to be the order of the day for the labels and studios because the online legal alternatives are fragmented. And as long as fragmentation exists, the pirate sites will be numero uno for content consumption. Same deal for music that’s available on Tidal or Apple and not on Spotify and vice versa. It’s ridiculous. So are consumers meant to have three streaming subscriptions for music and another ten streaming subscriptions for movies/TV. I don’t think so.

Consumers don’t want to have a dozen or so subscriptions. Just look at the cable TV industry. Too many subscriptions are expensive and not manageable, especially when these streaming sites are competing with illegal streaming sites who offer everything on the same site. Illegal streaming sites also show the content industries what kind of supply consumers want. At the moment, the content industries are focusing on the payday right now which means limiting the supply instead of the payday in the long term which means to open the supply and get more people to subscribe.

So what would Spotify do if Universal, Sony and Warner pulled their music from the service and started up their own service like Disney?

I don’t think it will happen. The revenues the three majors are getting from streaming licensing deals and royalty payments is insane. They would be crazy to leave Spotify. But if they do, Spotify is in trouble as it has no original content.

Have you seen the revenue numbers from Warner Bros lately?

Streaming grew by almost 60% from $227 million to $360 million. Downloads bring in $88 million, down from $121 million. Forget about vinyl, CD’s and cassettes. They are niche items that collectors would buy, however they will not sustain the business.

Overall income from recorded music grew by 13% to $770 million and it happened on the backs of listening instead of selling. Consumption in the 2000’s is all about access.

So if Spotify doesn’t pay, how did Warner accumulate $360 million dollars in streaming fees? All of those artists who sold their rights to corporations are losing out big time. The corporations who hold the rights are making a lot on streaming. 

The rich are getting richer. Meanwhile, we have clueless sites reporting how legacy artists need to hit the road to keep an income as they have no monies coming in from streaming. Well, these legacy artists need to get with the times. Get their fans to stream instead of buy and the corporation that has your rights will get paid royalties. And if you have a good deal with the corporation that holds your rights, you will get paid as well. If you don’t have a good deal, you will get squat. The game is rigged in the record labels and publishers favour. They are making a tonne.

It wasn’t supposed to be this way. The internet was supposed to level the playing field, give us all a chance. Instead we have monoliths who control 70% of the marketplace. And the powerful always abuse their position. Look no further than the scandals.

In Australia, we have our largest bank, Commonwealth Bank of Australia, involved in money-laundering. The deputy commissioner of the Australian Tax Office was covering up the multi-million tax fraud of his children. Politicians are resigning because they developed amnesia and forgot they are dual nationals, which is a breach of the Constitution. And still no word if they get to keep the money they fraudulently earned or they need to pay it back. All short term thinking.

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A to Z of Making It, Music, My Stories, Stupidity

Fragile Attention

If the stories are true, then Netflix has a debt problem. And we all know Spotify hasn’t turned a profit and neither has Pandora. Meanwhile, Soundcloud is for sale or closing up shop, depending on which stories you believe.

Will Netflix survive long enough to turn a profit?

I hope so. Their own catalogue keeps growing but does the money spent on original content turn into profits or is their debt due to infrastructure and network costs. The ISP’s charge Netflix (and all the other streaming providers) a lot of money and then they charge us to you use the internet and access Netflix. It’s a double dip of epic proportions. Netflix also has investors and shareholders that it needs to placate.

Radio is a perfect example of how it went from a format that broke acts and drove culture to a format that focused on profits to please shareholders.

Gyms make their money from customers who pay and never use the facility. However, the customers who are at the gym for 4 hours a day end up costing the Gym in the long run.

Is this the same deal with Netflix?

Streaming services might have 100 million subscribers, however they might have only 2 million subscribers accounting for 95% of the usage.

Then again it’s been proven that the type of user you want is the person who uses the service daily instead of once a week.

Netflix lives in the current world, where everything’s instantly available, just a click away. But they have the same issue every other service and artist has. People can’t slow down their lives long enough to immerse themselves in their content at a rate they would like. If Netflix has this problem, imagine every up and coming musician.

And sometimes it doesn’t matter what you do. If someone doesn’t want to hear from you anymore, you’ve lost the ability to reach them. For a brief time, an artist or a service might have a person’s attention. However attention is fragile. In a monoculture, when we had 5 channels and gatekeepers, attention could last longer. However it today’s world, it’s gone within an hour, sometimes even a week.

Attention is fragile. We give it and then we take it away only to give it to something or someone else.

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Influenced, Music, My Stories, Unsung Heroes

The Message of 1983 Appeared Again Between 1990 and 1992

What do “Photograph”, “Cum On Feel The Noize”, “Rainbow In The Dark”, “Looks That Kill”, “You Can’t Stop Rock’N’Roll”, “Bark At The Moon”, “Rebel Yell”, “Every Breath You Take”, “Lick It Up”, “Tell Me What You Want” and “Sister Christian” all have in common?

Man, 1983 was quite a year, maybe the most revolutionary year since the 60’s and The Beatles invasion. It’s also the year that metal and rock music became a commercial force and a massive influence on society. Along with the rise of MTV, culture changed dramatically.

Metal and rock music made governments introduce censorship stickers on new releases. Leaders and their wives thought they knew better, so they lobbied hard to make sure we knew if the album had rude or vulgar or violent lyrical themes. Preachers and TV evangelists became rich and famous when they condemned the art form and told their followers the devil is on the loose, only to be caught with their pants down in seedy motels.

The satanic panic might sound funny today, however back then it was real. Lawyers took artists to the civil courts because suddenly when records got played backwards some scientist found they had subliminal messages telling kids to kill themselves.

Band T-shirts had been around before, but nothing like the 80’s. A whole new billion dollar industry came about, because of the imagery. We wanted the T-shirts. It told the world we are a member of the club. It was like being sworn in at a bikie gang and getting your patches. Today, the same T-shirts are found in Kmart and Target stores. Hell, one of the Jenner girls put her face on em for publicity. But back then, you had to go to the concert or to a specialised record store that sold them to get them.

And as the genre became more popular it became a part of pop culture. And people in the know keep telling us it became diluted because popular doesn’t mean it’s the best. It just means popular. And the more popular it got, the more dumbed down the music and the lyrics became. Everyone keeps on saying that hard rock and metal committed suicide because the lyrics that addressed society got hidden in the background for lyrics about having a good time, rock and roll and having a good time.

Maybe that was the case for a certain between 1986 and 1992 for some bands, but in my view,  rock and metal music got some popularity credibility back both musically and lyrically, with the excellent “Slave To The Grind” from Skid Row, Metallica’s self-titled black album, “Empire” from Queensryche, “Seasons In The Abyss” by Slayer and “Countdown To Extinction” by Megadeth.

These five albums released between 1990 and 1992 addressed a lot of issues lyrically and it also foretold the rise of a new scene that would address similar lyrical concerns like depression, anxiety, paranoia and dark thoughts.

“Foreclosure Of A Dream” is about predatory banks foreclosing on people’s houses, while “Della Brown” is about poverty/homelessness in an advanced society. Guess not much has changed in the 25 plus years.

“The Unforgiven” is about parental control of the infant, who is growing up in a family with views out of touch with reality. We are all products of our tribes. The viewpoints of people who are around us, rub off on us. There is no escaping it.

“Countdown To Extinction” addresses our quest to destroy the food chain for trophies which in the end leads to our extinction while in “Resistance”, Geoff Tate is singing about the environment and how this is our world, we all share it, we need to stop abusing it, we need to stop neglecting it and we need to co-operate in trying to save it. “Skeletons of Society” address the aftermath of nuclear war as the fools become the wise and the rich become the beggars as nothing here remains because the end came so fast.

Climate change and extinction of certain species is a divisive topic. You either believe the evidence or you don’t. Corporations that stand to lose money are doing their best to hijack the conversation to suit themselves and the environmentalists are seen as roadblocks to human advancements.

What is clear to me is that nature always win. As much as humans try to control nature, nature always strikes back with storms, cyclones, rains, earthquakes, rising sea waters, tsunamis, heat waves, wild fires, cold fronts and hurricanes. Believe what you want, but remember, nature is forever while we are not.

“Architecture of Aggression” and “War Ensemble” address war while “Ashes in Your Mouth” addresses the aftermath of war. And in 2017, war is still present. Budgets for war and counter terrorism teams is more than education and health.

“Slave To The Grind” is about working 9 to 5 and not wanting to do so, but fearing if you don’t do it, you will get left behind in the rat race. Even more so today. With our lives in so much debt that we cannot pay it back while we are alive, the rat race is becoming a race to the bottom of the bankruptcy barrel. People lie about how much they earn just to be a member of an exclusive club.

“Best I Can” addresses gun control and how accidentally discharging a gun at home can lead to serious consequences. “Hallowed Point” also addresses guns and what guns can do the body. In the words of Araya, guns can turn flesh into confetti.

This is a controversial topic in the U.S as the Constitution gives the people the right to bear arms and the gun lobby is powerful in Washington and leaders are too scared to pass/support laws because they would lose the support of the Gun lobby in their own electorates. So every President is faced with doing press conferences after a massacre and no President has passed laws to reduce the deaths of gun violence.

In Australia, we had the Port Arthur Massacre and after that gun ownership laws got changed and a lot of automatic weapons got banned and surprisingly the Government leaders stood firm against the lobby groups.

“Symphony Of Destruction” is basically summing up a simple man’s rise to become a leader of a nation which is run by a faceless government and then letting that power get to their head as they destroy the world as we know it.

“Quicksand Jesus” addresses a person losing faith in their God and then feeling lost without that layer of support they believed they had in God. Then you have “The God That Failed” which James Hetfield wrote about his Mum’s belief that God would cure her cancer instead of science and medicine.

“Monkey Business” addresses street social life.

“In A Darkened Room” addresses child abuse.

“Captive Honour” addresses doing time for crime.

“Don’t Tread On Me” addresses U.S pride while “Wherever I May Roam” addresses the human spirit of travel/adventure and having no place to call home.

“Wasted Time tackles the effects of drug use on people close to you. “Skin o’ My Teeth” addresses suicide by wrapping your car around a tree while “My Friend Of Misery” addresses depression.

“Get The F Out” and “Riot Act” tackle censorship. “Blood Red” is about supporting citizens in their fight for freedoms and rising against totalitarian regimes.

“Creepshow” addresses how people put it all out there for fame, which more or less is summing up Facebook and other social media sites 15 years before they happened while “Mudkicker” is basically about what trolls do on the internet today.

“Empire” address gangs and their rise to societal power while “Expendable Youth” addresses inner city gang violence.

Cycles come and cycles go in music. It was just unfortunate that the record labels abandoned musicians who got classed in a record label genre for a new record label genre called Grunge.

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

Promised Land – Sweet and Lynch

I’ve been listening to “Promised Land”, the new single from the Sweet & Lynch project. For those that don’t know, Michael Sweet from Stryper joined forces with George Lynch to create Sweet & Lynch. They are supported by one of the best rhythm sections in the business in James Lomenzo on bass and Brian Tichy on drums. Underpinning it all is melodic rock label Frontiers.

Their first album, “Only To Rise” was released in 2014 and I must say it’s an excellent listen and a great throwback to a style I remember well, but with modern touches and production.

Well, here we are, 3 years later and “Promised Land” is the first single released from the upcoming “Unified” album.

The first thing that hooks me is the feel of the song. It’s basically a speed metal song and the double kick throughout the whole song adds to the frantic feel of it.

And the pedal point riffs make the song.

To me, it’s a cross between Dokken’s “Lightning Strikes Again” and “Tooth And Nail” in some sections and Stryper’s “The Way” in other sections. Reading some of the comments on the YouTube video, people are linking it to Dio, Iron Maiden, Ratt and Aerosmith. That’s the beauty of music. It’s subjective and I love the way people attach past influences to something new.

Lost on a sea of unreality
Searching for what we don’t know
Too many times we are blinded by fear
And locked in a box down below

We have been conditioned to reside in what’s familiar. We work with people who are familiar, doing jobs that are familiar and we will remain in these careers because it feels familiar. And we feel competent doing it. Change on the other hand is unfamiliar and it makes us feel incompetent.

Don’t let the devil rob your soul
He’ll always try to take his toll

In all forms of life we need to have a baddie, an entity that scares us so much, that we obey a certain way/rule so we don’t come across this entity.

Take my hand, the promised land
Is just where you want it to be
It’s all around, only to be found
Open your eyes and you’ll see the promised land

What is the promised land these days? Do people expect because they worked hard and did their best, something great will happen in the end? What are we seeking here?

Once you lie down it’s so hard to get up
That’s when the birds fly above
Eat from the table and drink from the cup
The glory of what you’re made of

Life is short and the world is forever. What we do while we are alive determines how long we live in the conversation after we are gone.

Don’t let the light go out in you
Look past the problems you pursue

Sometimes the things that mattered in our youth don’t matter as much when we get older. That’s what getting older means. We are able to not give a fuck about things.

The lead break is one of Lynch’s finest metal moments in 2017. It’s got melody, hammer ons, pull offs, sweep picking and string skipping. All at 140 plus clicks a minute.

It’s a crazy chaotic world we live in and a lot of good music is lost in the noise. “Promised Land” will probably be just another song lost in the 30 million plus songs on streaming, along with other Sweet & Lynch gems like “Love Stays”, “Me Without You” and “Recover”. But not to me. I’m streaming it and I’ll keep on streaming it.

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Copyright, Derivative Works, Influenced, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Copyright Lawsuits 

Ed Sheeran writes songs and they become popular. Then he gets hit with lawsuit after lawsuit because his songs are making money and the family members of a departed artist, or the business entity that owns the copyright of an artist who is departed or is not creating anything worthwhile anymore wants a cut. 

If Copyright terms remained how they were originally, this would not be a problem. First, the creator had a 14 year monopoly, with a chance to renew for another 14 years for a total of 28 years. However, once the creator died, all of their works became public property, free to be used by any other artist/creator to create derivative versions. So if the creator passed away during a term, the works ceased to be under copyright and went straight into the public domain.

How do you think the British 60’s invasion happened?

Copyright maximalists and corporations would like you to believe because of strong copyright laws giving the creator an incentive to create works in a vacuum and free from any sort of influence. However, it happened because of the blues songs in the public domain which Keith Richards, John Lennon, Jimmy Page, Jeff Beck and many others used to create new works. In some cases, similar works.

But then the Copyright laws started changing. On the backs of lobby dollars from the corporations the laws changed to last for the life of the creator and then the laws changed again to last for the life of the creator plus 70 years after the death of the creator.

So who is copyright benefiting once the person who is meant to have the monopoly (the creator) to create works has passed on?

The corporations and estates who control the copyrights of long-dead artists. That’s who.

And because of these non-creative entities controlling copyrights, inspiration is now interpreted as infringement. Music and culture worked because people write songs inspired by past heroes. When I heard “Lift Me Up” from Five Finger Death Punch, I went back and listened to “The Ultimate Sin” from Ozzy Osbourne. When I heard “Kingmaker” from Megadeth, I went back and listened to “Children Of The Grave” from Black Sabbath.

It’s these inspirations from the past that keeps the past relevant.

However due to copyright lawsuits, labels are now even asking the artists to give them a list of songs that might have been used as inspiration, so they could check the possibility of future copyright infringement claims.

So how is this good for music and music creation.

And what about music created by AI machines. Does that fall under copyright or is that copyright free?

And YouTube is still a punching bag when it comes to payments. 

While the labels and publishers took over 3 years to negotiate with Spotify about operating in the U.S, YouTube became the destination for people seeking out music. And while the recording industry patted themselves on the back when they got a percentage stake in Spotify and allowed it to operate in the U.S, YouTube was busying doing what the recording industry should have been doing.

Spreading the love of music to the masses.

So of course, the millions the recording industry gets in licensing isn’t enough and via their lobby group, the recording industry needs to get more in ad supported royalty payments. The musicians are also screaming for a change however it’s their copyright owner that has let them down.

But is YouTube really such a problem

Its popularity is overtaken by Spotify for music alone.

Give people what they want and watch it grow. I still reckon Spotify is priced too high. It’s the same price as Netflix and Netflix spends millions on creating its own content and licensing content. Music production is in the thousands and for DIY artists it’s in the hundreds. But a music streaming service charges the same price as a video streaming service. Ridiculous. But that’s the greed of the labels and the publishing companies.

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A to Z of Making It, Copyright, Music, My Stories

Frequency

Frequency. It’s a bad word for rock and metal artists. Release music frequently. 

It’s still a concept artists are struggling with. It’s even more troublesome for bands. The singer/songwriter can make it happen, but for bands it’s a different story.

Do you think Netflix would get 5.2 million new subscribers in the last quarter, if they released one tv show every two years?

Of course not. 

And their programming rocks. Don’t like this show, don’t worry we have another new show coming in two weeks.

While HBO might have “Game of Thrones”, its old school business model of releasing an episode each week will prove its downfall. 

While content is what brings people in, distribution is king! 

The oldsters did a great job selling the story of platinum records and chart placement = success. While rock gods lapped it up, hip-hop and grunge came to to fill the void and the danger that rock occupied. 

The new world demands more, while the rock and metal heads are still worrying about the chart placements and that build up to the one time release date, where money is supposed to rain down. 

The day of release is when the hard work really starts. You want a story that lasts and if you release a new song, wait for the reaction. 

If you get none, be smart and create more music. Forget the album, you’re looking for a reaction, and if you get none, it’s back to the drawing board. 

It’s an online streaming world. 

And to be in a band, it’s not about the payday so much as access and attention. Metal and rock needs to realize it’s best to have a continuous stream of new tunes being released and making news.

The money will come. But you need to control your copyrights so you get maximum royalties. 

It’s a new world and if you play metal/rock you’ve got to be in the streaming game and releasing frequently. 

The youngsters, the ones who replenish the music base are signed up to streaming. And artists who don’t want to be part of the streaming group are still debating the payouts.

Publishers and labels bitch about YouTube payments however those organizations are purely responsible for YouTube’s growth.

Because of greed, the labels and publishers negotiated with Spotify for over 3 years before it entered the US market. During this time, people turned to YouTube for their music fix. And it’s still number one when it comes to streaming.

The paradigm is different. Your musical output lives online and the money is in what lasts. Success is based upon cumulative streams, not sales of albums, and the streams go on forever.

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Music, My Stories, Unsung Heroes

In The End Nothing Really Matters

Chris Cornell and Chester Bennington, I guess we’ll never know the why and maybe those lyrics you guys wrote are very close to home than we believed. 
Adored by your fans but it wasn’t enough. Somewhere in the far reaches of your minds, a dark sliver of a thought was growing with such ferocity that both felt it was better to leave their world than live in it. 

Does it get to a stage where the people who make money from these artists need to be held responsible? 

Ivan Moody is battling addiction. He’s in and out of rehab, quitting the band on stage when intoxicated and apologizing the next day when he’s sober. It’s very public. 

So does FFDP stop everything, so Ivan Moody recovers properly or do they still roll forward with their schedule. And when Moody comes back from rehab, it’s back on tour like nothing happened. 

And then the new album release cycle starts again and another tour. 

Managers and all the artist hangers on make their money when the artist is on the road and earning. If things are not doing well, its the managers that set the tone of the conversations. If those millions become thousands, it means the manager cut is reduced. Managers used to care. It was personal. Most managers are now corporations. It’s all about schedules and percentages. It’s borderline negligence. 

The show must go on but there is no show when there is no artist. 

All death is tragic. 

David Z is a bass player and not a household name like Cornell and Bennington. For a lot of people, they’ve never heard of him. To me, he was one hell of a worker and an inspiration to all musicians, that you can have a career in music. 

He never made millions, but he recorded and toured. And when you strip it all away, music is basically that. Write a song, record it and play it live. 

And he had a career because of his never say die work ethic and all round good guy attitude. From his many different gigs, he built up a network of musician friends. And it’s because of that network, he got so many different gigs. 

So when a truck lost control on a Florida highway and slammed into the Adrenaline Mob RV parked on the side last week, David Z lost his life. 

All death is tragic.

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A to Z of Making It, Music, My Stories, Unsung Heroes

Jungle Giants

In an era that’s so far removed from the monoculture I grew up in, there are artists popping up everywhere. 

The Jungle Giants is a band I’ve never heard off but they are an unsigned band that’s racked up 36 million streams on Spotify. Those stats are impressive and way more than band stats on label deals. 

It goes to show if you are invested and operating in the modern world, well the skies are the limits. Ask any artist on a label deal to tell you what percentage of profits they’re making and they won’t be able to tell you. Ask any independent artists and they know. 

The band is confident for the future of digital music and they know economies of scale. The bigger Spotify gets, the bigger the pool of money grows to start paying artists. As long as the record labels and publishers don’t kill it off with high licensing fees. Because it’s artists like these the labels hate. 

“It’s not a perfect world for them (majors) any more… People can do it on their own.”Sam Hales – Jungle Giants Frontman

The labels don’t want artists to do it on their own. The labels don’t want artists controlling their own catalogues. The labels want to control it all. It’s because of this past control, the labels hold the power seat in negotiations. And they can put up roadblocks. If they take over the streaming companies, then bands like Jungle Giants will need to play by the record label rules.

“Every now and then we get something like eight grand, we get cash, and all our streaming revenue goes straight back into the band.”
Sam Hales – Jungle Giants Frontman

It’s hard work controlling your own destiny. With so much freedom, you are free to decide what path to take. 

And for those that think Jungle Giants just wrote one song and racked up millions of streams. Think again. Album number 3 just came out. They have skin in the game and momentum. 

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