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

The Week In Destroyer Of Harmony History – December 26 to January 8

Well it’s been two weeks since the last DoHh post.

Here we go.

4 Years Ago (2017 going into 2018)

2018 STARTED WITH SOME RANDOM LISTENING

Yngwie Malmsteen’s “Trilogy” album is full of great riffs and leads.

When the U.S record labels went anti shred in the 90’s, the Japanese and South American markets kept his career going.

There is no denying his 80’s output and it’s a shame that a rumoured collaboration with Ronnie James Dio never happened.

Then I moved to “Trash” from Alice Cooper. It’s commercial sounding, but it’s still Alice Cooper singing.

How can it not be good?

The real gems are “Spark In The Dark”, “This Maniac Is In Love With You”, “I’m Your Gun”, “Why Trust You” and “Trash”.

Afterwards, “Operation Mindcrime” from Queensryche got a listen.

It’s loaded with excellent guitar playing and the album gave me a tonne of great riff ideas to use as influences in my own song writing.

“Flesh and Blood” from Poison was next.

“Valley Of Lost Souls” is one hell of a good song and the best on the album.

“Let It Play” could have been on a John Cougar Mellencamp or Bryan Adams album while “Life Goes On” is a good power ballad and CC plays a tasty intro lead. “Come Hell or High Water” is another underrated tune in the vein of the Classic Rock of the 70’s that doesn’t get its dues.

“Ride The Wind” is another sleeper, while “Something To Believe In” copies the “Every Rose Has It’s Thorn” country bluesy vibe, however this time, the piano is the main driver instead of the acoustic guitar.

“Blow My Fuse” from Kix was up next. Now this album is a perfect example of the “progress is derivative model”.

It starts off with “Red Lite, Green Lite, TNT” which sounds very familiar like something from “The Rocky Horror Picture Show”. “Get It While It’s Hot” is heavily influenced by “You Shook Me All Night Long” from AC/DC. Actually it’s very heavily, heavily influenced by that song.

“No Ring Around Rosie” is a beefed up “La Grange” from ZZ Top in the verses. “Don’t Close Your Eyes” is taking its cues from “Home Sweet Home” and “Dream On”. “She Dropped Me The Bomb” is again heavily influenced by AC/DC with a touch of The Who.  “Cold Blood” is a very similar to “Long Way To The Top” from AC/DC in the verses.

“Piece Of The Pie” is very heavily influenced by Aerosmith. “Boomerang” is influenced by Led Zeppelin. “Blow My Fuse” is such a good track where the influences are not as obvious as the other tracks. “Dirty Boys” is influenced by “Let There Be Rock” by AC/DC.

Finally, Winger is up.

The groovy “Can’t Get Enough” kicks off the album.

When “Miles Away” came on, I wasn’t sure if it was Bad English or Def Leppard. It’s one of those slow tempo melodic rock songs. “Easy Come Easy Go” has a cool groove and I dig the horn section in the verses.

The next two songs are two of my favourite songs. “Rainbow In The Rose” and “In The Day We’ll Never See”.

RANDY RHOADS AND THE BLIZZARDS

The project could have been called that.

It all started when Ozzy auditioned Randy in LA. Afterwards they jammed for a few days with Dana Strum and Frankie Banali.

Then Ozzy went back to England and he met with Bob Daisley. Ozzy and Daisley jammed with another guitarist and drummer however Daisley mentioned that they needed better players.

Ozzy mentioned Randy Rhoads, however the label wanted a well-known British guitarist, but no one was interested to join because of Ozzy’s reputation. Gary Moore was Ozzy’s first choice and he rejected the offer to audition. Eventually the label relented and Randy was flown over to London. Rhoads and Daisley started writing music and it worked well. Lee Kerslake came towards the end of the writing process.

Here are some summaries of what I wrote about the songs.

Crazy Train

You can call this song Ozzy’s biggest hit but it never registered on the charts back in the day. But on Spotify and YouTube it’s huge. The new paradigm shows us what is being listened too.

Bob Daisley provided the title while Randy Rhoads had the riff and the chord structure. For the lyrics, Bob Daisley used Ozzy’s vocal melodies and referenced what was happening in 1979/80. The Berlin Wall was still up and the Cold War between the USSR and USA was still going on.

Goodbye To Romance

It was Ozzy’s title and it came from an Everly Brothers song called “Bye Bye Love.”

The lyrics were written by Bob Daisley and the subject matter was Ozzy’s “divorce” from Black Sabbath.

On the “Don’t Blame Me” video, Ozzy mentions he was humming the vocal melody, and Randy heard it and developed the chords around the melody. Ozzy’s revisionist take makes it sound that Bob Daisley was not involved at all in the song writing process, which is obviously not true at all.

CRITICAL MASS

There are always different kinds of audiences.

You have the early adopters, the first to hear about an artist. These early adopters are looking and wanting a different experience than the people who identify as the critical mass market.

Early adopters want something fresh, exciting, new and interesting.

The critical mass market don’t. They want something that is familiar.

Metallica when they started had an audience that adopted them early. Some of those fans stood by them all the way, even when they broke through to the critical mass market in the 90’s and some of those early day fans just moved on to something new and different.

And who should the artist please, the early adopters of their music or the mass market?

Profits are fine as they allow the artist to invest back into their art. But if profit becomes the main aim, well, nothing and no one benefits if profits are the only thing the artist seeks.

And yes, there are routes to popularity which are random or accidental or luck or being in the right place at the right time.

BOB ROCK AND METALLICA

Bob Rock knew exactly what every song needed.

The demo of “Sad But True” (I had a drummer in a band who thought it was called “Sad Patrol”) was heaps quicker. Bob heard a “Kashmir” feel and asked James to slow it down and make it crunchy.

Rock kept telling James to re-write lyrics to songs. He told him to use fewer words in the choruses and to use stronger words. He questioned James on what the song was about. He asked him how the verse lyrics referenced the song message. James didn’t like this line of questioning. If James couldn’t explain it back to Rock, it meant he hadn’t nailed the lyric.

Rock told Lars to take drum lessons and he told James to take singing lessons. He told Kirk to rewrite solos.

And as a side note, in “Get Him To The Greek”, Lars gets told by Russel Brand to “Go sue Napster and your fans”, and unfortunately that is the stigma that will forever stick with Metallica. They got so out of touch with reality that they sued their own fans for sharing their music.

Nicko McBrain sums up piracy in “Flight 666”when he said “We sold out in Costa Rica but haven’t sold an album in this country…”

8 Years Ago (2013 going into 2014)

GRAMMY’S

From when Jethro Tull won the first metal award at the Grammy’s, the whole awards has been a joke for metal and hard rock music.

Having Metallica then win the “Best Metal Performance” in 1990 for “One” and then in 1991 for “Stone Cold Crazy” just added to the Grammy metal jokes.

“One’s” fate was tied with the “…And Justice For All” album and that was meant for the 1989 Grammy ceremony.

And seriously, for the 1991 awards, a cover song was the best that was on offer in the metal world for releases released from October 1989 to September 1990. I don’t think so.

Even in 1999, Metallica won again for “Better Than You”.

For which song, I hear you say.

“Better Than You.”

Does anyone know from which album it was on or how the riff goes or the vocal melody?

I bet that most people will answer NO.

HEADED FOR A HEARTBREAK

Billy Squire made one ridiculous video with a pink top. And just like that an amazing voice, with a catalog of songs was gone.

Winger had Kip Winger. A Playgirl pictorial was too outlandish and as glam music was committing suicide by cloning itself over and over again, Beavis and Butthead came along and trashed the band.

Metallica even threw darts at Kip Winger while they recorded the “Black” album.

But.

“Headed For A Heartbreak” is a hell of a good song.

Winger’s debut didn’t come from out of nowhere. Kip Winger did his time as a songwriter and studio session musician working very closely with Beau Hill who would of course go on to produce the first two Winger albums that went platinum.

Guitarist Reb Beach is a graduate from the esteemed Berklee College of Music. He also did his time in backing bands and studio work, until he met up with Kip Winger and started writing demos.

Drummer Rod Morgenstein was the most experienced. Active since joining jazz fusion legends “The Dixie Dregs” in 1974, he was a very accomplished drummer to bring into the fold.

Keyboard player and back up guitarist Paul Taylor was the x factor. He was the touring keyboardist for Aldo Nova during his “Fantasy” success. He did his time with Alice Cooper’s backing band at the same time with Kip Winger and played on the “Constrictor” and “Raise Your Fist and Yell” albums.

Go on Spotify and check them out. Go on YouTube and check them out. Focus on the music and not on the pretty boy images put out there in the video clips.

DONT KNOW WHAT YOU GOT UNTIL ITS GONE

Andy Johns (RIP) was on deck again to deliver another big sounding album.

Drummer, Fred Coury didn’t even play on the album as Johns just kept on finding timing issues.

The end result is an album which is seen as a blues rock classic that can rival all the best output from seventies bands like Bad Company.

Hearing them again today, it sure brought back a lot of memories. Guess you don’t know what you got until it’s gone.

SEMI – OBSCURE BON JOVI SONGS PART 1

Everyone knows the singles and even some of those songs have now slipped into obscurity but if you dig deep enough you’ll hear some cult classics.

Tracks like;

THE HARDEST PART IS THE NIGHT

From the “7800 Degrees Fahrenheit” album released in 1985.

“Stay alive, the hardest part is the night”

SHOT THROUGH THE HEART

From the debut album released in 1984. “Runaway” took most of the glory as it became a radio staple however “Shot Through The Heart” was the reason I got into Bon Jovi.

It was good to see the song get some concert time during “The Circle” tour.

HOMEBOUND TRAIN

It’s written by Jon Bon Jovi and Richie Sambora and it’s got this heavy blues rock swagger that just connects.

The magic is at the three minute mark when it goes into this Elvis Presley meets James Brown meets Rolling Stones vibe.

The guitar drops out and it is the bass and drums that keep the groove going and Jon does a few voice impersonations, while Sambora keeps it funky and they build up the song again while Jon keeps singing “Here I Come”. The interlude is filled with church organ and harmonica lead breaks.

On “The Circle” tour, “Homebound Train” came back into the mix with Richie Sambora on vocals.

STARTING ALL OVER AGAIN

It’s got this “Rock N Roll Aint Noise Pollution” style intro written by the Jon Bon Jovi, Richie Sambora and Desmond Child song writing team.

THE RADIO SAVED MY LIFE TONIGHT

Another tune written for the “Keep The Faith” album that never made it.

To buy all the music that I liked was expensive, so I always purchased blank cassettes and kept my finger ready on the record button to record the latest song from the radio.

SEMI – OBSCURE BON JOVI SONGS PART 2

RIVER OF LOVE

It never made the “New Jersey” album and it is a tragedy that it didn’t get fleshed out and recorded properly. It’s got a basic foot tapping riff that sticks with you from the outset. For those keen fans, you will hear the riff groove re-used in “Save A Prayer”.

“Pretend we’re in some movie instead of faded jeans”

Listen to the “Raise Your Hands” reference in the interlude. You could write a whole song based on that riff. Wait, they already did.

Progress is derivative.

JUDGEMENT DAY and GROWING UP THE HARD WAY

Both songs begin with that whole “Na Na NaNaNa” in the same vein as “Born To Be My Baby”, “Rosie” and “Hide Your Heart” from Kiss. Both songs also share the same riff. Both songs are written by Jon Bon Jovi and Richie Sambora.

As with “River Of Love” these songs were recorded for the “New Jersey” album and they failed to make the cut. When a band is at their peak, they are able to churn out some great songs. The motivation is there to keep the machine rolling to see if the first round of success can be repeated.

In relation to the three demos mentioned above, I really thought that they would have seen the light of day “officially” when Bon Jovi released “100,000,000 Fans Cant Be Wrong” Box Set.

IF I WAS YOUR MOTHER

Man, this song is heavy and it has got some serious groove.

What a great vocal melody.

I saw them play it live on the “Keep The Faith Tour” and it rocked hard. The subject matter is weak and it hampers the song from being a powerhouse.

LETS MAKE IT BABY

It didn’t make the “New Jersey” album, however the bass line was used again in “Diamond Ring” (which was also originally written for the “New Jersey” album however it was officially released on the “These Days” album.

WEDDING DAY

“Wedding Day” was written for the “These Days” album, however it didn’t make the final cut.

The song is like a sleeper demo hit on YouTube.

Some of the lyrics made it into another Jon Bon Jovi song called “Janie Don’t Take Your Love To Town”.

SEMI – OBSCURE BON JOVI SONGS PART 3

DAMNED

It has a soul like funky blues groove very similar to what Lenny Kravitz was putting out.

“These Days” from 1995 is a very misunderstood album, released in a very confusing time.

Hard/Glam rock as we knew it was dead, Grunge was fading and alternative rock was rising, along with a form of industrial rock/metal.

LOVE IS WAR

Of course it sounds like “You Give Love A Bad Name” because Jon tried really hard to recreate the same vibe and the same kind of hit.

Is that a bad thing?

I’D DIE FOR YOU

“Slippery When Wet” was a monster of an album. And it was easy for other songs to get missed.

It’s got that Judas Priest “Breaking The Law” guitar line.

Did anyone pick up on that?

On YouTube, “I’d Die For You” is a cult hit. The fan’s have taken the song and made their own film clips, lyric videos and so on.

MY GUITAR LIES BLEEDING IN MY ARMS

The title is a take on the George Harrison classic, “While My Guitar Gently Weeps”.

ONLY LONELY

The bottom line is this; it is a fan favourite.

THE PRICE OF LOVE

“We live, we learn, we lieFor the price of love”

Aint that the truth.

WITHOUT LOVE

Written by the Jon Bon Jovi, Richie Sambora and Desmond Child song writing team for the Slippery When Wet album.

BURNING FOR LOVE

Sambora goes to town during the lead breaks, showcasing his abilities as a melodic shredder. He never went too over the top, always focusing on enhancing the song, instead of enhancing his ego.

RIVER RUNS DRY

It is a Jon Bon Jovi and Desmond Child composition that begins as a derivative version of Led Zeppelin’s “Stairway To Heaven”.

Remember, progress is derivative.

SAVE A PRAYER

No one knows this song even exist, but they should.

THE BALLAD OF BOB DAISLEY

The music business is tough.

However, what happens when an artist in a position of power and mainstream success, does their best to undermine the work of previous people in their career.

This is what the Osbourne’s are doing to Bob Daisley.

They are trying to re-write history to show that Ozzy Osbourne himself was the main reason why his solo career progressed.

They are omitting important facts that when Randy Rhoads and Bob Daisley signed on, it was always spoken of as a band. They are omitting important facts that the band was actually called Blizzard Of Ozz. They are omitting important facts of Ozzy punching Randy, because Randy didn’t want to do a live covers album of Black Sabbath songs.

Most importantly, they are omitting the main fact, that Bob Daisley served as the lyricist for for six albums.

The sad thing is that if anyone reads the credits to the “Bark At The Moon” album, you will see it listed as “All music and lyrics by Ozzy Osbourne.”

Like, yeah right, Ozzy really churned out all of those riffs.

It is sad at to what level the Osbourne’s stooped at that stage. One more thing, read the book from Ozzy and tell me how many times he mentions Jake E. Lee in the book.

But that is a story for another day.

VITO BRATTA

I did a Top 10 of Bratta killer riffs or moments.

All The Fallen Men

Wait

Love Dont Come Easy

Fight To Survive

Hungry

When The Children Cry

Cry For Freedom

Lady Of The Valley

Little Fighter

Warsong

In the end I had a hard time picking 10 songs for this post as each song that Vito has played on all have unbelievable sections.

BATM SONGWRITING CONTROVERSY

Coming into the “Bark At The Moon” sessions, the Blizzard of Ozz band was finished.

Bob Daisley and Lee Kerslake were fired before “Diary of A Madman” came out and the other driving force, Randy Rhoads died tragically when the plane he was on crashed into a mansion and burst into flames on March 19th, 1982.

Ozzy Osbourne as usual was at his drunken best but he still delivered the “Speak/Talk Of The Devil” album, and by doing so he was free from his Jet Records contract, ready to sign a major label deal with CBS.

Jake E Lee joined during the “Speak of the Devil” tour. Once that tour ended, the song writing process began for the next album.

Most of the writing was done by Lee and Bob Daisley.

“Bark At the Moon” was a title that Ozzy came up with. Jake E. Lee came up with the riffs and Bob Daisley wrote the lyrics.

While Bob Daisley got a buy out for “Bark At The Moon”, it looks like Jake E.Lee got screwed over. There are no royalty checks for the songwriting and no publishing monies either.

COPYRIGHT INC

I just finished watching the Rush documentary, “Beyond The Lighted Stage” and in the documentary, Neal Peart is talking about their “Vapor Trail” tour of South America and how they didn’t know what to expect because they never had big sales there and in the end they played to their biggest ever concert attendance at Sao Paulo.

The Brazil tour took place in November 2002. File sharing started in June 1999. Maybe copyright breaches by fans is not a bad thing.

And that’s another wrap for these last two weeks.

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

The Week In Destroyer Of Harmony History – December 12 to December 18

4 Years Ago (2017)

I was busy writing my EOY lists during this week.

8 Years Ago (2013)

CITY LIMITS

From “I Am Giant”, released in 2010.

It has this bass intro that reminds me of the song “Comedown” from Bush and the drum beat makes me think of “When The Levee Breaks” from Led Zeppelin. If you want an introduction into the band, then this is the song to start with.

“Are we living?
Or merely killing time?

BOOM.

Then the distorted guitars crash, mimicking the bass riff.

Check it out

BON JOVI – LIVE IN AUSTRALIA

The Buick stage design was a great concept.

It was fitting that they opened up with “That’s What the Water Made Me”, the best song from the “What About Now” album.

And they then went back to 1986 with two classics “You Give Love a Bad Name” and “Raise Your Hands” from the “Slippery When Wet” album.

And the 50,000 plus crowd enjoyed every note as the band went through their catalogue of songs.

JOVI’S GREATEST HITS PACKAGE

The story of the Bon Jovi “Greatest Hits” album goes back to 2007. At that time, Jon was very interested in developing the country rock sound that he experimented with on the unexpected hit single, “Who Says You Can’t Go Home,” which was featured on the 2005 album, “Have A Nice Day”.

The label, Universal Music wasn’t interested in allowing Jon to follow his muse, and instead wanted a “Greatest Hits” package from the band.

In the end, Universal couldn’t stop Jon from going ahead with the album; however the label believed that they would lose a lot of money on it.

So the label made Jon promise that once the country rock album bombs, Jon will deliver a “Greatest Hits” album.

But the“Lost Highway” album and world tour was successful.

After the “Lost Highway” tour, Jon and Richie got together and started writing five songs for the promised “Greatest Hits” package that was to come next.

Then the global financial crisis happened, and according to Richie Sambora, he and Jon just continued writing more than the required amount of songs needed for the “Greatest Hits” package.

Another argument was put forward to the label to release a new album, which in turn would postpone the “Greatest Hits” release again.

From the songs written, most of them would end up on “The Circle” album, with five songs left over for the “Greatest Hits” package.

The “Greatest Hits” was finally released in October 2010, while the band was still touring on “The Circle” album and it gave the band further momentum to hit the road again in 2011.

And I wrote 7000 plus words about the “Greatest Hits” package and the story behind it.

BLOWSIGHT

If you want to read about a Swedish band called Blowsight, then read on.

STILL OF THE NIGHT

It is a well-known fact that Led Zeppelin has borrowed (or stolen depending on how people view this) bits and pieces from other artists however Zeppelin’s influence and reach is vast and if there was no Led Zeppelin, a lot of bands that we love and like today would have not have existed in the form that we know them.

One such band is Whitesnake.

For a lot of people, their first hearing of Whitesnake was in 1987 and a song called “Still of the Night”.

The song is written by lead singer David Coverdale and guitarist John Sykes.

The Led Zeppelin influence is unmistakable.
The vocal delivery over the F#5 power chord in the intro reminds me of Robert Plant from “Black Dog” and “Jailhouse Rock” from Elvis Presley.

When the riff kicks in straight after, the ears are treated to a combination riff based on “Black Dog” and “Immigrant Song”.

Even though it is derivative, it is hard to burn out on the song because it doesn’t sound like anything else.

AVATAR

It’s hard to believe that “Black Waltz” was Avatar’s fourth release. Another band from Sweden and the famous Gothenburg melodic death metal scene.

I was interested to check this band out after the guys from Five Finger Death Punch mentioned in an interview that Avatar’s new album is doing the rounds while they are on tour and that it is influencing them in the riff department.

Avatar has just so many elements in their music.

Industrial rhythms (like Rammstein) – check
Old Time Rock N Roll boogie – check
Swedish melodic death metal scene (like In Flames) – check
Hyperactive metal (like System of A Down) – check
Modern Metal elements (like Disturbed) – check
Technical Metal elements (like Meshuggah, Sikth) – check
Melodic, arena sized choruses – check
And that is what I got from listening to Black Waltz. A bizarre, melodic, psychotic freakshow.

Check em out.

And that’s another wrap for another week.

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

Australian Method Series: Jet – Shine On

My first post on Jet was “Shaka Rock”, their third album. Then it was the debut “Get Born”.

And I wrap up their output with their much anticipated second album, “Shine On” released on 30 September 2006, in Australia and on 2–3 October 2006, internationally.

When you Google the album name and review, the Pitchfork review is the first one that Google brings back.

Pitchfork gave the album an 0.0 review and the page had an embedded YouTube video of a monkey peeing in its own mouth. I’m presuming to state it’s a “piss poor” album.

But Aussie’s don’t care about expectations and artists development. We care about fun and Jet just made another fun album rooted in good old fashioned Blues Rock.

Holiday

There’s no way that people can’t like this song.

It has all the trademarks of what Jet is. A hooky riff, dumb lyrics and a fun attitude. There is this small riff between the main riff that reminds me of QOTSA.

Makes no difference what they say
We’re goin’ on holiday

It sounds too good to be true these days. Going on a holiday.

Put Your Money Where Your Mouth Is

If there’s one thing us Aussies like, is a good punt. We’ll bet on anything. But this song isn’t about betting.

It continues the catchy riffs and themes from “Are You Gonna Be My Girl”.

She goes down
Like a setting sun

It leaves little to the imagination.

You can be the sinner and I’ll be the sin

Best lyric in the song.

Bring It On Back

The Beatles (as a byproduct Oasis as well) and Bad Company come to mind here.

For all that you said
Would you take it all back?

Even if it’s taken back, it’s been said and words sting deeper than actions.

That’s All Lies

It’s more Punk Rolling Stones like, in a 12 bar blues sense.

Kings Horses

It’s a country folk rock cut.

In the morning i swear i will tell you the truth
How you receive it, well, that’s up to you

Everyone has their own version of the truth.

Shine On

A tribute to the Cesters’ father, who passed away from cancer while they toured on the “Get Born” album.

Oasis and “Stop Crying Your Heart Out” comes to mind here.

Everything will be okay
We will meet again one day

It’s impossible but people believe it’s possible.

Come On, Come On

It’s very ELO meets Rolling Stones.

If they ask you to stand, well they just want you to kneel

So if you stand based on someone else’s command, then you will kneel when they tell you to kneel.

Stand Up

It’s a basic blues rock song in a Rolling Stones “Sympathy For The Devil” and “Revolution” from The Beatles vibe with the message from the 80s, like “Stand Up And Shout” and “We’re Not Gonna Take It”.

Stand up, you got to live while you can
Stand up, burn up before you fade out
Stand up, don’t you follow the crowd
Stand up, you got to live in the now

Rip It Up

Might as well call it “Wipeout” as it has that 60s Beach feel.

Rip it up, rip it up if your ever gonna make it!

Skin And Bones

It starts off with that “Shooting Star” and “Werewolf In London” riff.

Shiny Magazine

It’s that whole Beatles/Oasis feel.

Eleanor

Strummed acoustics and a campfire “Rubber Soul” feel.

All You Have To Do

And the album ends.

They recorded a shit load of songs for this album and there are so many versions of the album with a lot of bonus tracks and demos.

It didn’t sell anywhere near the debut but that doesn’t mean it’s a crap album.

Check it out.

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

1996 – Part 4.7: Semisonic – Great Divide

Those 70’s Classic Rock vibes came back in full force in the mid 90’s, rebranded as Alternative Rock.

“Closing Time” in 1998 made them Superstars so I was curious to hear more.

Semisonic is an American rock band formed in Minneapolis, Minnesota, in 1995.

The band has three members: Dan Wilson (lead vocals, guitar, keyboards), John Munson (bass guitar, keyboards, backing vocals, guitar), and Jacob Slichter (drums, percussion, keyboards, backing vocals).

“Great Divide” is the debut album released on April 9, 1996 by MCA Records. The band had signed a record contract with Elektra Records to record the album. During recording, Bob Krasnow, the president of Elektra Records had quit, and in the changeover to a new president, the Neglektra dropped Semisonic. The band then signed with MCA Records, and finished recording the album.

F.N.T

The main riff is catchy.

If I Run

I like the groove on this and the way the vocal melody sounds.

Delicious

It reminds me of Everclear and that whole power pop and post-grunge scene.

Down In Flames

Very Pearl Jam like and bleak.

Temptation

Press play on this just for the bass groove and the way the guitars and keyboard play the riff.

The sort of falsetto like vocal melody is also different and catchy.

The Prize

Before Creed wrote “Higher” there was “The Prize”.

Brand New Baby

The best song on the album. Press play to hear the Chorus.

Hearing this album so many years after it’s release is a fun trip. A lot of people see this album as better than the second album. Then again, they are labeled as a “one hit wonder”.

Ignore all that and just press play.

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

1996 – Part 4.6: Steve Vai – Fire Garden

I sort of lost track of Steve Vai in the mid 90’s along with all the other instrumental guitarists I was into.

“Fire Garden” is his fourth studio album, released on September 17, 1996 through Epic Records.

As described by Vai in the liner notes, Fire Garden is a concept album divided into two “phases”.

“Phase 1” comprises tracks 1–9 and is entirely instrumental while “Phase 2”, features Vai on vocals on every song except the instrumental “Warm Regards”.

There’s a Fire in the House

The start of Phase 1.

This feels like it could have come from a Whitesnake album. David Coverdale would have had a nice time coming up with lyrics to the riffs here as it’s got that heavy rock feel from the “Slip Of The Tongue” album which although Steve Vai didn’t co-write, he recorded all the guitars for.

The Crying Machine

I like the funky rock on this and Vai’s lead for what I call the “verses” is excellent.

Then it moves into a Blues and Funk Rock fusion solo section.

Dyin’ Day

This song is listed as a co-write with Ozzy Osbourne as it was written during the writing sessions for Osbourne’s 1995 album “Ozzmosis”.

Another song from those sessions, “My Little Man”, made its way onto the “Ozzmosis” record and is credited on that album as being co-written by Vai.

I don’t know what Osbourne could have written on an instrumental song, however I am pretty sure contractually Vai had to add him as a co-writer.

How good is the acoustic guitar riff to start it off?

Whookam

Useless track of backward vocals.

Blowfish

Great track, with a groovey riff which wouldn’t be out of place on a Joe Satriani album.

The Mysterious Murder of Christian Tiera’s Lover

A minute of Steve Vai doodling and it’s somehow a track. More like a solo section spot light.

Hand on Heart

It’s a romantic power ballad instrumental. Press play on it.

Bangkok

Written by Benny Andersson, Björn Ulvaeus and Tim Rice. Yep it’s those Abba dudes. The sound of flies starts it all off and the flies get louder and louder and louder and then the music comes in, more soundtrack like with a classical exotic feel.

It’s a great track which segues into the best track on the album.

Fire Garden Suite

It clocks in at 9.56 and it has four parts in “Bull Whip”, “Pusa Road”, “Angel Food” and “Taurus Bulba”.

It reminds me of the progressive rock fusion of Al DiMeola and Dream Theater. It’s some of his best music.

Definitely press play on this.

This song also has Mike Mangini playing drums on it.

And Phase 1 ends here.

Deepness

Phase 2 begins here.

A 47 second song that features some vocals from Devin Townsend, actually more yeahs and ahhs then vocals.

Little Alligator

Vai’s take on the Blues is very Mixolydian and Lydian like instead of Pentatonic.

All About Eve

Vocally, Vai sounds very Alternative Rock like. But musically, it feels like I am listening to a Dream Theater album.

Aching Hunger

It sounds like a Prince song, like “When Doves Cry”.

Brother

Emotional song, with Vai’s attempt on Southern Country Rock sounding modern and great.

Damn You

I like the riff that starts it, and before bands like Stone Temple Pilots blew us away, I guess Steve Vai was already doing it.

When I Was a Little Boy

It’s a skip for me.

Genocide

It’s a weird title for a song which sounds like a stadium rock song.

Warm Regards

A relaxed ballad instrumental jam to end the album.

And the personnel for the album is extensive. Steve Vai plays a lot of instruments plus he produced it and engineered it and wrote it. He had five drummers come in. The bulk of the drums are done by Deen Castronovo, with Mike Mangini playing a couple of tracks and Chris Frazier, Greg Bissonette and Robin DiMaggio providing drums on a track each. Steve Vai plays most of the bass, but that funky bass on “The Crying Machine” is played by John Avila and Stuart Hamm appears on “Dyin’ Day”.

Phase 1 is exceptional.

Phase 2 is Vai trying to do things a bit different and add vocals to his solo career which didn’t connect.

In the end, the album is a fusion of so many different styles that it almost can be labelled a prog rock record.

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The Week In Destroyer Of Harmony History – December 5 to December 11

4 Years Ago (2017)

1983

The final blog post of my devotion to the year known as 1983 involved an eclectic bunch of artists.

Like “Modern Love” from David Bowie,
“One Of The Few” from Pink Floyd, “Sirens” from Savatage and “Cuts Like a Knife” from Bryan Adams.

“Alpha” from Asia which sold a lot but it was still seen as a failure by the record label because it didn’t match the sales of the debut album a year before.

“Head First” from Uriah Heep, another 70’s act that had to re-establish itself in the 80’s MTV world. So it was no surprise the band delivered a very pop sounding 15th album.

“Nemesis” from Axe was also on the list. Remember “Rock ‘N’ Roll Party In The Streets”. It’s from Axe’s 1982 album “Offering”. The name “Axe” didn’t really market the band to its full potential.

Axe was touring with Mötley Crüe in 1984 when their guitarist was killed in a vehicle accident. Another member was badly injured and the band broke up after the accident.

Michael Bolton was a rocker first and a balladeer later. He was in a hard rock band called Blackjack with Bruce Kulick between 79/80, so it was no surprise to see Bruce Kulick on lead guitar when Bolton went solo on his self-titled debut. Even Bruce’s bro, Bob Kulick makes an appearance. Another favourite guitarist of mine, Al Pitrelli replaced Kulick for the tour which was cancelled after four shows.

U2 and the “War” album was on the list along with Divinyls and the “Desperate” album. The song “Boys In Town” was all over the TV and the radio in Australia.

Eurythmics had me hooked with “Sweet Dreams (Are Made of This)”, “Here Comes The Rain Again” and “Who’s That Girl”.

Being the long haired lout I was, I hated the way Spandau Ballet looked, but man they could write a good pop tune that worked well in a rock context. “Pleasure”, “Gold” and “True” are such songs. Great to re-interpret on guitar for a rock setting and it was interesting learning sax solos for lead guitar.

Elton John along with Bernie Taupin wrote pop songs that worked well as rock songs. “Kiss The Bride” and “I’m Still Standing” are two such songs I covered in various bands I was in.

Jim Steinman moved from Meatloaf to Bonnie Tyler. Big production, big songs and a lot of piano lines ripped off from classical music. But the best song on the album is “Have You Ever Seen The Rain” a cover of a Creedence Clearwater Revival song.

“90125” from Yes was album number 11 and the band was a very different beast from its Seventies incarnation.

SAYING ONE THING AT A TIME

If an artist is creating songs and making those songs difficult to get, the audience would surely move on to something else.

If a person talks for 70 minutes we will hear nothing. If an artist releases 70 minutes of music, we will remember some of it and forget the rest.

Most of my favorite albums lasted between 30 to 40 minutes in total.

All new music is competing with the history of music, plus TV shows with movie budgets, plus blockbuster movies, plus technologies and social media, plus AI created news stories and the history of print.

Maybe music is better when it is released frequently and when an artist tries to say one thing at a time, instead of 10 different things at once.

8 Years Ago (2013)

SALES

Spotify came into the market with the idea that they need to compete with free. And compete they did. The service even started to break artists to the masses, something that the record labels couldn’t do or were clueless to do.

But the mass media still focuses on the sales in the first week and the chart position. This is so old school and not a great measuring tool of reach or success, especially for new acts starting out.

But we get headlines like this.

Loudwire: Dream Theater’s new DVD ‘Live At Luna Park’ recently entered at No 1 on the Soundscan music DVD chart.

Loudwire: Volume 2 of Five Finger Death Punch’s ‘Wrong Side Of Heaven; lands at No. 2 on Billboard 200.

Blabbermouth: “Wretched and Divine: The Story of the Wild Ones” sold 42,000 copies in the United States in its first week of release to debut at position No. 7 on The Billboard 200 chart.

DOES A BAND HAVE CUSTOMERS OR FANS?

“Our audience are fans first and customers second. We really try not to annoy them.”
The above quote is from Stefan Mennerich, Bayern Munich Director of New Media, Media Rights & IT.

So how can a band turn fans into satisfied customers that keep on coming back, again and again?

DREAM THEATER

My favorite tracks from the DT album are still…
“The Bigger Picture” and “Illumination Theory”.

MEGADETH

Megadeth was in the news sections of the metal and rock websites a fair bit back then.

Regardless of what people think about Dave Mustaine or Megadeth, they can never take away the historical fact that Megadeth were early web pioneers.

Does anyone remember their old “Megadeth, Arizona” site that was launched in 1994 and then re-designed and re-launched for the “Cryptic Writings” release two years later?

Apart from the normal pieces of information, it was also a place for fans to check in, hang out and interact with the band along with other fans. Something that social media has built on and improved.

2013

Well the year was almost over and it was time to look back at the albums that connected and hit the mark for 2013 for me.

  1. Protest The Hero – Volition
  2. Avenged Sevenfold – Hail To The King
  3. Five Finger Death Punch – The Wrong Side Of Heaven And The Righteous Side Of Hell Vol 1
  4. Killswitch Engage – Disarm The Descent
  5. TesserAcT – Altered State
  6. Trivium – Vengeance Falls
  7. Coheed and Cambria – The Afterman – Descension
  8. Five Finger Death Punch – The Wrong Side Of Heaven And The Righteous Side Of Hell Vol 2
  9. Volbeat – Outlaw Gentlemen and Shady Ladies
  10. Alter Bridge – Fortress

Notable Mentions

Audrey Horne – Youngblood
Mutiny Within – Synchronicity
Hearts And Hands – My Own Machine
Love and Death – Between Here and The Lost
Sound Of Contact – Dimensionaut
Faith Circus – Turn Up The Band

Final Notable Mentions

Due to my kids overdosing on the music I placed on their iPods certain classic rock albums have come back into my life.

Twisted Sister – You Cant Stop Rock N Roll
Twisted Sister – Stay Hungry
Kiss – Lick It Up
Kiss – Asylum
Kiss – Destroyer
Deep Purple – Machine Head
Bon Jovi – Slippery When Wet
Survivor – Eye Of The Tiger
Europe – The Final Countdown

CRY FOR FREEDOM

White Lion had the balls to tackle the subject of apartheid.

The Eighties mainstream Metal and rock had degenerated into a state of generic and clichéd derivative lyrical themes and subjects involving sex, partying and drugs.

When bands branched away from that, it was very hit and miss.

White Lion fell into that crowd of misses as the label “Atlantic” would still push them as pop metal or pop rock.

The tours and marketing had White Lion sandwiched amongst bands like Motley Crue, Skid Row, Kiss, Whitesnake, Alice Cooper, Blue Murder and Badlands.

RANDY RHOADS

Randy Rhoads is a huge influence.

My first introduction to Randy Rhoads was the “Tribute” album and the tablature book that came with it formed my bible for a long time.

He was just unique.

Rhoads formed Quiet Riot when he was 16 years old however as good as Randy Rhoads was, the band couldn’t get a record deal in the U.S and they ended up releasing two albums (QR I and QR II) in Japan. Of course this incarnation of Quiet Riot was a totally different line up that sang “Cum On Feel The Noize” which in turn brought metal to the mainstream.

Most people know his musical legacy from the two landmark albums he made with Ozzy Osbourne.

The post covers my Top 10 songs from Randy Rhoads.

And that’s another wrap for another week.

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The Record Vault: Deep Purple – Come Taste The Band

It took Deep Purple seven years to make it to the top and two years to break up. The air is thin at the mountain top.

Deep Purple had lost their lead singer Ian Gillan and bassist Roger Glover in 1973 and replaced them with David Coverdale and Glen Hughes. This MK3 version recorded two albums and then guitarist Richie Blackmore left at the start of 1975. This was weird as Deep Purple was seen as “his” band. And from looking at it, it’s like the owner of the house vacating their premises for the guests to take over running the house.

But Deep Purple would soldier on, replacing Blackmore with a young guitar hero from the U.S. known as Tommy Bolin. Rounding out the band is the rest of MK3, David Coverdale, Glenn Hughes, Jon Lord and Ian Paice.

And MK4 was created.

“Come Taste The Band” came out in 1975. It’s the usual production team of the band and Martin Birch.

The name Tommy Bolin came into my life because of Motley Crue. The Crue covered the song “Teaser” for a Compilation album and they also released it on a Raw Tracks CD made for the Japanese market, which I got my hands on. The song is so good and sleazy it sounded like a Crue original and I was curious to hear more from Bolin.

So as I was going back into the career of David Coverdale because of Whitesnake’s attention grabbing 87 LP, I was doing the same for Tommy Bolin.

So I got my hands on the “Teaser” and “Private Eyes” album first and imagine my surprise when I came across an album that had both Coverdale and Bolin on it.

Comin’ Home

Written by Tommy Bolin, David Coverdale and Ian Paice with vocals provided by Coverdale.

This song rocks out of the gate paying homage to the fast rock sounds of Deep Purple MK1, MK2 and MK3. But it was more Grand Funk, like “We’re An American Band”.

Lady Luck

Written by Jeffrey Cook who co-wrote songs with Bolin for the “Teaser” record with lyrical contributions from Coverdale.

Vocals are provided by Coverdale. In didn’t really do much for me.

Gettin’ Tighter

Written by Bolin and Hughes with vocals provided by Hughes.

This song is funky out of the gate, and sleazy once the whole band comes in.

Dealer

Written by Bolin and Coverdale with vocals provided by Coverdale and Bolin.

It’s very Hendrix “Purple Haze” like in the riff departments with a Beatles like Folk Rock interlude which Bolin sung.

I Need Love

Written by Bolin and Coverdale with vocals provided by Coverdale.

I like the groove on this, and the way the verse riffs are played out with the heavy synth from Lord.

Drifter

Side 2 begins with this song written by Bolin and Coverdale with vocals provided by Coverdale.

It’s got a great Intro which reminds of “You Really Got Me” or “American Woman” and check out the groove that comes in once the drums and bass kick in.

Coverdale’s bluesy voice is a highlight.

At 2.36 there is just a bass and keys section over a drum groove. It reminds me of things that Rush would do.

Then Bolin comes in, with volume swells and a solo begins. The drums and bass become busy as they build it up, and the vocals come back in. Its brilliant, it gives me goose bumps all the time, so press play just to hear that.

Love Child

“Heartbreaker” anyone. Press play and listen to the intro.

Written by Bolin and Coverdale with vocals provided by Coverdale.

The verse groove and riff are my favourites even though the whole “love child driving me wild” lyric didn’t set the world on fire.

At 1.50, they go into a progressive rock style groove and Lord solos over it.

This Time Around / Owed to ‘G’

Written by Hughes, Lord and Bolin with vocals provided by Hughes.

It’s very progressive sounding, like ELO and it moves into a great instrumental jam over a 12/8 groove with excellent lead guitar from Mr Bolin himself.

You Keep On Moving

Written by Coverdale and Hughes with vocals provided by Coverdale and Hughes.

This is the standout track. Its haunting and melancholic and it was written during the “Burn” sessions but not used.

Norway, Sweden, Denmark, Holland, Czechoslovakia and West Germany all got behind this version of the band. The Japanese still loved em and New Zealand loved em even more.

But.

The classical progressions and jams had been replaced with groove, soul and funk. It could be seen as an early Whitesnake album, as a few tracks have “Love” in the title, which is similar to every Whitesnake album.

Also in 1975, Tommy Bolin had two records competing against each other, which probably wasn’t the best scenario for Deep Purple however I have seen “Teaser” album pictures with a sticker on em that said “Guitarist Of Deep Purple”. Since most of the songs were written by Coverdale and Bolin, the project could have been billed as Coverdale/Bolin.

After the tour for this album finished in March, 1976, Deep Purple MK4 was no more. Glen Hughes was already having issues and was in and out of rehab. David Coverdale would form Whitesnake and get Jon Lord and Ian Paice into the project. And Tommy Bolin by December 1976, was dead from drug intoxication as morphine, cocaine, lidocaine and alcohol were all found in his system.

But the music lives on.

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

The Record Vault: Deep Purple – Stormbringer

“Stormbringer” came out about 9 months after “Burn”. In the space of a year, Deep Purple were busy writing and recording frequently.

What a novel idea.

Try and tell that to a lot of acts, who want to record an album every three to five years. And the usual argument of ‘no money from recordings’ doesn’t work, because even back in the 70’s, the acts were getting ripped off on the sales part. So they had to tour to make coin. Then again it was normal in the 70’s to release an album a year. It was expected.

The album cover also has a story, about a tornado in a U.S town during the 1920s which was photographed and added to the Copyright free archives, which allowed the image to be used.

And the same photograph was used for Miles Davis’ album “Bitches Brew” in 1970.

And Siouxsie and the Banshees’ album “Tinderbox” in 1986.

MK3 Deep Purple is Ritchie Blackmore on Guitars, David Coverdale on Vocals (except “Holy Man”), Glenn Hughes on Bass and Vocals (except “Soldier of Fortune”), Jon Lord on Organ and Keys and Ian Paice on Drums.

Its Produced by Deep Purple and Martin Birch again.

Stormbringer

Another thunderous opener written by Blackmore and Coverdale.

If there wasn’t a Heavy Metal movement before, well there was one now. By 1974, each major rock act like Led Zeppelin, Free, Bad Company and Black Sabbath had a heavy song or two on each album that young blue collared youths would take and run with to create even heavier tracks.

I like the exotic flavouring in the solo. It’s not fast, but goddamn, it sounds progressive.

Love Don’t Mean A Thing

Written by Blackmore, Coverdale, Glenn Hughes, Jon Lord and Ian Paice.

This is the whole funk blues soul jam that Glenn Hughes brings. In saying that, the riffs here work so well within the Deep Purple sound.

Holy Man

The Bad Company/Free brand of hard rock had caught on and suddenly Deep Purple was doing a cut that wouldn’t be out of place on the first two Bad Company albums or Free albums.

If the intro sounds familiar, it should, as it’s a common progression used throughtout the 70s, but it went missing a bit in the 80s and came back in the 90s.

I recall Motley Crue using it for “Misunderstood”.

And Blackmore was not the main writer anymore as this song was written by Coverdale, Hughes and Lord.

Hold On

The funk blues rock in the verses grooves and the Chorus is like Soul Rock Music. Blackmore again is missing from the song writing credits, with Coverdale, Hughes, Lord and Paice listed as the writers.

Coverdale and Hughes share vocal duties here and Blackmore brings out his rockabilly Chuck Berry licks which gives way to a Jon Lord solo.

Lady Double Dealer

It’s that fast blues rock that Deep Purple was known for and something that David Coverdale would do a fair bit with the early versions of Whitesnake.

There is a cool Blackmore solo as well.

You Can’t Do It Right

Play that funky blues music white boys.

High Ball Shooter

I like the Intro as it always reminds me of another song which I can’t thing off right now.

The Gypsy

The riffs on this are metal like, but the way Blackmore delivers em, it’s almost progressive like, with a fusion of blues, southern rock and metal like grooves.

Soldier Of Fortune

A great acoustic ballad to end the album, something which David Coverdale would recreate with “Sailing Ships”.

The long jam sessions from the past had disappeared. Replaced with a more structured song arrangement. It’s a bridge between this album and their next album.

Blackmore obviously didn’t like this new direction and left after the tour. And he wasn’t one to keep his thoughts to himself, so he publicly declared his dislike for the funky direction the band was taking and made it clear that was the reason why he left.

But Scandinavian Melodic Rock and Metal was being born with the MK3 albums as they did big business in Sweden, Norway, Denmark and Finland. Austria and Germany also liked this era, along with the UK, France and the U.S.

Check it out.

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1996 – Part 4.2: Slayer – Undisputed Attitude

“Undisputed Attitude” is the seventh studio album by American thrash metal band Slayer, released on May 28, 1996.

The album consists almost entirely of covers of punk rock and hardcore punk songs. It also includes two tracks written by guitarist Jeff Hanneman in 1984 and 1985 for a side project called Pap Smear and its closing track, “Gemini”, is the only original track.

The album was largely the brainchild of guitarist Kerry King, who stated that the songs chosen were from highly influential bands who “made Slayer what it is”.

The album was initially to feature material from classic heavy metal artists such as Judas Priest, UFO and Deep Purple. However, after several rehearsals “things didn’t pan out” according to King, so the band instead elected to cover punk songs. Then again, maybe Tom Araya’s rough bark just didn’t suit the Judas Priest, UFO and Deep Purple style of songs.

The band for this album is Tom Araya on Bass and Vocals, Kerry King on Guitars, Jeff Hanneman (RIP) on Guitars and Paul Bostaph on Drums. The way Araya sounds vocally on this is how James Hetfield would sound on “St Anger” in six to seven years’ time.

The album is produced by Dave Sardy with Rick Rubin listed as an Executive Producer, whatever an Exec Producer means.

“Disintegration/Free Money”

The original artist is Verbal Abuse and its 1.41 of fast and aggressive metal punk.

“Verbal Abuse/Leeches”

And its followed up by another Verbal Abuse cover, which clocks in at 1.58. While its fast and aggressive punk, there is a small breakdown section which slows things down a little.

“Abolish Government/Superficial Love”

A T.S.O.L. cover and it’s a full 1:48 in length.

Three songs in and it’s like listening to one song.

“Can’t Stand You”

Written by Jeff Hanneman and listed as a Pap Smear cover which clocks in at 1:27. And Tom Araya doesn’t take a breath as he spits out the verses.

“DDAMM (Drunk Drivers Against Mad Mothers)”

Another track written by Jeff Hanneman and listed as a Pap Smear cover which clocks in at the super long length of 1:01.

“Guilty of Being White”

A cover from Minor Threat and it clocks in at another super long time of 1:07.

When the album was released in 1996, there was no controversy over the song or any possible message of white supremacy.

But the internet and social networks are different beasts and people take a moral high ground.

The other controversy was changing the lyrics in the songs ending from “guilty of being white” to “guilty of being right”.

This little changed didn’t go down well with Minor Threat front man Ian MacKaye, who found this change “offensive”.

“I Hate You”

Verbal Abuse makes another appearance on this album with a song that goes into the 2 minute range. This one is more punk like, with a rock tempo and Sex Pistols “Anarchy” style attitude.

“Filler/I Don’t Want to Hear It”

And Minor Threat makes another appearance with a super-fast punk hardcore song.

“Spiritual Law”

A cover from D.I. and its pushing at being the longest song on the album at 3 minutes long. Press play to hear the intro which is very Metal like, otherwise the rest is stock standard fast beats, vocals that cover the microphone in spit and fast alternate picked punk metal riffs.

But at 1.20 a Sabbath like doom groove comes in, before it picks back up into the fast punk metal at the 2.10 mark.

“Mr. Freeze”

A cover from Dr Know. Its 2.24 in length and at times when the song goes into its rock riffs I feel like I am listening to Beatsie Boys, “Fight For Your Rights”.

“Violent Pacification”

A cover from D.R.I. at 2:38 in length.

All I can say about this song is chaos until the 46 second mark, when the drums start a rock style groove and the tempo of the song goes down a notch for the band to rock out. And Tom Araya is barking out “Violent Pacification” over and over and over again.

“Richard Hung Himself”

A cover from D.I. and this song takes the title for the longest song of the cover songs at 3:22.

And for a song with a grisly title it’s actually a catchy rock song.

“I’m Gonna Be Your God” (“I Wanna Be Your Dog”)

A song from The Stooges, clocking in over the 3 minute mark and it received a makeover and some slightly modified lyrics and a faster tempo.

It’s by far my favorite cover and it leads in perfectly to the original track.

“Gemini”

Written by Kerry King and Tom Araya, and it is the longest song on the album at 4.53.

The song begins as a sludge/doom number reminding me of “Season In The Abyss”, before becoming a more typical Slayer song.

But being added to the end, doesn’t do this song proper justice. It’s one of their best tracks written in the 90’s.

And Tom Araya is evil reincarnated with his melodic but sinister vocal melody.

In the end, this is a 33-minute-long release and Slayer wouldn’t have it any other way. It’s not a classic album but the song “Gemini” makes up for it.

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

The Week In Destroyer Of Harmony History – November 28 to December 4

4 Years Ago (2017)

OUR BEST WORK

When you create your most important work, it could be ignored by the audience because it’s ahead of its time. It requires people to change their thoughts and beliefs. But all important work ends up rising above the noise.

Black Sabbath’s debut album didn’t reach platinum in the U.S until October 13, 1986. Yep 16 years later, the most influential heavy metal album had moved a million units in the U.S.

But their tours sold out, which goes to show that people didn’t always buy recorded music.

You could be an artist creating work which is popular, and it resonates with the audience who already like what you do. “Dr Feelgood” was always going to be Motley’s best seller. They spent 7 plus years building an audience with each release and tour.

In addition, it spawned a new production sound that would become known as the “Black” sound after Metallica’s self-titled album destroyed our senses and the charts.

Our best work is the heart of what we do and sometimes getting it out there is a long difficult journey full of scams and rip offs, highs and lows, good and bad people, rejection and acceptance.

But you will not get there if you quit. It’s what you do in the dark, which will make you shine in the light.

8 Years Ago (2013)

CONCERT ATTENDANCES

The highs of success and fame are brief. The air at the top of the mountain is thin, so you’re not expected to hang around for a long time.

Vince Neil

On July 6, 2013, Vince Neil played a solo show in Mexico City.

The venue was Jose Cuervo Salon.

The capacity of the venue is 1,500. The attendance was 64 people.

That’s right, less than 5% of the total venue size.

Total Gross sales for the night was $2,286.

Does anyone really care about Vince Neil outside of Motley Crue?

Based on the ticket sales, Mexico sure don’t.

What a hard truth that is.

His debut album “Exposed” celebrated 20 years in 2013, but Vince went out and played Motley songs.

Power Metal Rules In Europe

On April 18, 2013, Helloween, Gamma Ray and Shadowside played a Power Metal feast in Hamburg, Germany. The venue was the Docks.

The capacity of the venue is 1,500. The attendance was 1,171.

Total Gross sales for the night was $51,299.

The thing with power metal bands is that they know the size of their audience. It is a niche and it has a hard core and devoted fan base.

The Black Crowes still do good business

On July 19, 2013, The Black Crowes, Tedeschi Trucks Band and The London Souls played a show in Nashville, Tennesse.

The venue was the Woods Amphitheater at Fontanel.

The capacity of the venue is 4,056. The attendance was 3,273.

Total Gross sales for the night was $215,641.

In the end there is plenty of money available in music and the more people that have access to recorded music means more fans that could turn into customers.

COPYRIGHT TERMS

In Australia (and a lot of other countries) a copyright for a sound recording lasts for the life of the creator + 70 years after death.

If the creator lives to 80, then the Total Copyright is a 150 year term.

And since the large Corporations control a lot of the copyrights, a 150 year term benefits them.

Keith Richards famously said that you can’t copyright the blues.

The acts from the Sixties and Seventies, brazenly borrowed and built upon songs that already existed.

And didn’t we got a lot of glorious music.

RED DRAGON CARTEL

As a fan of Jake E. Lee and the work he did with Ozzy and Badlands, it was cool to hear that he made the decision to record music again.

Frontiers Records signed the project.

Are there any Classic Eighties metal/rock bands or stars that Frontiers haven’t signed?

And “Feeder” was doing the rounds and i didn’t like it because there was no classic riff that stuck around forever to haunt my eardrums.

The expectation that most artists have is that since they have talent, can write a song and love what they do, they should be able to charge people to listen.

The reality is that there are thousands of artists trying to reach the same fans that are very careful with the money they spend on music.

Music is never a sure thing.

LOYALTY PROGRAM

We live in a world of loyalty schemes. If you shop at any major retailer there is a pretty good chance that you have signed up to their loyalty scheme and after you spend a certain amount of dollars with them, you get a discount or some other reward for your next purchase.

So why isn’t this happening in the music business.

THE BATTLE FOR QUEENSRYCHE

Back in 2013, two Queensryche bands did the rounds.

The Geoff Tate version is on Cleopatra Records and the Todd LaTorre version is on Century Media Records.

And there wasn’t a demand for two versions of Queensryche?

Then again demand for Queensryche was diminishing since Chris DeGarmo left.

And that’s another wrap for another week.

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