Category Archives: A to Z of Making It

A to Z of Making It, Music, My Stories

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 doesn’t. They want something that that’s 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 mass market in the 90’s and some of those fans just moved on to something new and different.

Motley Crue had an early start in the Sunset Strip look and sound, so the early adopters saw them as the innovators. Meanwhile bands like Ratt and Dokken appeared when metal and rock music reached critical mass.

Sometimes a person in the mass market becomes an early adopter and sometimes the early adopter becomes part of the mass market. It’s all by choice.

And artists are in it for the art first. And if they get an audience, money might start to come in. And money makes it complicated, because money promises a shortcut. A bigger recording budget, a fancy video clip, a big name producer or better marketing budgets or hire session musicians. We use money to hurry up, but it distracts us from what we actually seek to build. Great art. Without the art, the artist has nothing.

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

Does the artist start creating art for profit?

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.

If you want to be as big as the MTV stars of the 80’s and early 90’s you’ll need to hit critical mass. MTV was the critical mass vessel that spread music to the masses. It allowed metal and rock music to go viral before going viral was a thing. In physics, critical mass has a negative meaning as it describes the amount of plutonium you need in a certain amount of space before a reaction goes out of control, leading to a meltdown or explosion. But when you talk about critical mass in a circle of artists, it’s a positive thing.

There is a belief out there that once enough people who know enough people start talking about your music, your fan base will multiply and growth kicks in.

And that is true from a certain point of view. Like “Game of Thrones”, when it hit the right number of conversations, the buzz creates its own buzz and popularity, which in turn creates more buzz and even more popularity. But “Game of Thrones” didn’t start off with critical mass at the start, even though it was marketed heavily. It was people who spread the word. And it was in full swing by Season 3. Same deal with “The Walking Dead”.

Twisted Sister had this buzz with “Under the Blade”, “You Can’t Stop Rock’N’Roll” and reached critical mass with “Stay Hungry”. “Come Out And Play” should have continued the rollercoaster ride, however poor decisions over what songs to release as singles, over exposure of the band (mainly Dee Snider) in the press, competing against album releases of other artists and an MTV ban on the video clip of “Be Cruel To Your School” hurt the band.

Facebook reached 100 users in a Harvard social circle. It was enough people for it to gain traction and it started spreading all over the campus, the town, the state, the country and then, eventually, the world.

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

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A to Z of Making It, Music, My Stories

Saying One Thing At Time

There is a common view in economics, if something is difficult to get, it’s better because in the mind of the customer, the goods or service they cannot get becomes a powerful want.

How does this work for an artist?

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

Super fans of artists make up 10% of their audience base.

I believe the way the artist releases songs is out of sync with the time.

If a person talks for 70 minutes we will hear nothing. If an artist releases 70 minutes of music, we will remember some and forget the rest. Because most of the time, we’re hardly listening. If you don’t believe me, ask a Metallica fan to name all the tracks of “Hardwired To Self-Destruct” and then ask them to sing the chorus of every track.

Back in the 80’s we had time to listen. When we dropped the needle on our latest purchase, we laid back, looked at the album cover, the lyrics, the credits and listened. There is a study out there that states we enjoy music even more when we have this information at hand and we know the story behind the songs. But back in the 80’s all we really had was our music and movies for entertainment. Technology and the home PC was starting to enter homes, however it wasn’t big enough to take up the conversation. Also, some of favourite albums lasted between 30 to 40 minutes in total. So what the artist had to say back then was less than what they say now.

But today, the youth are not like the youth of the 80’s. Hell we are living in times were a country (Saudi Arabia) made a robot a citizen. 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 works are better when they are released frequently and when an artist tries to say one thing at a time, instead of 10 different things at once.

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A to Z of Making It, Music, My Stories

Our Best Work

Systemic change is a process, not an event. It’s a long-term, consistent and persistent effort that makes real change happen.

You want to lower carbon emissions. Then small changes need to be made. If every single person and corporation made some small changes today, carbon emissions will be reduced in a year. Make some small changes again the year after and carbon emissions will reduce again. Keep these small changes happening year after year and watch carbon emissions come down to acceptable levels.

You want to write a book. Try to write 500 words every day. At the end of the year, you will have written 182,500 words. A 300 page book is between 90,000 to 110,000 words.

In Sweden, a company called “Plantagon” is building a skyscraper to grow food to provide the city with fruit and veg. A small change now can help the future because our world population is getting bigger. And as we populate more and more spaces, questions are asked as to how nature can support our infinite growth. For every human pound, there is 30 pounds of infrastructure in roads, concrete, cables, pipes created.

But everyone just thinks about the now. It didn’t used to be this way. But today it is. It seems like every conversation is centred around “how can you be paid today” or “how much money can you make” or “how can you monetise your latest idea or creation” or “how can you pass a law that a corporation paid you handsomely to bring to the Senate floor?”

Even our emails are offering us ways to make money. I am sure every single person on email has come across one that says, “Take this survey and get paid”.

The best are the news stories of 20 something millionaires who purchased goods from retail stores at a discount and then sell them on line for a profit. But the news story is a PR stunt, paid for by the 20 something marketing team to increase awareness of their brand. And in a lot of cases, if people dig deep into the stories, those twenty something millionaires are children of multi-millionaire parents and grand-children of multi-millionaire grand-parents.

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.

Because 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. It goes to show that music was always a live business. Compared to the 80’s hard rock scene, Ratt went platinum within a year and multi-platinum within two years on “Out Of the Cellar”. Their shows sold out and by the 90s it was all over.

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 spend 7 plus years building an audience with each release and tour. And it also became their most important work as well. 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.

A recent addition to the list is the viral sensation. This happens when the audience can’t stop talking about what an artist did. Remember, “Gangnam Style”. Umm, where is PSY now.

On occasions, all the planets align and all three things will co-exist in your career. But the truth is you’re going to need to choose which kind of art you want to produce.

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

Convergence of Forces in 1986/87

After touring with AC/DC and Aerosmith for a year, I felt a little more aggressive. Some nights I would come up with something pretty, but after seeing Angus bash it out, I would say “Fuck pretty”.
Vito Bratta GW September 1989

This quote has remained with me for ages.

Vito Bratta is a guitarist who understands music and loves his instrument. His soloing is liquid joy and his rhythm work is complex.

So how does a musician who uses complex chord inversions and arpeggios to color a song compete for people’s attention against the blues based rock of AC/DC and Aerosmith, especially when those two bands had a head start of 15 plus years building up an audience.

Furthermore while Aerosmith sang about a dude who looks like a lady and a rag doll cutie, White Lion via Mike Tramp sang about the sinking of a Greenpeace ship. While AC/DC sang about woman as fast machines, White Lion sang about broken homes and violence in the home.

I remember a magazine reporter writing about how Mike Tramp introduced “Little Fighter” to metal kids when White Lion was opening for Ozzy. It went something like this;

Tramp: “You like to go to the fuckin’ Jersey Shore?” 
Crowd: “Yeah!” 
Tramp: “Don’t you get pissed off when you can’t swim because of the pollution?
Crowd: “Yeah!” (half-hearted)
Tramp: “Well, here’s a song about a group that’s doing something about it.”

White Lion toured with blues based hard rock bands for 12 months during the “Pride” period and there is no doubt that the rock vibe and party connection with the audience would have influenced Vito with the writing process of “Big Game”. But he didn’t want to just follow blindly what others have done before him so he tried to create something new, something interesting. But the majority of the pop music consumers don’t want interesting. They want carbon copies of what came before, something they can sing too, and something that is very uninteresting.

So “Big Game” was rushed. All because the label wanted to capitalize in the new-found interest in the band. But the label must have forgotten that MTV still controlled the public interest metric. If MTV played your band on the channel, you would sell a million plus. If they didn’t, you wouldn’t sell as much as you expected regardless of the quality of the music.

So with great power, comes great responsibility and MTV became a powerful and corruptible gatekeeper and for all its evil ways, it was still the best marketing tool to turn acts into global superstars.

But MTV didn’t play the video clips from “Big Game” as much as it played the clips from “Pride”.

And it’s funny when you look back to the 1986/87 period, the artists who had their biggest hits and sales during that period, never replicated those numbers again.

Bon Jovi never topped “Slippery When Wet”. Europe never topped “The Final Countdown”. White Lion never topped “Pride”. Whitesnake never topped their “self-titled” debut. Guns N Roses never topped “Appetite For Destruction”. INXS never topped “Kick”. Joe Satriani never topped “Surfing With The Alien”. Def Leppard never topped “Hysteria”. U2 never topped “The Joshua Tree”. Stryper never topped “To Hell With The Devil”.

There was something of a convergence during these years. MTV was well established by 1986 and massive, CD’s had taken hold by 1987, artists that had been around for a while had enough experiences on the board to write their masterpiece and fans of the 60’s/70’s rock movement had teenage families, so suburbia had cash to spend on entertainment due to low employment.

But with all things great, disaster was just around the corner. Black Monday happened on Monday, October 19, 1987, when stock markets around the world crashed. The single day drop was enough to scare people from spending and make people lose their jobs. Maybe it put a dent into the recording business for a few years, because from 1989 to 1999, the labels turned over billions.

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

RD Friday

There is a saying “Just because you can make it, doesn’t mean anybody cares”. And with music these days, there are so many artists creating, how do they make people care. If the goal of the artist is world-domination, maybe they need to re-assess their goals. All artists have to operate in their niche and maybe they will cross over to the mainstream. And even then, once you crossover don’t expect everybody to know. 

Release Friday is upon us and my Spotify playlist is up and cranking.

Sweet And Lynch – Unified

Another song appeared on my Release Friday playlist today, so I figured I would check to see if the album is out. I clicked here, clicked there and 11 new tracks appeared. Brilliant, because back in the day, I would need to leg it, train it and leg it again only to find out the record store didn’t have it in sold out of it.

The first album caught me by surprise how good it was. It was creative, nostalgic and modern sounding. The second one on its own is a good album but compared to the first album, it’s not as good. But that’s okay, because there’s still good tunes to unpack.

“Promised Land” is the opening track and the first single in the lead up to the album release. This song deserves more attention, but it’s hard to break through the noise. Each new track is competing against all the hit records plus everything in between.

“Take my hand, the promised land”.

“Unified” has this cool Lynch jam like groove that appears a lot in his work post Dokken.

“Defiant we stand, united we will fall”

“Bridge Of Broken Lies” has a cool lyrical theme about strangers hiding behind the faces of trusted people. It’s a ballad, that rocks hard.

“I never guessed you would be someone I’ve never known”

“Better Man” is a clichéd title. Pearl Jam probably has the definitive take, but Art of Anarchy’s version is not that far behind, especially when Scott Stapp sings, “it’s time to come home”. This one is more like a love song.

The first thing that hooks me is the riff. It’s classic Lynch with a lot less distortion.

“When I’m not with you baby, I want to be a better man”

Babylon A.D – Revelation Highway

Their self-titled major label debut I have on LP and man it got a lot of spins. It was a perfect blend of hard rock and melodic rock. I even own it on CD. “Nothing Sacred” is also a favourite, and I have that on CD. And that blend of hard rock and melodic rock heard on the first two albums is evident on “Revelation Highway”. Also, because I’ve been cranking “Whitesnake 87” and “Diary Of A Madman”, I’m hearing influences from both albums on this one.

“Rags To Riches” is one of the singles released in the lead up and it hooked me in with its “Atomic Playboys” style riff. Musically its excellent and that solo break with that riff underpinning it, is just brilliant.

“Rags to riches, young girl got her wishes”

With the whole #METOO movement and people speaking up, maybe the young girl didn’t get what she really wished for. It’s a relevant lyric line regardless in what context you read it.

“One Million Miles” is a pretty cool mid-tempo melodic rock track. “She Likes To Give It” is also cool and basically a clone of “One Million Miles”. Nothing wrong with that at all.

“Floating on a Jetstream with the cool wind in my face, sinking in the green grass in the calm of your embrace”

“Last Time For Love” sounds like the best Def Leppard song that Def Leppard hasn’t written. It immediately transports me back to 1987.

“Last time for love, I won’t be hanging around your door”

And the lead break with the underpinning riff just works a treat. I press repeat just to hear it again.

“Saturday Night” reminds me of those “Saturday Nights” from a time long ago.

“On a Saturday night, we will rock to the morning light”

Shakra – Snakes & Ladders

They are from Switzerland. When I Googled them, I was surprised to read that they’ve been around since the mid 90’s and their first album dropped in 1998. It’s been a long time, but they are playing the game to succeed and picking up fans day by day.

“Cassandra’s Curse” is a terrible song title, but the song is awesome. The music is foot stomping and the melodies are perfect.

“Snakes & Ladders” has one of the most simplest but truthful lyrical lines.

“Sometimes you win, sometimes you fall, snakes and ladders”.

“Rollin’” is one of those bluesy hard rock style songs which you can listen too driving your car.

“I Will Rise Again” is the bomb. It’s tempo and foot stomping / back breaking drum beat work brilliantly.

“Open Water” is a ballad but not a clichéd. Lyrically it’s got that Euro Purple/Whitesnake vibe like “Sailing Ships” meets “Lost Without You” from Three Doors Down.

Artists don’t operate in the old world anymore. 

MTV might have made artists global superstars, instantly, but they fell back to earth just as fast as they got outside the atmosphere. Now streaming rules and anybody can play, but only a limited number of artists get attention. Today, these three artists had my attention. Tomorrow it will be someone else. They might come back at another time and get my attention. Maybe they won’t.

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

Difference Between A Million and 7 Million

It’s great to see David Coverdale celebrate the 20 and 30 year anniversary of the 1987 self-titled Whitesnake album.

Dokken and the work Lynch did with the band is another favourite of mine during this period and Lynch’s guitar work is a huge influence on my guitar playing and style. But “Back for the Attack” released on November 2, 1987 gets no anniversary treatment. It gets no attention and is rarely part of the conversation.

But back in 1987 it was everywhere. The momentum started with “Dream Warriors” which was released in February 1987 to promote “A Nightmare on Elm Street 3: Dream Warriors”. Back in those days, fans from different regions had to deal with windowed releases. The U.S got it first, then a few months later Europe got it and a few months after that Asia/Australia got it. Basically, for nine months, Elektra Records flogged “Dream Warriors” to death over a staggered windowed release.

So when the album dropped, people purchased. I was one of those people who devoured all the credits on albums. I don’t know why, I just found it interesting to see who wrote the songs, who produced the album, who mixed it and the places used for recording it. And I always asked myself why a band would use so many different recording studios to record an album. It doesn’t make sense to set up, pack up and reset up at another studio. And I saw a lot of different studios on the “Back For The Attack” credits and I had to google it to be sure.

The band recorded in 5 different studios around LA. The record labels are not stupid. They get the studios at a discounted rate and then charge the band the general rate + 20% for using them, which the labels will then recoup from the sales of the album. Even though the album sold in excess of a million copies in the U.S, I bet ya, the band was still in debt to the label.

So what does 1 million sales in 1987 mean in 2017.

Well if i use Spotify stats, 1 million sales in 1987 leads to 1.7 million streams of “Dream Warriors”. “Alone Again” has the most streams on Dokken’s Spotify account at 6 million plus streams. Being on a Spotify playlist of 80’s Power Ballads does help. What the stats do show is how a million sales in 1987 doesn’t equal a million fans. The same way a million illegal downloads don’t equal a million lost sales. As I’ve said many times on this blog;

  • A person could have purchased the album, heard it once and traded it
  • Another person could have purchased the album, heard it 10 times and then just added it to the collection or traded it.
  • Another person could have purchased the album, listened to it and still listens to it today.

Even in YouTube, “Alone Again” has 1.5 million plus views. “Dream Warriors” (official music video on RHINO’s account) has 985,000 plus views and on the 80sRockClassics account it has 2.72 million plus views. Compared to how big Dokken was in the 80’s, these numbers are anaemic, because “Is This Love” from Whitesnake has 37 plus million streams while the “Here I Go Again” version from “Saints and Sinners” has 40 plus million streams and when you add the 60 million streams from the 1987 radio edit version and 1987 remastered version, “Here I Go Again” is topping 100 million streams.

Why the large disconnect?

Coverdale sang about not knowing where he is going, but he knew where he had been. And he’s made up his mind that he needs to keep going over and over again, so he can keep those promises he made to himself in the past.

And people from all walks of life and different musical genres could relate and connect with the words of Coverdale.

Don Dokken on the other hand sang about how there’s no justice in falling in love because it gives someone blindness when they are the one because a group called “they” are holding the gun. Seriously, they are the dumbest lyrics I have seen/heard, which is a shame because “Heaven Sent” has excellent music and melodies.  Meanwhile in “Kiss Of Death” Don’s telling us about a brief encounter in the woods with a female vampire and in “Dream Warriors” Don’s weary eyes couldn’t face the unknown and he doesn’t want to dream no more. I’ve heard soundtrack songs that don’t follow the movie storyline which work and I’ve heard soundtrack songs that follow the movie storyline which also work and some which don’t work. Musically, Dokken the band was top-notch, but lyrically, not so good. Seriously, “Unchain The Night”. How can you do that?

And the choice of words, my friends, is the major difference between 7 million in sales and 1 million in sales. The major difference between 100 million streams and a million streams. The major difference between albums getting the anniversary treatment or not.

There’s a reason why “Livin’ On A Prayer” is more popular than “You Give Love A Bad Name” and “Wanted Dead Or Alive” and the rest of Jovi’s songs. There’s a reason why “Kickstart My Heart” is more popular than all the other Crue songs. For Metallica, “Enter Sandman” is the most streamed with 185 million streams due to it being on Spotify’s own playlists of metal essentials and also by being very high up on the playlist. However, “Nothing Else Matters” is the song with the words that connect and it has 163 million streams.

In the end lyrics matter and that’s why people who don’t play in bands and write songs for others have a career in music. Because they can write good lyrics. It’s why Sharon Osbourne hired Bob Daisley over and over again to write lyrics for Ozzy. You can beat a good lyricist.

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

Whitesnake 30th Anniversary 

I’ve been listening to the 30th Anniversary Deluxe Edition of the 1987 self-titled album from Whitesnake since it hit Spotify on Friday.

The whole deluxe version is available for streaming, so kudos to David Coverdale for not punishing Whitesnake fans who prefer to stream. From time to time, bands release deluxe editions however they only put part of the release on a streaming service, withholding the rest for the physical edition with the hope people would go out and buy it.

So the original album kicks off the 30th anniversary edition. It’s still a solid album from start and finish. Coverdale might have racked up a $3 million plus debt recording it, but I am sure Geffen Records recouped their investment and Coverdale got to make some coin himself.

Then again, Sykes was hired in 84 with a million dollar sign-on fee. I would presume that also came from Geffen, which would then turn out to be another amount Coverdale had to pay back. Because, you know, labels recoup everything before they start to pay anything out.

The original LP version I have is the North American edition, which has a different track list.

1. Crying in the Rain ’87
2. Bad Boys
3. Still of the Night
4. Here I Go Again ’87
5. Give Me All Your Love
6. Is This Love
7. Children of the Night
8. Straight for the Heart
9. Don’t Turn Away

And to be honest, I prefer the above better. I guess John Kalodner would have had a say on how the album was sequenced. I also purchased the European version because it had the two extra tracks not on the North American version. And then I purchased some of the 7 inch singles like “Give Me All Your Love” and “Is This Love” and 12 inch singles for “Still Of The Night” and “Here I Go Again” because they had tracks from earlier albums on em. Then I purchased the CD of the album. What else was I going to do with my money?

There is no denying the knock out punches in the above track list. But I also like how they have “Straight For The Heart” in the middle on the 30th Anniversary edition. That’s where it belongs.

The album track order on the 30th Anniversary Edition goes like this.

1. Still Of The Night
2. Give Me All Your Love
3. Bad Boys
4. Is This Love
5. Here I Go Again ‘87
6. Straight For The Heart
7. Looking For Love
8. Children Of The Night
9. You’re Gonna Break My Heart Again
10. Crying In The Rain
11. Don’t Turn Away

The live tracks from a gig in Tokyo that followed the album were disappointing. Live shows are about selling an experience. If you record a live gig, it’s riddled with errors. Most live albums from the past that I enjoy like, “Live After Death” and “Tribute”, well they had some things redone in the studio to make em sound better. In saying that, I like how Coverdale gets the crowd involved in a sing-a-long. Apart from seeing the artist in the flesh, the “sing-a-longs” and the “extended jams” are the experiences the live show sells.

But the Evolution demos are gold. Pure Gold.

The way Coverdale has edited them together to demonstrate the evolution of each song is excellent. It just shows how a good chorus or a vocal melody evolves into a song. In some of the demo’s Coverdale is lost for words, but he’s hearing the melody and he repeats the same lines so he has something on tape to go back to later on.

Sykes on those jam versions; solo’s and riffs like hell. He’s unrefined and spontaneous and just trying stuff out, seeing what sticks and connects. The beauty of demos are the mistakes. There are no maps but the artist sort of knows where they are going. So they try and try and try until they get there. Coverdale is pure evidence of trying out vocal melodies and vocal phrasings.

But once they establish the hook or the chorus or the verse riff or just a groove, they start to map it out. That’s the beauty and rawness of music.

For example, in “Still Of The Night”. In the first minute, Coverdale is drumming on his legs, singling and adlibbing while Sykes is playing a riff over the normal F#5 chord. Then the phone rings and the next bit you hear from the minute mark to 1.45, I believe is from another song writing session. Then it evolves into a band rehearsal. And it just keeps on evolving from there. It’s edited to show an evolution. And of course, Sykes is shredding like a maniac in the band rehearsal. So originally, I believe the expectation was to have an up-tempo lead break which then morphs into the solo riff. At the 4.48 minute mark it evolves into another band rehearsal session, which this time showcases the embryo of what would become the moody interlude and how the outro came to be.

“Give Me All Your Love” was interesting to hear. It’s basically an embryo of what the song would become. At 1.38, I believe it evolved into a different take. This time we hear the Chorus we know and the tempo is a bit quicker. Then from 3.17 it evolves into a band rehearsal and the tempo again is just a bit quicker. This time we get a Chorus and some lead improvisations from Sykes. At 4.12 it evolves into another band rehearsal. With each evolution, the song is getting closer to the version we all know and love. This time we get the Chorus again before the lead break and Sykes again is improvising. At 5.20 it evolves into another band rehearsal.

“Bad Boys” original demo is to a drum machine. Yep that massive pedal point riff is played a lot slower to a drum machine. But Coverdale and Sykes had the Chorus melody from the outset albeit with som different words. From 1.39 the song morphs into a different song writing session (with the drum machine going again). This time we get the Chorus again, very similar to what we know and the riff is getting closer to being the metal pedal point monster we know. Then at 2.49 we get a band rehearsal version. This kicks in at the lead break section which is very different to the one committed to tape. Then at 3.25 it evolves into a different band rehearsal and the riff is there as we know it. The tempo is also quicker. Maybe a bit too quick.

“Is This Love” version starts off with the words;

“This is the Chorus to take over the world”

Coverdale and Sykes had the hook. They repeated it over and over again and over again because it was that good. And then they built the song around it. I am pretty sure from 1.37 when the verse riff is played it’s from a different song writing session. Then from 2.01 the song is performed with a drum machine. Again, the chorus is repeated over and over again.
I can go on and on and on about these “Evolution” versions. It’s best to invest time and check em out yourself. 

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

Rock/Metal in the early 90s

In 1990, the biggest hit singles in relation to sales and chart placement where “Nothing Compares 2 U” by Sinead O’Connor, “Vogue” by Madonna, “Ice Ice Baby” by Vanilla Ice, “U Can’t Touch This” by MC Hammer and “It Must Have Been Love” by Roxette.

In 1991, the biggest hit singles where “(Everything I Do) I Do It For You” by Bryan Adams, “Black Or White” by Michael Jackson, “Joyride” by Roxette, “Wind Of Change” by Scorpions and “Losing My Religion” by R.E.M.

In 1992, the biggest hit singles where “I Will Always Love You” by Whitney Houston, “Smells Like Teen Spirit” by Nirvana, “End Of The Road” by Boyz II Men, “Rhythm Is A Dancer” by Snap! and “To Be With You” by Mr Big. And of course let’s not forget “Achy Breaky Heart” by Billy Ray Cyrus.

By the early 90’s, I always believed that the remnants of the dominant 80’s rock movement was looking for ways to fit in and get back people’s attention. A lot of the acts signed towards the late 80’s had already splintered. Some got dropped and tried to get a new deal or they just left the recording business for good. And you had a lot of acts from the 80’s, who had platinum success and somehow were still together and looking for ways to survive in the 90’s. You also had the 70’s acts that re-invented themselves in the 80’s thanks to MTV and were looking to keep the momentum going well into the 90’s. Aerosmith and Kiss come to mind here.

However, rock and metal bands was a big album business. Because in 1987, after Bon Jovi’s and Europe’s explosion in 1986, the biggest hit singles in relation to sales and chart placement where, “La Bamba” by Los Lobos, “Never Gonna Give You Up” by Rick Astley, “I Wanna Dance with Somebody Who Loves Me” by Whitney Houston, “It’s a Sin” by Pet Shop Boys and “Who’s That Girl” by Madonna. But Jovi was selling “Slippery” by the truckload.

In 1989, the biggest hit singles where “Like A Prayer” by Madonna, “Eternal Flame” by The Bangles, “Another Day in Paradise” by Phil Collins, “The Look” by Roxette and “Love Shack” by The B-52s. So rock and metal music did do well commercially selling albums, but it paled significantly compared to the pop world.

Meanwhile, the recording business was in a race to the bottom with a winner take all mentality. Label after label started to get sucked into the vacuum of the larger label. Changes in personnel happened so fast that once an artist was signed, a few weeks or few months later, the people who signed the artist are no longer working at the label and the interest to develop and promote the artist disappeared. So the artist is in limbo. But the label is not letting the artist go, just in case the artist makes it with another label. It’s one of the big no-no’s in the recording industry.

A record company in the 80’s would get you on radio, music television, magazines and they would push the album hard enough to achieve platinum sales. If it didn’t “sell”, they would put you in the studio again, get you further in debt and if you failed again, you would be dropped. A record label in the 90’s would sign you and then drop you before you even released anything or had a chance to get your message across.

And in today’s world it’s getting even harder to get your message across. It’s weird, because everyone has smartphones and everyone is connected however this great digital era also means that the users are the product. Facebook makes billions selling your data. 

 

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A to Z of Making It, Music, My Stories

Changes

Love him or hate him, one thing is certain. Nikki Sixx is a lifer in the music business and once he and Allen Kovacs got back control of Motley’s catalogue in the late 90’s, they went about reinventing his image and persona, until he became bigger than the rest of the Crue guys combined.

Sixx A.M. released “The Heroin Diaries” back in 2007. The album along with the book was an instant purchase because Crue was my favourite band in the 80’s. Their attitude, their pop choruses, the street life lyrics and their simple but effective riffage all connected with me. And even though I had many different guitarists’ as influences, Crue showed the world that you don’t have to be the most gifted musicians to write effective songs that connect.

The 10th year anniversary edition of “The Heroin Diaries” came out today, so I’m giving it a few spins. And you know what; it stands the test of time. It’s a pretty good album. My favourites still are “Life Is Beautiful”, “Accidents Can Happen”, “The Girl With Golden Eyes”, “Van Nuys” and “Pray For Me”. The first three songs I mentioned also get a 2017 treatment.

Man, 10 years is a long time in music. You could be here and then you could be gone. You could be the star of the scene or then you could be forgotten.

Think about it. In 1989, the Crue released “Dr Feelgood”. By 1999, the Crue was creatively non-existent. But that was back in the era of when the record labels controlled the industry.

The internet has given bands a longer life span. Yes, the net has created so much noise, which makes it hard to rise above, however the internet and piracy to a large extent has spread the music of bands to every single corner of the world. Which means that someone right now is listening to an artist they’ve never heard before. Changes are a-happening.

In 2007, Avril Lavigne had the best-selling record globally. She hasn’t released anything since 2013 and you don’t even hear about her in the news. But once upon a time she was everywhere. She might be the star again. There’s no reason why she shouldn’t. Fall Out Boy had the best-selling album in the U.S in 07 however Fall Out Boy has the rock work ethic and they have been consistently putting out new product since then. They have a new one coming in 2018. Some of it sticks and some of it doesn’t.

The TV show that was popular in 2007 is not here anymore and the pirate sites you visited to get your content fix are gone and there is a high chance you are paying monies to a streaming service. Because in the end, that’s all we really wanted, access to products. Not ownership. Changes are a-happening.

In 1997, used to be the sale was the transaction. In 2007, the label still saw the sale as the transaction because that’s all they knew but it was an irrelevant metric. In 2017, the label still sees that sale as the transaction. However, it’s the listen. While society and consumerism has changed at a rapid pace, the labels and the charts are still stuck in an old paradigm. If you don’t believe me, check out the news stories on how the algorithms for the Billboard charts are changing yet again. First they changed to count something like 1200 streams as a sale. Now they are changing again to weight listens from paid streaming services higher than freemium listens.

Seriously WTF.

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A to Z of Making It, Music, My Stories

Attention 

Once upon a time I was thrilled to see my heroes in mainstream publications. But now there are a billion online outlets and we get most of our stories direct from the artist via social media. And the generation born from the mid 90’s onwards want an immediate bond with the artist, a connection. They don’t care about interviews artists do when they are releasing an album with magazines and blogs. By working in the old rules, the artist is handing over their own narrative to someone else to control. It doesn’t make sense especially when the tools are right in front of them to take ownership and tell their own story, the way they want to tell it. 

But humans do tend to be lazy.

EBay has 171 million users and it’s struggling to stay relevant. So how is any different for an artist. I constantly come across news stories of artists telling people who don’t care their streaming payment after a million streams. Want to make money in streaming, get over a 100 million streams. Want to make even more money, get over a billion streams. One thing is certain, streaming will pay you forever, so metal and rock fans need to stream en masse. 

Which means metal/rock bands need to get out of the “album mindset” and focus on the “continuous stream of product mindset”. If you want to win, you need to play, so it means you need to be in the marketplace all the time. The new way is to release music first and the hype comes after. But artists/record labels are still focused on hype first and then release.

There is money to be made, but the music needs to have longevity. It needs to sustain. Bubbling under the surface is better than exploding fast and then falling fast. And if something doesn’t work, you adjust on the fly. That’s how it works in the digital world. Nothing is set in stone. It’s chaos, anarchy. Artists need to create anarchy with their product instead of following the 1930’s marketing 101 rules.

And how many times have you heard of an act employing a scorched earth publicity campaign, which they hope will turn people onto the band or make people believe the band is bigger than what they really are. But they forgot that the music accompanying the release is of substandard quality. And it’s the music that will survive, not the publicity campaign.

Remember, all the digital places that lost our attention. It’s no different for an artist.

People will care about you; love what you do, your music and your connection to them via social media. Then some of those people will grow and change and fall out of love with what you do. You need to accept that and understand that your fans are telling you one thing; your style of music is not for them at this point in time. And once you are aware of this information, what will you do with it to get back their attention.

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