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

1983 – The Zebra Streak, The Balls To The Wall Lick and The Thunder Mind II

Apart from the U.S. festival, 1983 also brought the world the Satanic Panic.

Remember it.

The youth of the world was being corrupted by the devil and our leaders along with religious leaders wanted to stop this corruption. Heavy metal and hard rock music had bullet points on their backs.

Also in 1983 CDs and MTV started to make companies and performers greedy. In March 1983, CD players and discs were introduced into the European and North American markets. The “Big Bang” of the digital audio revolution. Meanwhile, we would go to the record store and see all the albums we couldn’t afford.

Anyway, here is another 6 albums from the era.

Kiss – Lick It Up

The “Lick It Up” story goes back to 1978. Kiss at that time were on top of the world. All of the years of album and tour finally paid off commercially. However, four solo albums, a live album, a best off in one year saturated the market. Then “Dynasty” and “Unmasked” came out and the pop doses on those albums alienated the core. And an ill-fated attempt at a concept album did them no favours whatsoever. However, “Creatures Of The Night” from 1982 was a backs to the wall album and it made them relevant again for the times. They needed a new album and a new look ASAP.

So Paul Stanley decided to put it all on the line and test his theory that all people listen with their eyes. Kiss took off the make-up.

The next big decision Kiss had to make was to fire or keep using the fantastic but egotistical Vinnie Vincent as a songwriter. Simmons and Stanley realised that Vincent’s contributions to the “Creatures of The Night” album had produced some stellar songs and decided to put up with Vincent’s crap. Eventually, Vincent left the band in 1984, and later sued KISS, claiming he was not paid for royalties and received only $2000 a week in salary. He lost the case.

And of course there is the cover story.

Basically each member selected a picture of themselves that they liked best and the art department combined them all together. So while it looks like one shot, all of the members were individually cut out and placed side by side. Then there is the story that Vincent’s body is that of a mannequin and only his head was photo shopped.

“Lick It Up”

It’s written by Paul Stanley and Vinnie Vincent. And if the verse vocal melody sounds familiar, it should. It is a straight copy of the vocal melody to “Funky Town”.  But hey, influence is influence and this is how music is created. All artists take bits and pieces of a lot of influences and turn them into their own creations.

The video was all over music television and it built on the momentum that 1982’s “Creatures of The Night” re-established. And it was an excellent song to introduce the make-up-less version of the band. It was infectious, even pop fans couldn’t resist. The simple drum groove is big, the chorus hooks you in and like always there is a riff to decorate it all.

Forget the lyrics, forget the message, it was all about the SOUND, the GROOVE, the FEEL!

“Exciter”

It’s the opening track and on the same level with “Creatures Of The Night” in my opinion. It’s written by Paul Stanley and Vinnie Vincent. Actually, one of the best opening tracks to an album has to be “I’ve Had Enough (Into The Fire) from the album that came next. But that’s for another story.

Passion and fire, lust and desire
Exciter
Pleasure and pain, this is my name
Exciter

The reptilian part of our brain all summed up a chorus. You can’t get any simpler.

“Gimme More”

Another cut penned by Stanley and Vincent.

Hot blood, need your love
Hard as rock, can’t get enough

Ahh, beautiful lyrics from an era long gone. So Paul has a hard on.

Love is sweet, so insane
Come on lick my candy cane

And now Paul is referencing a blowie.

Good enough to rival ZZ Top.

“All Hell’s Breakin’ Loose”

A rarity of the 80’s Kiss, where a song is written by the whole band. This one lists Eric Carr, Paul Stanley, Gene Simmons and Vinnie Vincent as songwriters.

You know we ain’t always winners
But this is the life we choose
Take a look around, only one solution
Set the world on fire, fight the institution
Gonna stand our ground, feel the new sensation
Something’s goin’ down, ooh, rock the nation

One of many “stick it to the institution” songs.

“A Million to One”

Another cut penned by Stanley and Vincent. Stock standard lyrics, however some cool riffage.

But every time I try to open your eyes
I’m damned and I’m no good

For a band that moved a lot of concert tickets, their albums always struggled to sell by the truckloads. “Lick It Up” was eventually certified platinum on December 19, 1990. Seven years later after its release and all on the back of one song. The title track.

Y&T – Mean Streak                                                     

I had to own this album once I heard it. I couldn’t get enough of it. Despite being labelled as hair glam rockers, Y&T were no joke. The classic line up of Dave Meniketti, Phil Kennemore, Leonard Hazes and Joey Alves are in top form here. By the time they started to get traction in the 80’s they had been writing, recording and touring for over a decade. And then the world caught up with them. But they never had a real hit in the commercial sense, but to their fans they had hits on every album.

Another killer album cover, very similar in concept with “Black Tiger”. Behind the boards it was produced by Chris Tsangarides, who also did Thin Lizzy’s “Thunder and Lightning” which I mention further down.

Like Metallica, Y&T had a reputation as an amazing live band however the reviews I read mentioned how their studio albums didn’t match their live energy. While Metallica got Bob Rock and made Soundscan history with the self-titled “Black” album, Y&T from a sales perspective didn’t. But man, how live and energetic does “Mean Streak” sound.

“Mean Streak”

What a riff to kick off the album!

Overtime every day of the week
Still the house ain’t big enough
Spend your money so fast
That you never see the green
Big, better, best tell me where does it end
Keeping up with the Joneses is tough

What a statement.

Has anything changed since 1983?

We still want more and the internet has given us a belief that we can all have more. I know I will never be rich and I am content with that. I know a lot of people who are not content. For those people, the house needs to be bigger, the car needs to be newer and flashier. The debt gets bigger. The relationship gets sour.

Every time that I look at you boy, I can see you’re a nervous wreck,
You try too hard to give her every little thing,
Big car, big pool, big house heart attack,
You better bend, or your gonna break

“Mean Streak” is the hit of the album.

“Straight Thru The Heart”

Can’t tell the truth from the lies
With that smile-mask on your face

On some days, I feel like I am surrounded by people like that.

“Lonely Side Of Town”

With my old friends it’s not the same
Seems we don’t know what to say
I understand but still it’s strange
When your friends just fade away

So true.

Living gets in the way of friendships and when so many years pass, it’s just not the same when you reconnect.

“Midnight In Tokyo”

Midnight, midnight in Tokyo
Where the neon lights the land of the rising sun

Brilliant lyric line about how the land of the rising sun, needs neon lights to light it up.

“Hang Em High”

Power of numbers cannot be denied
Let’s stand up and show how we feel

A call to arms for the rock heads.

Join our ranks – there ain’t no losers here
As long as we never divide
We are a force so strong we never have to run
Let’s stand up and show how we feel

But we did divide. Suddenly if you liked Slayer, Venom, Megadeth and Metallica, it was uncool to like to Van Halen, Ratt, Motley Crue, Dokken, Bon Jovi and Twisted Sister. Remember James Hetfield had a guitar with the slogan, “Kill Bon Jovi”. There is a reason why Hip-Hop/rap is still around, looking and sounding exactly the same as it did back when it emerged in the late 80’s and early 90’s and still making a tonne of money. It’s the unity. The big hair bands from the 80’s are still around, but the majority of them are back to playing clubs and theatres instead of arenas. In the end, they all got killed off because the fans divided.

“Sentimental Fool”

That chorus!

Sentimental fool
You know you didn’t do me right

And that’s the thing. People don’t understand the hurt their actions make to the individual.

Thin Lizzy – Thunder and Lightning 

The final Thin Lizzy album is the heaviest. Of course, it will go down in history as featuring John Sykes on guitar. Even though he has one song writing credit, there is no denying the performance aspect on the recordings. While lesser guitarists would probably have played power chords, John Sykes doesn’t. It’s full of his palm muted single note staccato riffage and shredalicious leads.

“Thunder And Lightning”

It’s a speed-a-thon. The song could have been a contender for Speed Metal Song of the year. Plus it has a classic lyric.

But it’s Saturday night when heavy rock was born

Yep, you read that right. Maybe the first song and only song to use the term “heavy rock” as all songs used “Rock and Roll” or “Heavy Metal”.

Locked up in the classroom, waiting for the fight
Down to the schoolyard, knocking the gate

Remember those moments, when everyone knew the fight was on after school.

“This Is The One”

I never expected that arena sing along Chorus based on the way the verses flowed.

I’ve got to keep myself employed

The life of a musician is to stay employed.

I hear it, I know it, I touch it, I feel it, I see it
Some day we will have won
I can feel it in my bones
This is the one

Is Phil talking about a relationship or his career as a musician?

“The Sun Goes Down”

The restrained chordal decorations by Sykes over the groovy Lynott bass line, makes the song.

“The Holy War”

With all of the crap going on in our lives today, this song feels so modern.

We are chosen, we are one
We are frightened of no one
And no one will win this war
This is the way, this is the law

The takers of innocent lives in the name of a God believe they are chosen. But no-one wins in a war. Only scars remain and eventually those scars will open up again in the future.

There is no evil in salvation
There is evil in us all

Damn right. We all have done things that can be deemed as evil.

Lost children of Babylon
Oh Allah, oh no, oh no
This is the Holy War

And there it is. The war has always been between Christians and Muslim.

“Cold Sweat”

Lynott goes to town on the story of this song. And for those that don’t know the story, it’s about taking your hard-earned money and gambling it away. And to be honest, the riffing from Sykes on this one just brings it all together.

I put my money in a suitcase
And headed for the big race

The scene is set.

To lose means trouble, to win pays double
And I got me a heavy bet
Cold, cold sweat

The different outcomes of the bet.

I’ve got a whole month’s wages
I haven’t seen that much in ages
I might spend it in stages
And move out to Las Vegas

And we have a winner. Phil Lynott proves once again how good he is at telling a story.

“Baby Please Don’t Go”

The young ones hold their heart up to the skies
And dance the night away

Innocent times are never forgotten.

“Bad Habits”

Well, boys will be boys and girls will be trouble

So true. Motley Crue even had a song called “Chicks = Trouble”.

Iron Maiden – Piece Of Mind

In 1980, Iron Maiden released “Iron Maiden”. In 1981 they released “Killers”. In 1982 they released “The Number Of The Beast” and in 1983 they released “Piece of Mind”. It was a gruelling cycle of album/tour. In their quest for world domination, an album a year had to happen. There was no other way.

“Where Eagles Dare”

Written by Steve Harris and a great frantic way to open the album. The song could even pass as a progressive song, with its time changes.

Theme wise, a World War II rescue of Allied soldiers gets a mention here.

It’s snowing outside the rumbling sound of engines roar in the night,
The mission is near the confident men
are waiting to drop from the sky.

The scene is set of the rescue to come.

“Revelations”

Written by Bruce Dickinson. The little black book and Aleister Crowley get a mention here.

“O God of Earth and Altar,
Bow down and hear our cry,
Our earthly rulers falter,
Our people drift and die,
The walls of gold entomb us,
The swords of scorn divide,
Take not thy thunder from us,
Take away our pride.”

We despise the 1% today and we despised them in the 80’s. Those walls of gold are what people rise up against.

How good is that melodic solo after the first verse?

“Flight Of Icarus”

Written by Adrian Smith and Dickinson, Greek mythology gets a mention here.

Fly on your way, like an eagle,
Fly as high as the sun,

“Die With Your Boots On”

It’s written by the holy trinity of Smith, Dickinson and Harris. This time around, nuclear warfare and Nostradamus get a mention. It’s the prequel to “2 Minutes To Midnight”.

How good is that intro?

I still prefer the “Live After Death” version, because that was the first music I owned from Iron Maiden and I listened to it until the cassette tape chewed up.

Do you remember that?

Your favourite piece of music is no more because the stereo tape deck chewed up the cassette reel. It was a disaster of epic proportions, especially when you didn’t have the means to repurchase it again.

13 the Beast is Rising,
The Frenchman did surmise,
Through earthquakes and starvation,
The Warlord will arise,
Terror, Death, Destruction,
Pour from the Eastern sands,
But the truth of all predictions,
Is always in your hands.

The prophecy of Nostradamus and how the world will be plunged into the war of the Antichrist from a person born in the Middle East.

Did he predict it?

Check out this article.

Really dig that section from 3.50 onwards.

“The Trooper”

The Crimean War in the 1850’s gets a song and it took history buff, Steve Harris to write a song about it.

The battle call lines of “You’ll take my life / But I’ll take yours too / You’ll fire your musket / But I’ll run you through” is the defining moment of the song.  If you can’t sing along with this, you didn’t live through this.

Add to it the galloping triplet bass line and you can imagine horses stampeding into the battle.

“Still Life”

By know I have been knocked out so many times, I am on the floor. Seriously six excellent songs one after another. “Still Life” is influenced by Ramsey Campbell’s 1964 short story “The Inhabitant of the Lake” and the song is written by Dave Murray and Steve Harris.

All my life’s blood is slowly draining away
And I feel that I’m weaker every day
Somehow I know I haven’t long to go
Joining them at the bottom of the pool.

Madness and depression are big killers in modern society.

“To Tame A Land”

This song should have been after “Still Life” and the album should have been a 7 song album. That way it was all killer, no filler.

It’s inspired by Frank Herbert’s 1965 science fiction novel “Dune” and when the Maiden team asked for permission to use “Dune” as the song title, they were told that Herbet hates rock music and Iron Maiden.

Zebra – Zebra

Randy Jackson founded Zebra in 1975.

By the time their self-titled debut album came out in 1983 on Atlantic Records, the trio had developed a fan base from their live shows. In addition, the majority of the bands signed in the early 80’s had been slugging it out for a long time in the clubs before getting their recording contract. How many artists today are prepared to put in 8 plus years of hard work before they actually get a chance to record. The answer is NONE. Artists today record straight away, release it and expect something to happen.

“Tell Me What You Want”

A brilliant opener and man, that vocal performance by Randy Jackson is superb. Then the lead guitar comes in and again, it’s melodic and hypnotic. Nothing too flashy, just enough to enhance the song.

 

You have taken it all
All of my love
Unrelenting you told
You told me a lie

When one side gives more than the other, it’s tough to handle when it all goes bad.

Tell me what you want

You don’t want to know what they want, as you might not like what you hear. And would you change if you knew what they want.

“One More Chance”

A 1.2 knockout punch.

If I could only relive yesterday
I think I’d try to do it right
If I had one more chance to be with you
I think it just might save my life

The broken heart themes keep on coming.

I’m caught it the same old world
And I just can’t get my head unwhirled
And I’m looking for any old place to hide

You don’t want to see people when a relationship breaks down. Their fake pities, and “do you wanna talk about it” clichés.

“Who’s Behind The Door”

It’s a very grown up song, so far removed from the LA strip and the NWOBHM influences. It’s bordering on folk rock. And then that change at 3.30 with all of the vocal ad libs from Jackson, the keys enhancing the ending, some backwards guitar and it’s like all hells breaking loose. And the one constant throughout is the acoustic guitar.

Strip away all of the other instruments, you can still sing this song around a campfire, with voices and an acoustic guitar.

And if you take the time to read the lyrics I first thought it was about our trip to the pearly gates. Then I thought it was about aliens invading Earth. Then I thought it was an ode to “Big Brother is Watching”.  Then in the Nineties, I was attaching a Matrix meaning to it.

Looking out to the stars
Think about what you are
What do they think of you
Animals in their zoo
They haven’t got the time
Landing is not on their minds
How do they have the nerve
We’re animals in preserve

The alien connection.

How can we find out more
Who owns the keyless door
Where does the circle end
Who are the unwatched men

The matrix/big brother watching connection.

Where do we go from here
Faith is a fading fear
Life is a waiting room
I hope they don’t call me soon

The pearly gates connection

“When You Get There”

The pop vibes are unique and original. Some great bass playing during the lead break.

You haven’t had a chance to think
About explaining where you slept till noon
You can’t say you were working all night
Cause it’s Sunday afternoon
The truth is too hard
You’ll never come back
Cause a one night stand is not worth the attack

When you get there

Coming home after a night with someone else. While it might have felt great the night before, it doesn’t feel too good the morning after.

And how good is that lead guitar line after each “When You Get There” line.

“Take Your Fingers From My Hair”

This was the song that Dream Theater covered for their “Black Clouds and Silver Linings” deluxe editions that re-awakened my interest in Zebra. Isn’t it funny how a cover song brings back the original song and the band into the psyche.

 

 

It’s a pretty definitive song, with a unique guitar riff and vocal line.

Take your fingers from my hair
They have gotten us nowhere
We can’t last another second
For we are two, too lost for open doors

The scene is set for a break up.

You are blind
Too blind to notice
That their love is not the love we share together

While one relationship didn’t work out, it doesn’t mean the new one will set the world on fire.

How good is that steroid/peptide enhanced ending.

Accept – Balls To The Wall

You see MTV started back in 1981. It took the artists away from the magazines and broadcast them into the lounge rooms. What it also did was create a new era of stars that had to have a certain look. Accept didn’t have the MTV look. But to the metal heads, Accept belonged to us, the metal community.

The cover is legendary. A crotch shot of a person with a very hairy leg holding a ball in his hand against the wall. I’m surprised it isn’t a popular internet meme.

The album had a gated release, so it’s on this list because it’s first release was in 1983 in Europe. The rest of the world followed in 1984.

“Balls To The Wall”

Lyrics are written by their manager Gaby Hauke (under the pseudonym “Deaffy”). This was a monster hit to fans of the genre but not so much on the charts.

Too many slaves in this world
Die by torture and pain
Too many people do not see
They’re killing themselves, going insane

We work because we get ourselves into debt in order to get ahead or to pay for our children to get ahead. From these commitments we become slaves to the employer, working until we die, and stressing when we get fired.

Balls to the wall, man
Balls to the wall

The gang chant.

One day the tortured stand up
And revolt against the evil
They make you drink your blood
And tear yourself to pieces

Revolution Accept style.

“Fight It Back”

It’s like Judas Priest “Screaming For Vengeance”.

Always been the prophets
Who make the world evolve
Always been the average breaking it down

Religious leaders, dictators, corrupted democratic leaders are all prophets trying and the people like us are the average, trying to break down the institutions.

Majority, the unknown
Giving us the rules

Spot on. Laws are written to serve interest groups who stand to benefit greatly from those laws.

Now, if you hate it
You gotta fight it back
Just try to change it
Fight it — fight it back

Once upon a time, this mattered. Not today. Most people are content with their lives and very rarely care about high politics.

Find myself in crisis
Get near to collapse
Am I forced to live that boring life
God, I hate the average
Go and nuke it out

This is what we all wanted to do with our lives, to be independent and to not be boring. However, as soon as we make a financial commitment, we end up being the average.

“Losing More Than You’ve Ever Had”

Man, it’s just good old heavy melodic metal with a catchy chorus. Scorpions would be proud to have a song like this in their repertoire.

But the lyrics about a jilted ex coming back for revenge brings the song down.

And here is a perfect double album of songs from this post in old school vinyl format when the opening and closing track on each side mattered.

Side One

  1. Meanstreak
  2. Revelations
  3. Lick It Up
  4. Cold Sweat
  5. The Trooper

Side Two

  1. Where Eagles Dare
  2. Balls To The Wall
  3. Flight Of Icarus
  4. Lonely Side Of Town
  5. Die With Your Boots On

Side Three

  1. Exciter
  2. Losing More Than You’ve Ever Had
  3. Hang Em High
  4. Tell Me What You Want
  5. Sentimental Fool

Side Four

  1. Thunder And Lightning
  2. Midnight In Tokyo
  3. Baby Please Don’t Go
  4. When You Get There
  5. Heart Attack

Ahh, after two blog entries on 1983, stay tuned for a few more additions.

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

It’s A Singles World

All of the “billions lost” post Napster can all be tracked back to the SoundScan era. According to Wikipedia, on May 25, 1991, Billboard started to use SoundScan data to work out the Billboard 200 Top Albums. Finally the music industry had a proper sales metric to gauge what was popular.

Prior to the SoundScan era, the charts were formulated by an honesty system from every record shop in the land. This meant that the manager of the record store had the power to decide what was popular. So the record labels swooped in and started corrupting the process.

But when it all went to SoundScan data, the record labels saw a lot of people were buying metal, rock and country than the old corrupted honesty system claimed.

Metallica had a large audience before the “Black” album came out, however their “sales” just didn’t match the concert attendances. Why would a record store manager tell Billboard that a band who had no MTV presence was moving product out especially when the same record store manager is encouraged by record label executives to report something different.

And like everything else in music, the record labels were dragged kicking and screaming into the new SoundScan era. SoundScan actually presented their proposal to the record labels in 1990 and of course the labels rejected their proposal. The MP3 technology was also presented to the record labels once upon a time before Napster and it was also rejected. But when Billboard made the deal with Soundscan a year later, the labels had no choice but to comply, although with much complaining. Gone was the “fixing” of the system by record label executives and “in” was the “people power” of the system, which put the careers of artists in the hands of consumers.

If this sounds familiar, Steve Jobs and Apple did the exact same thing to the record labels with the iTunes store.

Suddenly, the labels and the press had no idea what was happening.

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In the first month of the SoundScan era, Skid Row’s “Slave To The Grind” skyrocketed to number 1. In the space of two months, it was purchased over a million times. Trackable purchases, not inflated ones based on a store manager opinion.

For comparison, the self-titled debut album was listed to have sold “3 million” records under the good old honesty system. Really.

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And popularity is a monolith that dominates. If the album is selling and doing well, more people will turn to it. And in the internet era, this is so true. The chaos era means we return to what we know. Sure, we might listen to some obscure acts or certain scenes. Like for me, Swedish Hard/Heavy Rock has me hooked at this point in time. But that’s via my choice and not by some flash marketing campaign or by some feature in a magazine.

And the reason those acts are not getting rich is because just a few people are. It’s always been that the one percent of acts that become global underpin the whole industry. And SoundScan showed the recording industry just how global Metallica really is.

“Enter Sandman” comes out two weeks before the album release and it gets added to radio. Metallica have a listening party in Madison Square Garden. The song and the pending album release is building a buzz like never before. MTV takes notice and suddenly mainstream radio stations that play “pop” music have the single in rotation. The album comes out and it debuts at No. 1 on the Billboard 200. Suddenly, the “Black” album is selling by the hundreds of thousands. It’s trackable. And then, the back catalogue of Metallica started selling. Normal rock music lovers couldn’t avoid it. Pop fans couldn’t avoid it. Skater fans couldn’t avoid it. Suddenly fans of all genres are embracing Metallica.

I recently had a look at the recent RIAA certifications and it more or less confirms we are living in a “singles” world.

Check out all of the certifications that Shinedown received recently.

There is a platinum certification for “Simple Man”, a song released in 2004. This is what music is about. The longevity. 12 years later, people are still listening to the song and are still purchasing it. However, the record labels and a lot of misguided artists believe it’s about the instant payday. It’s not.

Next up is a Platinum certification for “The Sound Of Madness” single. Again, it’s been a long time between certifications but this song is a monster and as classic as anything from the classic rock era. Like “Simple Man” before, it’s about the longevity. 7 years later, it’s still listened to and it has close to 26 million streams on Spotify.

It’s just a matter of time before “Call Me” gets a certification and it was never even released as a single, however it has been streamed close to 33 million times on Spotify.

Then you have a few Gold certifications for the songs “Bully”, “The Crow And The Butterfly” and “Diamond Eyes”. “Bully” is a favourite of mine. It’s message is powerful.

 

Speaking of singles, Disturbed is killing it on the back of “The Sound Of Silence” and their album is moving units on the backs of their cover.

And Muse are now moving into album certification territory on the backs of some very large singles. “Absolution” gets a platinum gong, 12 years after it was released. Again, the longevity is more important than the payday.

So again, on the strength of a few songs here and there, artists are seeing an interest in their back catalogue. It happened to Metallica with “Enter Sandman”. It’s happening to Disturbed with “The Sound Of Silence”. It’s continually happening to Muse and Shinedown. This is music and music is for the lifers.

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Volbeat

I’ve got a lot of time for Volbeat. For any aspiring artist who believes all they need to do is write a song and everyone will love it, read no further. For any aspiring artists that wants the truth about the music business and how hard you need to work, then read on.

Volbeat without a doubt are a hard-working band, that tours like crazy, building their audience, city by city, state by state, country by country. Known in Europe prior to 2010, it wasn’t until Metallica put them as openers on the U.S Death Magnetic trek that Volbeat started to get traction in the U.S. And then their albums started selling. And then they went out on their own, and the shows kept on selling out.

But the story of Volbeat goes back a long time.

Michael Poulsen from Volbeat was in a death metal band called Dominus from 1991 to 2000. Then he formed Volbeat in 2001, a pseudo supergroup of extreme metal musicians. His musical journey began 10 years before Volbeat was formed and almost 20 years before he broke through in the lucrative U.S market.

Their first album came out in 2005. American success came knocking in 2012. To U.S audiences, Poulsen became an overnight success however that success was a long time in the making and a large part of those years dealt with being ignored.

The very essence of the internet is that only excellence rises to the top. And that which rises and lasts usually has an innovative twist to it. Volbeat merged rockabilly, country and metal into a commercial property. A band like Coheed and Cambria introduced a whole new style of storytelling, making each album a mass media event that involved novels, comics and music. When Metallica broke out they merged the NWOBHM scene with fast tempos and then with progressive time changes. When Rage Against The Machine broke out they merged rap with classic rock pentatonic riffs aided by Morello’s grasp of effects. When Tool broke out, they merged various prog rock acts with new wave acts with metal acts into a cacophony of sounds and style known as Tool.

Recognition and success comes much later . In Volbeat’s case their entry in the mainstream American market was a long time coming. Hell their first gold certification in the U.S was 20 years in the making. It is the lifers who last. The success they had in the U.S from 2010 onwards, is based on a song that was released on their 2008 album. Eventually the audience will catch up with the artist and when it happens the artist needs to be around to capitalise on it. Volbeat released “Outlaw Gentlemen And Shady Ladies” in 2013, and they still had their 2010 album “Beyond Heaven, Above Hell” selling decent numbers.

How many artists today can claim that stat?

The hardest thing today is to make a new fan or to get people to check you out. So anywhere music can be played, your stuff should be there. Volbeat do just that. Check out their Spotify stats if you don’t believe me.

“Still Counting” is at 52,740,671 streams. From the new album, “The Devil’s Bleeding Crown” is at 8,405,750 streams. For comparison, Metallica is the biggest metal band on the planet and “Enter Sandman” is at 87,118,248 streams. As you can see, Volbeat are not that far off when it comes to listens.

And if you haven’t checked the new album, Volbeat sealed the deal with me via three songs.

“The Devil’s Bleeding Crown”

Falling from the sky
Cast out from heaven’s light
Drenching the soil with blood
Baptized in the fire hole

It’s storytelling.

They gathered all the children outside the church
And never would they know what went on in there
Close the door and hear all the angels scream
Oh mercy, mercy, mercy, oh mercy please

I really dig the swampy sludgy feel of the tune. It’s classic metal/rock.

“Black Rose”

A sixties bubblegum vibe/feel smashes head on with a heavy metal freight train. That is the only way I can explain this addictive song.

Left my heart on the shelf for way too long
Sick and tired, picking up from the dirty floor
I saw the line of snakes that came to me

“Seal The Deal”

Sold my soul and signed my name in blood
Stole it back, now praying in the dark
Fooled the devil, begging for a fight
Count the dollars, make your bet tonight

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

Albums

“Blizzard Of Ozz” is 39 minutes long. A year later, “Diary Of A Madman” comes out and it clocks in at 42 minutes.  Ozzy built his career on these albums. Two albums in two years.

“You Can’t Stop Rock’N’Roll” from Twisted Sister is 38 minutes long. A year later, “Stay Hungry” comes out as a tight, nine-song, 37-minute set. Like Ozzy, Twisted Sister built their career on the backs of these albums.

“Kill Em All” is 51 minutes long. “Ride The Lightning” is 47 minutes long. “Master of Puppets” is 54 minutes long. Three albums in the space of three years and Metallica’s career is defined and built. In comparison, “Death Magnetic” is 75 minutes long and we are approaching EIGHT years between releases with the opus scheduled for an October release.

“The Number Of The Beast” is 39 minutes long . “Piece Of Mind” is 45 minutes long and “Powerslave” is 51 minutes long. In the space of three years, Iron Maiden built a career on the backs of these three albums. In comparison, “Book Of Souls” is 92 minutes long and it was released six years after their previous album.

“Highway To Hell” is 41 minutes long. “Back In Black” is 42 minutes long. “For Those About To Rock” is 40 minutes long. Three defining albums in the space of three years and AC/DC went from an Australian band to global superstars. In comparison, “Black Ice” is 55 minutes long and “Rock Or Bust” is a return to a normal time length of 35 minutes long. Although the quality is just not there and their main riff meister is missing in action.

“Heaven And Hell” is 39 minutes long and a year later “Mob Rules” came in at 40 minutes in length. Two albums in two years and Black Sabbath’s career is resurrected as a commercial force. For Ronnie James Dio, it was 5 studio albums and six years, and when the 42 minute long “Holy Diver” dropped in 1983, the foundations to Dio’s solos career are set.

What are these figures trying to say?

You don’t need 60 to 90 minutes’ worth of new music to be released on one slab at one time every two to three years. People don’t have spare hours. They have spare minutes. You need 30 to 40 minutes of new music to be released more frequently. Based on the past, bands got traction by releasing new music every 12 months.

Labels want albums because it is easier to charge money RIGHT NOW when there is a bundle of songs involved. Artists want albums, because they grew up on them and they want to be like their heroes and make a statement.

However the album means nothing to the listener who has a digital music collection. While the label heads and the artist want to be paid right now, the fan/listener thinks differently. And the difference between now and the past, is that the listener can influence the outcome.

You buy a track or an album and you could play it once. Maybe you could play it a hundred times or a thousand times or a million times. The artist and their label will never know how many times you played the track. All they will know is the ONE sale and all the money they would have received is from the ONE sale. But if you stream a track a million times, the artist will know. But listens pay less than sales and listens pay when a track is streamed! And if it is streamed a lot it will pay.

So…

Focus on listens. Fans are made by listens. We can talk about albums, but most people are listening to songs. And if a track has longevity, then so does the career of the artist.

Like when I go to “Blizzard Of Ozz”, I listen to “Goodbye To Romance”, “Mr Crowley” and “Crazy Train” as a must.

When I go to “The Number Of The Beast”, I listen to “Children Of The Damned” and “Hallowed Be Thy Name” as a must.

Of course there are other tracks that I like depending on moods, but the ones mentioned are essentials for me.

Listens are everything and based on how copyright law is designed to last the life of the artist plus 70 years after death, the copyright holder will get paid on each and every listen, forever. And the focus should not be on making an album-length statement of 60 to 90 minutes. It should be about putting out a song that can be listened to, over and over again.

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Spotify’s New Metal Tracks

I thought I would try out Spotify’s “New Metal Tracks” discovery feature as I was in the mood to sample something different as I was getting the shits with Spotify’s recommendations algorithm. I am a fan of the service but they still have a lot of work to do, especially around new releases from artists I follow. Maybe they don’t promote those artists, because they promote the acts that pay for it. Because there is a lot of shit/noise in their discovery features.

Anyway, lets start with a few selections;

DYNAZTY
Titanic Mass

I was blown away that this was their fourth album in six years. Another Swedish band that has made it to my favourites. The drum groove reminds me of “The Fire Still Burns” in the chorus. It’s fucking brilliant.

Then that harmony riff  kicks in before the solo section and its a cross between Iron Maiden and Helloween. Again fucking brilliant.

“Fire, flames, fury”

ARCHITECTS
Gone With The Wind

It’s like Killswitch Engage with keyboards. I dig.

Do you remember when you said to me, “My friend, hope is a prison.”?

RISING DARK
Plague

Very early Metallica meets Slayer with a bit of power metal. Brilliant. Vocally, the singer is a cross between Chuck Billy and Tom Araya.

Virus spreads, infects the nations
Only cure: extermination
Parasites wiped out of sight
Without mercy, only pride

Plague spreads
We disinfest

CULT OF LUNA
A Greater Call

I heard some music from them years back, however it just failed to stick. But not this time. The mood at the start of the song and how it just builds and builds for the full 8 minutes is pretty full on.

The piece d’resistance is those ethereal backing voices under the harshness of the death metal screams.

We leave. Upward, toward new dreams
A new hope. An odyssey
Underneath. The world left behind
Is dying as we escape gravity

IHSAHN
Disassembled

Musically Ihsahn is brilliant. Anything goes in his songs. Listen to this song. The riffs are prog like, arena like, hard rock like, metal like and the vocals are black metallish and arenarish and etheralish. So many different moods and grooves packaged in a 5 minute song.

A shattered soul presented
Like a disassembled gun
Assassins rushing up the stairs
All allies on the run

HELLYEAH
Human

As much as it pains me to say it, but losing Mudvayne guitarist Greg Tribbett (who formed Audiotopsy after leaving) was the best thing that happened to Hellyeah. They sound more focused and re-energised. And Chad’s lyrics are as always brilliant.

KATATONIA
Old Heart Falls

This is another band that I heard many years ago and no impression was made on me to revisit them again, but man, this song, I love it. It’s got this vibe and groove that is progressive, rock, metal and a Clint Eastwood Western all rolled into one.

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The Whole Damn Thing Has Turned To Dust

Tremonti windowed the release of “Dust” and kept it from Spotify for 4 weeks. This windowing process denies Spotify Premium fans a chance to listen to it. It’s discriminatory . It didn’t make me go out and buy the CD to hear it. I was actually tempted to search for it on the pirate sites to download it, however it just proved too much effort. And to purchase an mp3 just doesn’t come into the equation for me. And then YouTube, the service that pays less had it up.

Anyway, it feels like yesterday that I was listening to “Cauterize”. It was my number 7 for 2015 releases. So here we are almost a year later with “Dust”.

“In the words of the immortal YODA, a solid listen, this album is. An outstanding song, there is not. Intention of Tremonti, was not the hit single.”

It’s how I started my review of “Cauterize” and it still rings true for “Dust”.

Mark Tremonti has shown the world that he was the brains and driving force behind Creed. He kept his career trajectory going with Alter Bridge. In the downtime, he also started his own solo band.

After Creed finished up, he went away and mastered the art of shred. Along with his brother they formed Fret12. It’s a record label, book publisher (you should check out the “The Sound And The Story” specials and the diverse guitarists involved) and an overall one stop shop for all things Tremonti and other projects. His PRS guitars are state of the art and brilliant to play. Trust me on that one as I have one. The PRS through the 5150 is the perfect sound for me.

And via Alter Bridge, Tremonti is filling the void left behind by Led Zeppelin. Myles Kennedy is one of the best vocalists of the modern era ala Robert Plant and Mark Tremonti is a prolific writer and innovator ala Jimmy Page. And the real good musicians always rebuild their careers after their initial success. Jimmy Page did it after “The Yardbirds” and Mark Tremonti continues to do it after “Creed”.

Evan as “Dust” hits the streets, Alter Bridge are recording their next album. The work ethic is high.

“My Last Mistake”
It’s a thrash-a-thon. Like “Cauterize” before it, it’s a speed metal song. The chorus is excellent.

Just like tragedy
Folks line up to see
We forget and the problem’s gone
It just ain’t right to move on

It’s a sick symptom of society where we fail to hold to account, the people responsible for the tragedy. The GFC perps went on college speaking tours and high-five jobs at the financial firms they organised laws to benefit. They escaped unscathed, while the middle class and lower class got their homes foreclosed. Every time there is a shooting there is outrage, however nothing is done after on gun reform.

For all of the laws passed to spy on citizens in the name of terror, not one terrorist act have they stopped. And after each terrorist attack, our privacy and liberties erode a little bit more. The people need to hold to account the people responsible. But we cannot devote the time because the people responsible have us hooked line and sinker. We can’t take time of work because the income means more to us than the cause.

“Once Dead”
It’s another thrash-a-thon speed metal song, with a blast beat groove and a wicked arena rock chorus. It’s a great mix. Garrett Whitlock cements himself as a powerhouse drummer on this one.

We sink like a stone
Once dead once belonged

Sinking like a stone means to fail completely and once dead to me; means, your time is up. So in other words, the lyrics can be paraphrased as;
We have failed in life
And now our time is up

“Tore My Heart Out”
It’s a derivative version of “Dust” but unique enough to be a stand alone. Tremonti thought of changing the title because he didn’t want another song title with “heart” in it. “Another Heart” is on “Cauterize”. And that outro riff is like a crazy train going off the rails.

Show your will and do your part
Or be blind right from the start

“Catching Fire”
There is an interview with Tremonti (I think at whatculture.com) where he states the riff that starts the bridge, he’s had since high school. I dig little insights like that. You just don’t know when the time will come for an idea to blossom into a song.

The whole world’s catching fire again

“Betray Me”
How could you betray me
Remember hope, remember faith, remember trust

Venomous lyrics and sweep picking makes an appearance. Remember Malmsteen. Actually, how many fans of Creed/Alter Bridge, would know of Malmsteen?

“Dust”
But the piece de-resistance like “Providence” from the previous album is “Dust”. In the original track listing, “Dust” was the closer, however it got moved up to track number 4.

It grooves from the opening notes and it’s a song to define a career. The syncopated call and response of the riff and vocals, immediately hook you in.

You can hear the years of practice, the honing of his chops and how he called Shred teachers from the 80’s in Troy Stetina and Michael Angelo Batio to brush up his technique. Even after he sold 30 million plus records with Creed, he still worked at improving.

Tremonti stated that “’Dust’ is about how it feels to watch a close friend lose confidence in you.” And that’s what great songwriting is. Evidence of humanity.

And the Pre-Chorus, is a riff, building up to a Chorus that rocks hard with emotion and groove.

The whole damn thing has turned to dust
The ashes you left to bury us

There are other tracks on the album like;

“Rising Storm”
The song was meant to be called “Lay To Waste” however when Tremonti recorded the song in Garageband, it was called “Rising Storm” and the song title just stuck around.

“Unable To See”
It’s a derivative version of “Waters Rising” from Alter Bridge. The intro is from “The Sound and the Story DVD” and another musical idea that was written 20 plus years ago. Tremonti also stated over at whatculture.com;

“Unable to See” has some of the oldest parts on the entire record. The chorus of that song comes from a pre-chorus of a song I’d written for the One Day Remains record, the first Alter Bridge record, so that’s many years old, so there’s definitely some history scattered throughout.

Still we love to see a smile
But we are wronged by the ones that would never

If you take the relationship perspective to the lyric, it would be that we are surrounded by people who see the glass half empty and if you take a world view perspective, it would be about the terrorists who are trying to turn all of our cities into a desolate wasteland like their home city.

“The Cage”
Is that some chicken-picking going on masquerading as tapping? And the lyrics are very strong, almost venomous.

Take your words, they’re worth nothing, let your evil show

It’s another way to say, that the beliefs of people who try to affect our freedoms and liberties mean nothing to us and whenever their evil shows, they just push us together, something even the best intentioned governments couldn’t do.

“Never Wrong”
It could have been on an Alter Bridge album.

Tremonti is a guitar hero, as good as any of the Eighties shredders. He had multi-platinum success with Creed, an act that was devoid of guitar solos and lumped in with the Nu-Metal, Alternative Rock scene. It brought out the haters, jealous that a person who could shred, didn’t shred. In the end, people live and breathe on the songs they write, not on the guitar solos they write and Tremonti has built a consistent legacy. The pinnacle of his career in my eyes would be when his second act, Alter Bridge played the Wembley Arena. And dont be surprised if Tremonti the band get there as well.

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Haken – Affinity

It’s a new game.

Every artist should be aiming at getting their music on a playlist like Spotify’s Discover Weekly Playlist. It’s a playlist that artists and their record label can’t buy in too. YET. Maybe in the future, a spot in the playlist could be cemented for a fee. But not right now.

For those that don’t know, the Discover Weekly Playlist recommends songs and artists to me based on what others have listened to that I’ve listened to as well. This is where discovery happens and to be discovered, an artist needs to be everywhere, especially on a streaming service.

“The Endless Knot” from Haken came into my Spotify Discovery playlist a few weeks ago and it got me interested in Haken.

A week later I am listening to their new album “Affinity” and enjoying every minute of it.

It’s all about moods for me and Haken have caught me in my prog mood.

Throughout the history of prog, bands fell into a few categories, pre-determined by King Crimson, Rush, Yes, Pink Floyd and ELP.

Dream Theater successfully and commercially merged hard rock and metal with Rush, U2, Pink Floyd and Yes influences. And from that union, you had bands that followed the DT route.

Fates Warning started off as a metal band that got technical and progressive as they matured. Their style would morph even more in the Nineties and two thousands. And you had bands that followed that route.

Meanwhile, Tool would take the King Crimson and Pink Floyd route. And you had many bands that followed that route.

Then you had math rock and math metal bands and the many bands that followed that route.

And it was rare for bands to intertwine the different styles.

Eventually Porcupine Tree came out in the Nineties and had a sound that merged a lot of the above different styles. Then they went into a more pop direction via “Trains” and “Lazarus”. Great songs by the way.

However it was Fates Warning very underrated “Disconnect” album released in 2000 that combined all the various styles into one cohesive package and “Affinity” is another album that combines so many different elements of the prog genre into a cohesive and enjoyable package.

I was actually shocked when I found out “Affinity” is the fourth studio album.

See how hard it is to be heard above the noise and if it wasn’t for the Discover Playlist, I still wouldn’t know about the band.

So what I know about them is from Wikipedia. Formed in 2007 by To-Mera guitarist/keyboardist Richard Henshall and the name “Haken” was derived under the influence of alcohol or weed while in high school. I do remember listening to some music from To-Mera due to an ad in the PROG magazine from Classic Rock but I can’t remember any tracks.

In digging for information I was blown away by the work effort of Richard Henshall. Check it out below.

2008: Haken – Enter the 5th Dimension (demo)
2009: To-Mera – Earthbound (EP)
2010: Haken – Aquarius
2011: Haken – Visions
2011: Opinaut – Oxygen (EP)
2012: To-Mera – Exile
2013: Haken – The Mountain
2014: Haken – Restoration (EP)
2016: Haken – Affinity

Compared to the global superstars of the MTV era, he is a still an unknown entity, but even though he might not have the dollar riches, he does have the musical riches. And he is still making music. Looks like he missed the memo from Gene Simmons to pack up his guitars and become a technologist or go work in the financial sector.

“Initiate” 

It sounds like Karnivool. Nothing new, but a great listen.

I observe a world jarring in turmoil
A million people waging war at the hands of a god

It’s human history since the dawn of time. How many wars in the name of a god?

I’ll do things you can’t conceive
There’ll be no strings on me

Free will is an illusion. We believe we have it, but there are so many strings and chains attached to it, we actually have nothing.

“1985”

It comes in at 9 minutes long. Guitarist, Charlie Griffiths sent the band the initial version. He was inspired by listening to the music of Toto, Vince DiCola (Rocky music director) and Van Halen. It’s got heaps of 80’s electronica sounds, heaps of Vince DiCola montages and heaps of Dream Theater bits. Some seem ripped off. It’s totally unoriginal and yet it sounds original. Overall, it’s a pretty good song and it’s the one that sticks out the most and my favourite of the lot.

I stand map in hand
Direction misaligned
I play my role
With the cast of a die

The person in the song has a map but they cannot make sense of where to go. It’s because their steps are controlled by unseen puppet masters, faceless people who corrupt and infiltrate every facet of government and our lives.

My first step
Was undertaken aimlessly
Yet I arrive
As if I’m meant to be

How many of us walk away from a job that pays well to follow a dream from our youths?

The answer is not many. And our lives are determined by wages coming in just to pay loans, credit cards and other bills. Like the lyric states, we arrive to the place of servitude like it was meant to be.

Did I decide
Or did the road choose me?

As mentioned above, free will is an illusion. We believe we have it, but it ceases to exist when we start to follow the rules set by institutions.

“The Architect”

Almost 16 minutes long.

Message on a screen before me
Caught a glimpse of the ending to our story
‘I’m sorry I haven’t called you recently’

Are the lyrics talking about a break up via a text message?

Me thinks so. That’s communication in the modern world.

You turned your back on affinity
Now it’s turned to toxicity

The promise of being together forever has turned toxic.

Delete all obsolete memories
Shores of tranquillity
My monastery

All of those memories that a person needs to forget when a relationship goes sour. The longer the relationship the harder it is.

Omnipresent endless knot
The architect of every thought
Through the prison walls made by your design
A chameleon hides behind Orwellian eyes

Omnipresent means to be present everywhere, like a god, the universe or some other divine being that watches and controls all. The endless knot is an ancient symbol that shows lines interweaving with each other, and although all existence is bound by time and change, it all still rests within the Divine and Eternal lines of the symbol.

So the lyrics are stating that “The Architect” of our thoughts is an omnipresent chameleon that watches and dictates our ideas and lives.

“The Endless Knot”

The shepherd led, we blindly followed
Into the world of no tomorrow

We grow up believing that people have good intentions. However, life and society is more complicated. And the shepherds we follow have all been corrupted by money and greed.

Break me down to pieces
And strip me of my freedom

It’s like when you get a mortgage. Your freedom is stripped. Until you pay that mortgage off, you have none of it. And with each pay cheque, the system just breaks us down a little bit at a time.

We need a story to believe in
We need a hero to prevail

That’s why TV shows are ruling the entertainment industry. The story develops over 10 to 15, 1 hour episodes instead of a 2 hour movie.

Give “Affinity” a listen. I still am. It still keeps me interested. Eventually I will dig in to the earlier stuff. But not right now. “Affinity” has my attention.

I feel like it’s the 80’s, where you buy the album and listen to it over and over again. Then you save up some cash and purchase an earlier album. But that could take months or years in some cases.

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The Streaming Wars, iTunes Suspending Downloads Due To Decreased Sales While Bandcamp Sees An Increase in Sales

“It’s (streaming) not the enemy and the thing that frustrates me is the old guys, and I call ’em the old guards; now what a nasty position to be in to be thought of as a gatekeeper. Because you’re a rockstar, you’ve been around 20, 30 years — some of ’em 40 years — and you say, ‘Bah humbug to streaming!’ You say, ‘Bah humbug to rock. Rock is dead. There’s no hope for the future. Put your guitars down and go get a job in a bank.’ It’s, like, that’s not the message that young musicians and fans need to hear. They need to hear, ‘Streaming is your friend. The listening experience is more exciting. Pick up your guitars, there’s a career for you out there. The next Elton John’s out there. The next Metallica’s out there. The next Beatles is out there. The next Muse is out there — they’re out there.’ They’re young, they need to be pushed to be the best they can be; they don’t need to be told there’s no future. There’s money and there’s hope, and what money gives musicians is the opportunity to have stability. And with stability you can continue to create music and, when an artist is creating music, we get to do interviews and talk about it.”
Nikki Sixx 

Suddenly Google has become the baddie when it comes to piracy being. The tech giant is accused of the same crimes that Napster, Limewire, The Pirate Bay, MegaUpload, etc. were accused of previously.

It’s been ongoing for a while, especially around the takedown procedures. Suddenly musicians are now speaking up against the small payments from YouTube. Nikki Sixx and Deborah Harry spoke out against YouTube.

Manager Irving Azoff mentioned YouTube should allow musicians to opt out of the service, and if the musicians via their backers ask for their content to be removed it should be removed permanently and not allowed to be put back up without the consent of said musicians.

And if you have ten minutes, check out the latest rant against YouTube. It is a read of BenHur proportions.

And then there was a rumour of iTunes cancelling music downloads which was denied by Apple. However where there is a rumour, there is also some truth. The article states;

“Whether or not Apple wakes up one day and decides to tear down its iTunes music download store is not the most important thing.  Because they are already starting to get rid of it.  This phase-out is already happening and Apple is definitely assisting this process.  They are definitely not growing their download store and they are doing what it takes to make this die a natural death.”

The article talks about how Apple is blurring the lines between iTunes and Apple Music, by corrupting our iTunes downloads with the Apple Music product, even going as far as replacing your paid iTunes download with the a different version licensed for Apple Music. Apple believes by doing this process, the user would eventually give in and pay for an Apple Music Streaming subscription.

And the major record labels couldn’t care less. They will phase out CD’s and if mp3 downloads are phased out, the only mp3’s pirates can download are the web rips of YouTube songs. Which if you read the above, the labels are really pushing hard to tear down as well. All of this means the labels get back control of the distribution channel that Napster took away.

They have hedged their bets with every digital musical offering, taking decent percentage stakes in each of them, so when they get sold or go public, the labels stand to gain billions. Add to that the millions earned from licensing the songs that they hold copyrights for and you get to see how much money is going to the record labels and not the artists.

But hey, YouTube and Spotify is to blame.

Bandcamp has posted a counter argument to Apples “iTunes problem”.

  • Bandcamp grew by 35% last year.
  • Fans pay artists $4.3 million dollars every month using the site, and they buy about 25,000 records a day.
  • Nearly 6 million fans have bought music through Bandcamp.
  • Digital album sales on Bandcamp grew 14% in 2015 while dropping 3% industry-wide.
  • Track sales grew 11% while dropping 13% industry-wide.
  • Vinyl was up 40%.
  • Cassettes 49%…
  • Even CD sales grew 10% (down 11% industry-wide).

Bandcamp is not just a download store. When a user buys music on Bandcamp, they also get instant, unlimited streaming of that music via Bandcamp’s free apps as well as an optional, high-quality download.

In the past I have always mentioned that fans come in different ways and consume music in different ways and it looks like Bandcamp is positioned to capitalise on that.

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Plagiarism

“There was really just one song ever written and that was by Adam and Eve. We just do variations”

Keith Richards as he was inducted into the Songwriters Hall of Fame in New York in 1993.

That my friends is music in a nutshell. All forms of art is inspired by the past. And then corporations came looking to profit from art and they lobbied the governments of the time to start writing laws. These laws would get enhanced until it got to a stage where the laws only benefit the corporation that controls/holds the copyright of the artist.

The word plagiarism in music is a dirty word.

If you look at a dictionary like the MERRIAM-WEBSTER ONLINE DICTIONARY, plagiarise means;

  • to steal and pass off (the ideas or words of another) as one’s own – Isn’t this what Sharon Osbourne did in Ozzy’s name for “Bark At The Moon”. Bob Daisley and Jake E. Lee wrote the album and Sharon had Ozzy listed as the sole songwriter.
  • to use (another’s production) without crediting the source – Isn’t this what Metallica did with “Enter Sandman” and “Welcome Home”. Kingdom Come did it. Every British Rock Invasion did it with the Blues of the 30’s and 40’s.
  • to commit literary theft – Isn’t this is what Robert Plant did with some of his Led Zeppelin lyrics.
  • to present as new and original an idea or product derived from an existing source – Isn’t this is the whole history of music. There is a pretty good chance that latest album of your favourite artist was influenced in sound and feel by songs of the past.

In music, if you play the notes A, B, C right after each other, you are technically playing the first three notes of a musical scale. And there is a 100% chance that those same three notes will appear in someone else’s song or have already appeared in a song written in the past.

So should we credit the person that came up with the Aeolian scale thousands of years ago for those three notes?

But if I was writing an essay I am required to credit anything that is the same as something that came before.

But what about the millions of songs that have A, B, C in a lead break or in a vocal melody or in a riff?

See how silly it gets when you start to use a scholarly term like plagiarism in music. Based on it’s dictionary meaning, then plagiarism has been around in music since the dawn of time.

But plagiarism is relevant these days because our culture believes it owns everything. We believe our ideas and words and stories are so original, we worry that others will “steal” them from us in some way and make millions of dollars from them, while we make nothing.

The fact that other people in the world are thinking the same ideas or writing similar words or living a life similar to ours, doesn’t even come into the equation.

And while plagiarism does exist in academic/literature circles, it really doesn’t exist in music. Because music is a sum of what came before it. If certain songs sound too similar, then that is copyright infringement and it exists in music.

That is what Vanilla Ice did when he lifted the bass line from “Under Pressure” and called it “Ice, Ice Baby”.

But when I hear Five Finger Death Punch lift the vocal melody from “The Ultimate Sin” and re-use it for two lines in an eight line verse in “Lift Me Up”, I call that “influenced by music that came before to create something new.” In other words, it is a derivative work.

But with so much money in music, especially around hit songs, the lines of inspiration have been reclassified as theft/plagiarism. Copyright infringement is now all about censorship and piracy.

And what you have is a jury of non-music experts setting precedents that blur the lines even more. And you have heirs of artists suing to protect their pension incomes, when the songs their deceased parent or grandparent wrote, should be in the PUBLIC DOMAIN as Copyright intended them to be.

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A to Z of Making It, Music, My Stories, Stupidity, Treating Fans Like Shit

Albums

Is the album format really over?

The old way of spending half a year recording an album, then going on a marketing/promotion tour before its release, so you could have massive first week sales just doesn’t work anymore.

Protest The Hero were in my face for six months, with their “Pacific Myth” Subscription via Bandcamp. One song was released each month. It was brilliant. We (the fans) focused on each song for a month. We talked about each song and then when the conversation was over, we got hit with another one.

On top of that, we also got a video each month that covered the “Volition” fan funded album cycle. Further to that, we got drum through videos, food cooking videos and guitar tabs for the songs.

The band should keep at it. Not stop. Release a jam cover song here and there, write a stock standard metal song in the vein of Metallica’s “Black” album, put some demo’s out there of a work in progress, release a live recording and so forth. The band could be doing all of the above, while they now promote the vinyl/EP release of “Pacific Myth”.

Which brings me to the album.

I am really forming the view that the album is purely for the record label. It’s the only way the labels know, how to get an artist to sign away their copyrights to them, so the label could reap the benefits for hundreds of years after. In other words its a pure cash grab for the label.

The new way is to be making new music constantly and releasing it. But it wont happen because there is always a view that each release needs to be monetized to maximum.

But for an artist, how does the album cycle work.

They will release the album. It might even chart. A month later no one apart from the hard-core fans care about it. We move on. And that year the artist spent refining those twelve tracks, only got them four weeks’ worth of attention.

So what now.

They might go on tour and the album might come back into the conversation.

Is anyone talking about the new album from Three Doors Down, four weeks after it was released?

The answer is NO.

But people are still talking about Five Finger Death Punch. “Got Your Six” is still selling units and it’s getting streamed. “Dystopia” from Megadeth is still in the conversation, four months after it was released. “Immortalized” from Disturbed is still selling on the back of “The Sound Of Silence”.

For some bands, the album works and for others it doesn’t.

But, what is clear, is the game has changed.

Artists need to be making music constantly. Artists are musician’s first, business people next.

So what is the purpose of the album?

The album is for the hard-core fans. If an artist doesn’t have a track that converts people, they will need to go back and keep on writing. Because for an artist to survive, they must always be gaining new fans while they keep their existing fans.

And the MTV world of global superstars is gone. Over.

No one dominates like the times of old. Chaos is the world we have right now. Previously magazines like Hit Parader, Circus, RIP, Metal Edge, Faces would tell us what was important. Then those magazines sold their pages to PR companies controlled by the labels and the fans ignored them.

Now we are overwhelmed with content and there is no worldwide ranking to tell us what to tune in or out off. Hell, I don’t even know when new music is coming out from my favourite artists, until it hits my Spotify new releases. And that’s not always on release date. Tremonti is a perfect example. The new album “Dust” has been out since April 29, however it is being withheld from Spotify.

Why?

I pay my monthly fee and for some reason, I’m being punished for it by the artists I’m trying to support. Talk about treating fans like shit.

But YouTube who pays much less has fan uploads of the album and pirate sites who pay nothing have a torrent up.

So chances of getting traction are slimmer. It’s a level playing field.

Good is no longer good enough, not if you want to get ahead.

Remember when Dokken broke up and we had Lynch Mob and Don Dokken albums. They were good and it’s debatable if they were great, because great is such a subjective word. But in the end, the albums of both bands had a lot of crap in them.

Which brings me to the question?

10 to 12 tracks packaged in an album every 2 years vs 4 songs in an EP every 3 months.

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