P(etty)L(ynne)A(ttack)GIARIZE

Anyone heard Sam Smith’s “Stay With Me”. I know it’s not a rock or metal song, however since July last year, thousands of YouTube clips came up where YouTube users mashed up “Stay With Me” with Tom Petty’s “I Won’t Back Down” that was a co-write with Jeff Lynne from ELO and released back in 1989.

And to be honest I had no idea that Petty and Lynne went for royalties on this one, so when I came across the stories a few days ago about it, I have to admit I had a laugh.

I laughed first because both Tom Petty and Jeff Lynne as musicians have used a lot of blues standards and classical music respectively in their output.

I laughed because one of the greatest bands in the world Led Zeppelin plagiarized a shit load of folk and blues standards. Hell, their biggest song “Stairway To Heaven” was even plagiarized.

I laughed because one of the biggest bands in the world today, Metallica plagiarized a shit load of metal and skate metal bands for their biggest songs.

I laughed because the whole British rock invasion was a cultural movement based on plagiarizing the blues standards of the thirties to the fifties.

I laughed because Avenged Sevenfold released a great rock record that plagiarized a shit load of other bands from the Eighties and the Nineties.

I laughed because the whole concept of writing music is to copy something that came before it and to allow that to influence you.

I laughed because the copyright bullshit laws that Petty and his team used are there to protect songwriters from competitive works that diminished the original work. I can honestly say that Sam Smith’s “Stay With Me” in no way diminished Tom Petty’s “I Wont Back Down”. There is no way that people who like “Stay With Me” would neglect Tom Petty’s “I Wont Back Down”.

I laughed because the vocal melodies are both simple pentatonic sequences. The pentatonic scale is a five note scale that is a standard in rock and metal.

I laughed because Tom Petty when questioned about similarities between The Strokes “Last Nite” and Red Hot Chilli Peppers “Dani California” with Petty’s “American Girl” and “Mary Jane’s Last Dance” said that he doesn’t believe in court actions to fight over pop songs.

I laughed because one of the albums I have been listening to lately is the poster child for copying and what a fucking great album it is. That is Kingdom Come’s self-titled album.

I laughed because when it comes to music everything is loaded with so much emotion.

I laughed because all music is a derivative of what came before it.

I laughed because the reason WHY WE LIKE music is that it sounds like something familiar.

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

Apple

In order to lead you need to stay ahead of the game. In order to stay ahead you need to innovate/create.

Apple is one such company that is at the crossroads. The iTunes store is seeing a decrease in MP3 sales. Their first foray into streaming, iTunes radio never really took off.

The move into the streaming market dominated by Spotify and YouTube with the Beats acquisition is still at the starting gate and the birth of new products since the death of Steve Jobs has stagnated , however the iWatch is being hyped up by critics and bloggers as a savior.

But what people are failing to see is what Apple is doing behind the scenes. The acquisition of smaller companies into the Apple network forms a picture of a large corporation gearing up to control more of our daily lives.

Let’s not kid ourselves here. IT companies are billion dollar industries because of the data they harvest from us, the people. It is that data that provides a dashboard on how to market a product and to whom. And Apple are gearing up for a mammoth shake on the data front.

They have purchased Semetric, the U.K company behind Musicmetric. For those that don’t know, Musicmetric is a web service that analyses data on the internet around sales of music, P2P downloads, YouTube views, streams, social networks and sells that data to record labels, artists and others.

I saw Musicmetric as a great tool and it’s most valuable asset is that it looks at BitTorrent (p2P) downloads (both legal and illegal). It could tell an artist which countries and cities are illegally downloading their music.

To me, these are fans that can be monetised via live performances, provided the artist has the means to get there. For newer acts it tells them where their music is popular even though they don’t see that popularity translate into sales because in the end a fan base is a fan base. It has been proven that at some time down the line these fans will commit financially to the artist.

Which is a shame because I cant see how Musicmetric will stick around as a standalone service anymore.

Apple has gained a key in-house tool that it can use to track sales and streams within iTunes alongside social networking stats. But the reason why Musicmetric worked is that it also included Spotify and YouTube activity into its dashboard, however the chances of those two entities remaining with Musicmetric (now that it is owned by Apple) seem to be slim.

Another interesting piece I came across is Apple’s latest patent, which states that it will allow people to legally share music and videos with friends as long as those users have a license. As the Torrentfreak article points out;

While “legalized P2P sharing” may sound appealing, in theory it’s actually quite restrictive. The idea introduces a new layer of content protection which means that the files in question can only be played on “trusted client software.” This means that transferring files between devices is only possible if these support Apple’s licensing scheme. That’s actually a step backwards from the DRM-free music that’s sold in most stores today.

Interesting.

So what we have is a company that has purchased a data analytics company that tracks illegal P2P sharing activity as part of its dashboard and they have just been given a patent to legalize P2P sharing amongst its users provided they have a license.

But seriously, Napster came out close to 16 years ago. Yes, 16 is the number. That is close to 6000 days ago and the recording industries have done nothing to give the fans of music anything that remotely resembles Napster. Meanwhile, technology companies have done all of the innovating.

To me this is another attempt at control and restriction and that is a bad thing.

These new tools will most probably be packaged in with their Beats music service and if my reading between the lines is correct, Beats Music will also be a P2p protocol sharing service provided the user has a license which will probably come automatically with the purchase of an Apple product.

Copyright!! Whose Right Really Is It?

My Google Alert on Copyright has been in overdrive over the last three weeks over Copyright news items. While I was reading through some of the articles, a persistent theme was present throughout.

Who really owns the rights to songs when government granted monopolies have hijacked the very definition of what copyright is?

First off, we have an entity called Zenbu Magazines Inc. that has filed a whole suite of cases against Apple, Sony, Google and Rdio over their streaming services. The crux of the argument is the same as the Sirius XM Radio case, over pre-1972 recordings and the royalties attached to those recordings.

The cases filed by Zenbu Magazines Inc., states that all of the services mentioned have been making money off of pre-1972 music recordings without paying any royalties to the owners of the original recordings.

Let’s get one thing clear here first.

Zenbu owns the copyrights to a lot of the songs in question. Sometime ago they would have paid a fee to the artists in question so that they could hold the rights. One of the songs in questions is a song called “Sin City” by the band The Flying Burrito Brothers. The song came out in 1969 on their album “The Gilded Palace of Sin”.

The song is written by Gram Parsons (who died in 1973) and Chris Hillman (who is born in 1944 and still alive today). Now the consensus for pre-1972 recordings was this;

The songwriters get paid from sales and public performances of the song.
The performers however get paid only from sales.

The issue today is if the performers of the song have a right to be paid for the public performance of those sound recordings.

So why is this such a big issue right now and not in the past.

The pre-1972 rule wasn’t an issue because terrestrial radio broadcasters are exempt from paying performance royalties on all sound recordings, no matter when they those sound recordings are made. The viewpoint held is that the recording artists would receive a lot of exposure from airplay and that exposure would then translate into sales.

But people are just not buying pieces of vinyl and plastic anymore to hear music that they like and what we have is a lot of financially challenged business models of these government granted monopolies.

What copyright has actually done in this case is give power to an entity that has NOT CREATED anything and with that power they are shaking down companies who provide a service to music consumers. This is a far cry from copyrights explicit purpose of granting the creator of an original work exclusive rights to its use and distribution, usually for a limited time, with the intention of enabling the creator to receive compensation for their intellectual effort.

And if anyone is thinking that the streaming companies should just pay up extra royalties to the performers of the songs of pre_1972 recordings (keeping in mind that the songwriters are getting paid), due to the mess of copyright regarding pre-1972 sound recordings, each streaming company would have to individually work out a deal with each copyright owner.

The streaming companies are all about scale. They are all about the MACRO so I don’t expect them to get all down and dirty and into the micro.

Then there is another case that went to the federal courts. This one is about a recent song from 1993 called “Whoomp! (There It Is)” and boy is this one is interesting.

In 1993, Cecil Glenn and Steven James wrote and produced the song. They also entered into an agreement with Bellmark Records. At the time, Alvertis Isbell was the president of Bellmark Records. Bellmark Records primary business model is all about owning sound recordings. However by 1997, Bellmark Records filed for bankruptcy and all of its assets were purchased by DM Records for a fee.

The copyrights of the songs owed by Bellmark Recordings would be assumed to be part of the assets purchased by DM Records. So of course, DM Records went on to monetize the copyright of the song “Whoomp”. Meanwhile, the masters of the song are owned by the writers of the song, Cecil Glenn and Steven James.

Sound confusing. It sure is. But read on.

To understand how fucked up this is, you need to go back to 1977, when Isbell Alvert formed his own music publishing company called Alvert Music. It is that company, Alvert Music that then filed a copyright infringement case against DM Records in 2002 (5 years after Bellmark Records went bankrupt) to have the courts declare that Alvert Music, not DM Records is the rightful owner of Bellmark Records assets and also the rightful owner of the composition copyright for “Whoomp”.

When the case went to trial, Isbell mentioned that the agreement he had with the songwriters of the songs transferred 50% of the songs copyright to Alvert Music. DM Records argued that Bellmark Records was the only assignee as the agreement was made between Bellmark Records and the songwriters.

And in December 2014, the Courts agreed that Alvertis Isbell owned the copyright and that DM Records was liable for copyright infringement.

So what assets did DM Records actually buy in 1997 for that $160,000 it gave to Bellmark Records?

Anyway in this instance we have the actual SONGWRITERS signing away a large percentage to another ENTITY. That entity goes bust, however the owner of that entity also owned another entity and he used that other entity to sue the new owner (which we will call the NEW ENTITY) for Copyright Infringement. It sure sounds like a lot of ENTITIES at play in lieu of creators.

So I looked up the meaning of copyright again in the dictionary.

the exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material.

I would assume that the ORIGINATOR means the creator of the works.

Wikipedia has the following;

Copyright is a legal right created by the law of a country, that grants the creator of an original work exclusive rights to its use and distribution, usually for a limited time, with the intention of enabling the creator to receive compensation for their intellectual effort.

There is that word again.

CREATOR.

So what the hell happened to COPYRIGHT to allow people who didn’t create anything the right to shakedown and sue others. What the hell happened to COPYRIGHT when the courts decided who has the right.

Alternate Reality, Copyright, Derivative Works, Influenced, Music, My Stories, Stupidity, Unsung Heroes

Chapter 4

I finally got around to watching the “Through The Never” movie last night and there was a question nagging at me throughout the whole experience;

“How can James Hetfield think that this is good?”

Lars just wants to be front and centre on everything so any outlet that can put him there, he will agree with. Kirk and Rob will just follow what Lars and James do? But James Hetfield to me is the quality behind the band. He can have a different drummer, guitarist and bassist backing him up and it will still be Metallica.

And if he thinks that the movie was good and that Lulu was good and that the new live song “Lords Of Summer” is good, then I am hoping that all bad things come in threes. Because if they don’t then it is not looking good.

Anyway, I am still having fun with my so-called story based around Metallica songs and themes so here is Chapter 4.

–1978–The Armerous

Blackened Hetfield makes his way to the meeting place. Along the forest track, bodies are suspended along the trees. As he gets closer to his destination, winding his way up a steep mountain pass, the trail is littered by a series of pikes with severed heads on top. These are the people who just got in the way of the grand design.

There is a generic road sign on one of the pikes that states “No Trespassing”. A thick fog is beginning to descend. Everything is feeling and looking creepy like something imminent is about to happen.

Hetfield enters a partially destroyed Buddhist temple. The outside decay of the building masks a perfect and sterile environment inside.

In the wide room there is a table with a chair. The person sitting on the chair is not facing the door way. Instead the person is looking into something else. Flanked on each table are two Red Guards, clothed like Samurai but Samurai they are not. Next to the Red Guards are two more guards; however these ones wear black colours instead of red.

The colours are a rite of passage. All of the black colour guards/warriors have a first name of Blackened. The ones in red have a first name of Crimson.

Hetfield sits down on the leather chair that he normally sits on.“Lord Slither we have a new enemy”.

“So it is true”, responds a man that we assume is Lord Slither. It is a strange relationship as Hetfield has never seen Lord Slithers face, however he swears a loyalty to him that is broken only in death.

“Yes, the books of knowledge have a new keeper”, continues Hetfield. “It seems that The Phantom Lord managed the transfer before we got to him”.

“How did we not foresee this failure Blackened Hetfield?”

“I am unable to answer that my Lord. My failure is mine to own. The consequences are mine to suffer.”

“Not this time Blackened Hetfield. Your suffering will not be from me”. This was ominous and sinister from Lord Slither. Hetfield has been failing his master a lot recently.

“Are the new agents ready?” questions Lord Slither.

“No Lord Slither, the indoctrination process is taken longer than expected.” This is another failure from Hetfield.

“How is the child of “The Judas Kiss” tracking along?

Hetfield doesn’t let his hesitation show as the child of “The Judas Kiss” is also his child. “He is far exceeding our expectations in all disciplines.”

“And what about the one known as “Cyanide”. It has been seventeen years since he came into our possession.”

“He is almost ready. By far one of our best”.

“Unleash him. Send out to the “Creeping Death”.

“As you wish, Lord Slither”.

“It’s time to begin the whipping dance of the dead and colour their world blackened.”

–1976–The City Of Devils Dance

Two years post E.B’s tour of duty, the Vietnam War was lost.

Meanwhile back at home E.B had used the financial resources of his father, Cyprian Breadfan to establish the Unknown Five and the Metal Militia. One as a secret society and the other one as a public face.

It was then that E.B encountered the one known as “Prince Charming”.

His real name is Terence Blinks. The definition of the word corrupt in the dictionary doesn’t define Prince Charming in any way. He is in a class of corruption all on his own. He is equally known for his catch phrase of “the shortest straw has been pulled for you.”

Devils Dance is defined by the power struggle between the two wealthiest families. On one side you have the Breadfan’s who stand for fairness and justice and on the other you have the Blinks who stand for power and wealth.

“Fairness and Justice is a fool’s errand”, said Prince Charming in one of the many hostile arguments he had with E.B’s father.

The city citizens are either on the payroll of the Blinks or on the run from the Blinks. But then the Metal Militia was born and they became an equalizer to the situation.

The constant shop fronts shaken down by corrupt officials and forced to pay private levies suddenly had new protectors in the Metal Militia.

And Prince Charming didn’t like it.

–Current Day–The City of Devils Dance

The Metal Militia has a roll of honour on one of their walls, sort of like a Hall Of Fame. The list is broken into Immortals and Lifers.
Listed as IMMORTALS are E.B and St Anger. Listed as LIFERS are Frantic Frank, Stone D.F Clover, Nole A.F Clover, Dyers Eve and Lowman Lyric. The NOMAD list shows The Outlaw Torn and Wim Roam.

Then there is another list for the current membership status of the organisation.

Currently, Motorbreath is the President. His lady, ItsElektra is the Secretary. The Vice President is Overkill and the Sargent in Arms is Damage Inc. The Treasurer is Whiplash. Together they form the executive arm of the Metal Militia.

Orion is a sworn in member of the Metal Militia along with Two-by-four, Loverman and Astronomy.

Right now Orion is waiting outside the chapel, the meeting room of the Militia. Stone D.F has been inside for a long time with the Militia Executive. IMMORTALS and LIFERS are held in high regard. They have done so much and sacrificed so much that they don’t need to hold a rank anymore. Instead they are elevated to a status normally reserved for Gods. So if any living IMMORTAL or LIFER requests a meeting with the Executive, the Executive must adhere and be present.

And Stone D.F is the only one of the hall of fame list that is still alive.

Eventually after what seemed like days which was in essence about four hours, Stone D.F emerges from the chapel.

“What was all that about?” asks Orion

“Nothing that important”, answers Stone D.F.

“Not important. It was the longest meeting I have witnessed.”

“When you have a club that does what we do, meetings do seem to go on a touch too long. I suppose that is democracy at work,” counters Stone D.F.

“So it had nothing to do with the phone call I got”, continues Orion.

“That was mentioned as was our journey to the City of Beholder.”

“So what was said about it?” questions Orion.

“It was just a heads up to them that we will be out-of-town. So are you ready to depart” responds Stone D.F. There is no way that Stone D.F is going to let Orion take this trip alone, especially due to the mysterious circumstances of the phone call.

–Current Day–The City of the Beholder–

The City Of Beholder is a Bible belt mining town and it is only fitting that the reason why the town is known is also the reason why it is slowly tearing itself apart. An underground fire has been burning from one of the mine shafts for over a decade and it is slowly swallowing parts of the town.

A lot of people have abandoned the town. In its heyday it had over 200,000 people. Now it is lucky to have 40,000. Houses are levelled and areas are fenced off.

The High School is partially submerged into the ground. Orion glances at it and so does Stone D.F. Weeds, grass, trees and other forms of fauna are growing over it, around it and in between it. Looking at it reminds Orion of a dystopian future that he has seen in comic books and movies.

Orion notices a sign on the water tower.

“What is that sign?” asks Orion.

“It’s the symbol for corruption and capitalism,” answers Stone D.F. “It’s another business from Prince Charming”.

“Does Charming own all of this?”

“As soon as he can get rid of the Metal Militia” answers Stone DF.

“What do we have to do with it?”

“The Militia is the complete opposite of what Prince Charming is. Before the Militia, the people that Charming and his cronies intimidated had no one to fight back for them.”

A partially destroyed Buddhist temple in the distance grabs Orion’s attention. But with the speed they are travelling it vanishes as quickly as it came into view.

–3rd January 1966–

“Do you feel the disturbance?” asks an elder looking person that looks like a Buddhist monk.

“Yes” replies another, that could be a monk in training.

“Something’s changed.”

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

Dokken, Motley Crue and Ratt. More examples of the Progress Is Derivative Model

This isn’t a story about who ripped off who. To me those arguments are irrelevant as I am a great believer in the “progress is derivative” principle which is that all artists take a little bit of what came before and create something that to them is original.

It’s funny how you can have three songs that have pretty similar main riffs however each song has a totally different reach and impact with the audience.

Listen to “Young Girls” from Dokken’s first album “Breaking The Chains” and then listen to “Looks That Kill” from Motley Crue.

Now ask yourself the following question;

Do the opening riffs sound very similar?

If you answered YES then read the below, however if you answered NO then go back and repeat the above exercise until you hear that they do sound very similar.

Now listen to “Tell The World” from RATT.

Does the opening riff also sound similar albeit with a few small variations?

If you answered YES then read the below, however if you answered NO then go back and repeat the above exercise.

Musically, the three songs have a definitive riff that is very similar. However, one song is clearly forgotten, one song is considered a classic and the other one is a fan favourite.

The Dokken song was destined for the scrap heap just by the song title alone. Add to that some really crap lyrics, plus a really lazy uninspired vocal melody from Don Dokken and you have a disaster of mass distortion regardless of how good the bed of music is from Lynch. This is a perfect example of how good musicianship doesn’t shine due to bad lyrics.

In sports you are as strong as your weakest link and in this case the weakest link was the song title and the lyrics/vocal melodies.

Then you have the Motley Crue version that has lyrics drenched in sleaze, attitude and danger. The vocal melodies are simple with three or four syllable phrases, clustered together and barked out with venom. Add to that a song title that screams attention. Without even taking into account the video clip images and what not, “Looks That Kill” is far superior because of the way Nikki Sixx phrases his vocal melodies.

Then you have the Ratt’s “Tell The World”. Stephen Pearcy lived the L.A lifestyle. He immersed himself in the scene, along with his San Diego cohort Robin Crosby.

The main drivers behind all three songs are George Lynch, Don Dokken, Nikki Sixx, Robin Crosby and Stephen Pearcy. George Lynch was a constant L.A performer towards the late seventies and early eighties. Nikki Sixx and Robin Crosby would go on to be best friends. Both were consistent performers on the L.A scene. Stephen Pearcy was also a constant on that scene.

The music in these songs is not about who ripped off who. It is about how the sound of the L.A scene influenced all of the musicians involved.

In a nutshell playing two open string pedal points and then a power chord straight after was pretty basic Hard Rock/Metal 101.

This type of playing was very synonymous with bands like Judas Priest, UFO (Michael Schenker) and Scorpions.

In the U.S, you had the mighty Ted Nugent pushing out songs with definitive riffs based around open pedal points and power chords. Check out “Stranglehold”.

If you want to see that type of figure on steroids and totally original, check out the Randy Rhoads opening riff in “Steal Away The Night” . Rhoads starts it off with two open notes and then an inversion of a power chord. Then instead of doing two more open E’s he plays the B and A notes in lieu of the two open E’s.

In the end, as humans we are a sum of our influences and our cultures. The L.A scene was a culture based around a decadent lifestyle. In between all of that, the bands involved ended up crafting some great tunes along the way.

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

Reach, Vinyl and Record Label Lies

Before Napster, the only way a band knew that their music was spreading was by record sales. However, the fact that if a person purchased an album and listened to it once or a million times was never taken into account.

Today, there are so many different distribution outlets. The old way has been blown to bits and 15 years after Napster the record labels are still failing their artists because they haven’t done their due diligence properly in creating tools that can measure “REACH”. Yep, that is the new catch cry for 2015, REACH, not sales.

However, the labels are still confused and the artists more so. Imagine the conversation;

BAND: We should tour [insert country or city or state].
LABEL: Why, you have sold no albums there?
BAND: But we are one of the most downloaded artists there?
LABEL: Well those downloads are not legal ones and P2P is illegal.
BAND: What about Shazam look ups? I see our name all over that report on your desk from Shazam. Our songs are one of the most looked up songs in [insert country or city or state].
LABEL: Look all of this doesn’t mean you have a fan base there that will support you financially.
BAND: But, our streaming numbers are huge there?
LABEL: Leave it with us, I might get the lawyers to get together a 360 degree that will protect us both.

And the cycle of the record label shafting the artist starts again.

The record labels need the artists. It is from all of the copyrights that they own the record labels have achieved this power. With power comes great reach. And the labels abuse that power.

They increased the price of music to cater for the “start-up costs” in the CD manufacturing process back in the early eighties. It was only meant to be temporary and they promised the consumers that the price would be cheaper once they started manufacturing at a certain scale.

However that price never came down when they saw these unbelievable profit margins from CD sales and guess what they decided to do. They colluded to price fix the price on a CD and they killed off vinyl.

And now they are using overpriced vinyl again to increase their bottom lines.

Guess what.

Vinyl isn’t making a comeback just because there are dedicated people out there that purchase it. I purchased the four vinyl singles that Machine Head issued for the “Killers and Kings” demo. I still haven’t opened them and the reason why I haven’t opened them is that vinyl has become a souvenir item.

Don’t get me wrong, I love the sound of vinyl. I have so many great memories around dropping the needle however the turntable that I have at home just doesn’t get used. It’s easier and convenient to bring up the music on the phone and to be honest, I can’t see myself sitting back on the coach, listening to the record and reading the credits while following the credits. I am pretty sure I would end up on my iPhone.

We multitask. Yesterday I was cooking a BBQ and I called up the Evergrey Channel on iTunes Radio and listened to that. While the meat is sizzling, I am writing lyrics and listening to music at the same time.

Kids today have grown up with the internet. They are full-blown digital natives. They know nothing of the music business before Napster. If they did, then P2P downloads would have dried up when The Pirate Bay was raided in mid-December. Instead, the kids just found different outlets because the past is never coming back.

I have three boys aged 9,8 and 3. The older two are high YouTube and Spotify users. The younger one knows of YouTube and everyday he asks me to find Thomas The Tank Engine, Batman, The Wiggles, Planes, Garbage Trucks, Twisted Sister or whatever else has his interest for that moment.

And I am pretty sure that my kids are not the only kids that access content via these outlets.

I’ve said it many times, we always gravitate to something that has reach and YouTube and Spotify have got the reach.

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

Disruption Eruption

In life we are being disrupted all the time.

Music is no different.

The biggest challenge to artists is that it’s so much harder to reach people because everyone today has a voice. In the heyday of metal and rock it was all about scarcity. You know the drill. The bands and the labels were all about making it to the top of the heap and then once they got there, they aimed to dominate that heap.

The funny thing is that once the bands got to that heap, they would seem to implode and deliver their least valued work.

Pantera worked for years to get to top of the heap. “Cowboys From Hell” opened the door for domination, “The Vulgar Display Of Power” provided the steps to the top of the heap and “Far Beyond Driven” provided the motion to get to the top of the heap. As Vinnie Paul once said in a Metal Hammer interview, “Pantera could have been metal’s next Rolling Stones”. “The Great Southern Trendkill” came after and continued that domination however the fabric of the band was already tearing apart. “Reinventing The Steel” came next and the band split after that.

Metallica on the other hand delivered their least valued work after they reached the top of the heap with the “Black” album.

Twisted Sister struggled for years to get to the top of the heap. They where selling out local bars however they couldn’t get a record deal. In that Seventies and Eighties era you needed a label to go national. Finally, they got that major label deal. It all started via an Independent label called Secret, which led to the European division of Atlantic Records showing interest and eventually signing them, which then led to the U.S arm of Atlantic taking over.

They got on MTV and went multi-platinum.

Then they lost it all. Dee Snider filed for bankruptcy and so did Jay Jay French.

After the fall from the top, both Dee Snider and Jay Jay French had to pick up and start from the beginning again. An old saying always comes back into my head space. It’s not how hard you fall but how you get back up. In the end, failure is never final, however if you allow it to be, then it will be. Jay Jay had to take a job selling stereos before Sevendust came into the scene in the mid nineties and asked him to produce their first album. Dee Snider ended up with a “Reason To Kill” during this period.

The dirty little secret is that one year’s success does not guarantee the next year’s success. It doesn’t in sport, so why should it be any different when it comes to music. If money was the end game, then Jay Jay French made more money producing the Sevendust album than what he did while he was with Twisted Sister.

So what does that say about the correlation between success and money?

It says that while a band is successful, most of the money is going to others. Only when the band is at the stage of Metallica or Motley Crue who both own their masters/copyrights, do the economics change. Otherwise why do you think Tom Scholz from Boston and Don Henley from the Eagles and Jim Steinman for “Total Eclipse Of The Heart” are putting in motions to get back their copyrights. And why do you think the record labels are resisting even though the law states clearly that the labels have to return the copyrights back to them.

It’s all about negotiation power.

The labels don’t want to lose it and the artists that have the big songs want it.

Which means another disruption is around the corner?

Copyright Stupidity Again And Again

Remember the days of going into a restaurant or a pub/bar and hearing live music. Depending on the venue and what they offered, in most of the cases the bands would play cover songs. Well those venues are drying up faster today than the lands starved of rain.

You see when you have a law that gives power to organisations that contribute nothing creatively to the arts, however their whole business model is based around the arts, you get some nasty juju going down.

The music licensing agencies are financially challenged. Their whole business model was based on radio plays and sales. So when the Record Labels controlled the gates, the music licensing agencies smiled all the way to the bank. However, when that gate was blown open by Napster, then P2P, then the iTunes store and now streaming, the monies coming in to these agencies started to dry up.

So these agencies decided to diversify (and I use that world with a lot of sarcasm). Their diversification efforts involved shaking down venues that provided a live music service to the community and getting them to pay extortion like amounts if the bands played cover songs.

It has been happening for the last five years.

Does anyone think that the monies that BMI (one of the music licensing agencies involved in these shakedowns) collects from these venues would end up going back to the artists that had their songs supposedly “infringed on”.

Or what about the monies that Universal is aiming to collect from companies that offer care packages for prisoners. For those that don’t know, Universal Music has filed a complaint against companies selling “care packages which contain mix tapes” for families to send to prisoners.

Is it another shakedown attempt to extort money from companies or a sincere attempt to compensate their artists?

Asking an owner of an establishment to pay three sets of license fees just to allow local bands to perform is always going to end with the owner ending live music at their venue. Especially the smaller venues.

It’s simply bully tactics by an agency and Copyright Laws allow it to be a bully. Of course those Copyright Laws got re-written by the large associations like the RIAA and the MPAA over the last 60 years to ensure that laws kept the balance of power on their side.

BMI says that it’s songwriters and composers deserve compensation for their creative works.

So they view the collection of licensing fees from venues that are of zero risk to the music industry as crucial. But what they are actually doing is harming the music industry.

Does anyone seriously believe that Diamond Head was compensated when Metallica performed their songs at venues prior to being signed? I have bootlegs of shows from Motley Crue, Poison and Ratt before they were signed. A decent amount of cover songs are performed at the gigs and there is no way that the songwriters got compensated back then for these performances. The licensing agencies didn’t give a shit about venues at that point in time.

But now they do and the law allows them to do what they do. Just because it is law it doesn’t mean the practice is acceptable. Copyright Law is stacked in favour of the monopolies. Hell, they had a big hand in ensuring that it was re-written to keep that power in tact. So what we have are a bunch of government granted monopolies that contribute nothing to the arts, but have a large say in the arts.

That is why organisations like Rightscorp come to be. Again they contribute nothing to the arts. They are copyright trolls sent in to shakedown people. There is no other word to describe their business models.

But we still get the same bullshit from these agencies and associations that the world needs stronger copyright.

What the world needs is sensible copyright.

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

Seriously… Ray Luzier

Isn’t it time that the argument stops being about what has been lost to what can be gained when it comes to copyright infringement/piracy.

Seriously I am disappointed from artists in the metal and rock genres that talk shit like this. It started with Lars Ulrich and Napster. It continued with Gene Simmons and Paul Stanley talking crap. Scott Ian got in on the act. Yngwie Malmsteen and Joe Lynn Turner also had their views and now we have Ray Luzier.

Lets play a little game.

Who can name a song that Ray Luzier wrote? Does anyone know who Ray Luzier is?

I am pretty sure that no one can name one song that he has written of the top of their heads. So why is he given time to make uninformed comments.

He ripped on a fan of Army Of Anyone because he turned up with a burnt CD of the “Army Of Anyone” album and asked it to be signed. Any artists that equates a fan listening to their music as a lost sale should not be in the music business at all. So Ray starts to have a go at the fan because he didn’t have ten bucks to spend on a CD. He accused him of stealing it.

Does Ray even know the definition of stealing?

It means to take (the property of another) without right or permission.

Music is not property, however the CD that the music is on is property. So Ray is accusing a fan of stealing his CD. But wait a second, the kid turned up with a blank CD, that had music copied on it from a friend. It wasn’t Ray’s actual CD and the music on the burnt CD had not been stolen, because the “Army Of Anyone” catalogue is available for purchase and for streaming everywhere. It still could be available in brick and mortar shops (depending if they have old copies lying around because I can’t see many people clamouring to order it)

So what is it Ray.

Stealing or Copyright infringement. And I am sure that Ray Luzier was an angel who never ever got a copy of another bands music on a cassette tape. He must have had so much disposable income in the Eighties that he purchased the originals all the time.

But this is his best quote. “Someone’s gotta do something — put a chip in there where you can’t duplicate it. You know what I mean?!”

So at first he is having a bitch at people infringing on the music he is involved with and now he also wants is to punish the real fans that purchase the CD by not allowing them to media shift it to their mp3 player.

I think that Ray should read up a bit on the Sony BMG Rootkit scandal first. Sony tried to be that someone who tried to do something. What they did was that when a music disc was inserted into a computer, it installed software illegally (and in the background without the user knowing) that ended up creating vulnerabilities in the computer operating system which was then exploited by malware.

This attempt of DRM by Sony led to public outcry, government investigations and class-action lawsuits. DVD manufacturers also tried this and guess what happened. A kid in a bedroom created a program to circumvent the DRM on DVD’s.

Does Ray even know that Amazon has an AutoRip feature. So when a person buys a CD from Amazon, they get an AutoRip of it from download. Does Ray even know that all Pledge Music campaigns perks come with a digital copy of the album.

Seriously dude, I have the “KXM” CD because I am a George Lynch fan. I haven’t played it again after giving it around 20 plus spins. I have listened to the “Army Of Anyone” CD. I got a ripped copy as well from a friend who is a die-hard Stone Temple Pilots fan. It became a coffee coaster after the initial listen.

But Ray seems to fail to see that people still buy albums that they like, along with streaming albums that they like.

Five Finger Death Punch at the moment have combined sales of over 800,000 copies in the US of their “Wrong Side Of Heaven/Righteous Side Of Hell” releases. At the rate they are going, each album will be certified Gold in the U.S. All of their previous albums have been certified Gold in the U.S and again, they are still selling so expect them to pass Platinum in the years to come.

Shinedown, Avenged Sevenfold and Volbeat are bands that are also selling albums week in/week out.

All of the above bands have double-digit numbers on Spotify plus sold out shows at the box office.

So I think its time that the misinformed musicians stop ripping on their fans and start connecting with them. We are the ones that sustain you and if you choose to not be in music anymore because someone is downloading your music, then be gone because you are in the game for the wrong reasons.

Another will come and take your place that doesn’t think of money, because money was always a by-product of the music. It never was THE PRODUCT.

ONE FINAL NOTE: A local retailer in Australia called JB HI-FI is having a deal going on that is marketed as 3 for $10. I was in there on Friday to buy a Halo game for my kids and I thought I would spend 5 minutes to go through the various boxes to see if there was anything that I liked.

I found “Megadeth – Ruse In Peace Live” on Blu-Ray, “Megadeth – Countdown To Extinction Deluxe 20th Anniversary Boxed CD” ( I already own the 92 release CD along with the 2004 remastered/remixed edition bonus tracks edition, so this is the third time I have purchased this album) and a band that I have heard of in name only called “The Red Jumpsuit Apparatus” just so I could round out the $10 deal.

Today I went to another JB Hi-Fi store about 30 minutes away and they didn’t have those albums as part of their deal. And I was curious as to why. So I found them in the metal section and I took note of the prices.

MEGADETH – Rust In Peace (BluRay) was selling for $27.99

MEGADETH – Countdown To Extinction (20th Anniversary Edition) was selling for $28.99.

THE RED JUMPSUIT APPARATUS – Lonely Road was selling for $18.99

Now for the math. I picked up all three for $10 at one store, however 30 minutes away in another store if I wanted to pick up those three albums I would have had to pay $75.97.

ONE FINAL NOTE II: Today I picked up a “Rush Greatest Hits CD”, “Killers – Battleborn” and Guns N Roses – “Chinese Democracy.” The Gunners purchase was purely to add to the CD collection so that Gunners discography looks complete.

So Many Different Arguments Over One Word

Copyright supporters will argue that copyright is tied to creativity while culture supporters will argue that copyright makes culture disappear and the Public Domain supporters will argue that Copyright has been hijacked by corporations that seek to lock up culture in order to preserve profits. On top of all that you also have the PIRACY argument which in a nutshell is really copyright infringement and finally you have the issue when songs start to sound similar, the songwriters go to war with each other over plagiarism, which somehow gets linked back to the copyright.

So many different arguments over one word. COPYRIGHT.

What is true is that Copyright is MEANT to be the piece of legislation that encourages creativity. However, copyright as it currently stands does everything in its power to oppose creativity.

In a nutshell all humans create and we do that without any thoughts of copyright. We don’t wake up in the morning and say, “Gee, thanks to Copyright, I can now create”. We wake up, with an idea in our heads and we get to work on fleshing it out, be it a story or a song or a script or a play or a piece of art.

And that is how it is has always been. Humans create because they want to.

“We always say that the copyright system supports creativity and artists. But copyright’s foundation is about the allocation of economic rights that are bought and sold. It’s a system that’s built on money.”

That is what copyright is today, a monopoly system controlled by corporations and the argument that these corporations push forward with is that “stronger copyright is needed to encourage creativity”. That is why so many works are locked up by these organisations that control the copyrights. That is why they get laws retroactively passed to stop works from falling into the Public Domain.

The whole British Invasion happened because those artists built on the works of the artists that came before them. By doing so, a whole cultural movement happened and the world as it was known changed forever.

Did you know that Sony (who is one of the Corporations that scream for stronger copyright) is now getting sued by musicians for using 10 to 15 seconds of their music without a proper license in “The Interview”.

But with everything that involves money, Sony will pay up to make it go away and then claim it back on their various insurances for the mistakes. But the point is, it shows that everyone infringes on Copyright all the time. It could be intentional or unintentional.

And this happens a lot because copyright is broken. If you need further proof that the true purpose of copyright has been hijacked, then look no further than the various biopics that are getting made.

The Jimi Hendrix biopic does not have any original Hendrix music. The Bon Scott biopic is going down the same boat. For both of these, the heirs of the artists used copyright as blackmail to get the biopic creators to change their story because they didn’t like the way the creators depicted the musical heroes. Very similar to how Judas Priest pulled out of the Rock Star movie when they didn’t like the way the script was heading. By pulling out as consultants they also refused to license their music as well.

We also have a new film about Martin Luther King that has his heirs refusing to allow the filmmakers to use his speech. However in this instance, the heirs didn’t count on the filmmaker being so savvy. What the filmmaker did was create a derivative version of the speech that has the same effect but uses totally different words.

And the reason why the heirs refused permission is money. King’s heirs want as much as they can get for it and Copyright law allows them to do it. What we have here is an Estate that contributes nothing creatively however they do their best at stopping other creations from happening unless they get paid. So can someone please tell me how Copyright is promoting creativity in this instance?

The deeper issue here is that Copyright lasts way too long. The speeches occurred over 50 years ago and Copyright was not designed to provide an income to the heirs of the creator.

Copyright was always meant to provide an income to the creator themselves which very often was not the case. George Clinton the grandfather of funk was in a lengthy court battle with Bridgeport Music who owned the rights of his most popular songs. John Fogerty got sued by his ex-label boss from the CCR days. Both of those artists signed deals without fully understanding what they signed away. And guess what. They still kept on creating regardless of how they were getting blindsided and shafted by the creative accounting of the record labels.

	destroyerofharmony on Ross The Boss – Heyday: The Re…
	2loud2oldmusic on Ross The Boss – Heyday: The Re…
	deKe on Ross The Boss – Heyday: The Re…
	MIKE on Cervello – A Great Band…
	destroyerofharmony on Why Critics Never Understood B…