Category Archives: Influenced

Influenced, Music

Coheed and Cambria – Vaxis III: The Father of Make Believe

Released March 14, 2025.

The third act of the Vaxis saga and Coheed’s eleventh album, “The Father of Make Believe” dives deeper into “The Amory Wars” mythos, but this time, the most intense battles might be internal. Beneath the sci-fi architecture lies a deeply human narrative: loss, identity, illusion, and the relationships that either save us or undo us.

“Yesterday’s Lost”

The album opens with a whisper of heartbreak:

“But should you go before me, I’ll be right behind you.”

It’s not just romance, it’s loyalty shadowed by death. In the narrative, this is Nostrand’s vow to Nia, but it doubles as Claudio’s meditation on mortality and family. A quiet promise that love doesn’t end with life.

“Goodbye, Sunshine”

“I won’t stay mad; we played our parts.”

This is closure without bitterness. A eulogy for what once was, not clung to, not blamed, just released. The band turns loss into liberation.

“Searching for Tomorrow”

“You dance between the true and false / To salvage something, but you learn that you lost it all.”

Musically reminiscent of “In Keeping Secrets Of Silent Earth”, this track explores the illusions we create to survive, until reality breaks through. It’s the sound of waking up too late, discovering solitude was always your only constant.

“The Father of Make Believe”

A masterclass in accessible prog, complex in arrangement, yet melodically inviting.

“I’m the vision that you choose to see… I’m the Father of Make Believe.”

Here, myth and memory blur. The titular Father isn’t a man, he’s an archetype, shaped by need. A projection born from longing, trauma, or manipulation.

He could be Vaxis’s absent savior, a stand-in for authority, or a coping mechanism. He isn’t real, but he’s believed in. That’s what gives him power.

“Meri of Mercy”

A love song in elegy’s clothing.

“When all goes dark / And I can’t see / All my memories lost / I’ll know you’re always with me.”

Meri may be Vaxis’s last tether to clarity, a symbol of what’s worth holding onto when identity disintegrates. This track reclaims connection as sacred in a world built on illusion.

“Blind Side Sonny”

Pop-rock melodies meet gritty distortion, a wolf in candy coating.

This track channels the fury through mob-chant catharsis. Not about justice. About revenge.

“Play the Poet”

“Different language, the words you can’t seem to say…”

This song captures the tragedy of miscommunication, the loop of trying, failing, and eventually giving up.

The poet becomes a performer yelling into a void.

Within the Vaxis story, it may reflect Vaxis losing someone to ideology or despair.

Words fail. The silence wins.

“One Last Miracle”

“A fortune sold on television / Where our truth’s coming from, so damaged beyond recognition.”

A searing critique of media, faith, and false salvation. Hope has been commodified. Truth is no longer broken, it’s unrecognizable. The line between belief and delusion collapses. Still, people keep buying miracles.

“Corner My Confidence”

“You stole the sun / Caught in the flare, we were amateurs…”

This one aches with the pain of failed revolution or broken love. The speaker doesn’t give up, they corner their confidence.

This could be the turning point for Vaxis: forging strength from scars and aligning with those who still believe.

A quiet rebellion begins.

“Someone Who Can”

A shimmering, nostalgic feel, Don Henley vibes via post-apocalyptic heartbreak.

“When the lines of the road vanish in your tracks…”

Abandonment is no longer dramatic, it’s quiet, total. And yet, out of that emptiness comes a demand: for light, for love, for fire. This is rebirth through ruin.

“The Continuum I: Welcome to Forever, Mr. Nobody”

“I plead / Is it so hard to see / A better version of me?”

Shame and stagnation tighten like a noose. The protagonist isn’t begging for forgiveness, just to be seen as more than their past.

In the Vaxis arc, this may be the psychological low point: identity in crisis, hope a fading memory.

“The Continuum II: The Flood”

“Where I once loved / Now pumps cold blood…”

This is post-emotion. Where once was fire, now there’s frost. The flood has wiped the slate, or tried to. A survival mechanism turned into exile from feeling.

“The Continuum III: Tethered Together”

“We’ll all sing together / Tethered forever…”

The emotional payoff. After trauma and betrayal, comes harmony, not as fantasy, but as chosen solidarity. This could be the rebel choir. The fractured finally uniting. It’s the album’s true heartbeat.

“The Continuum IV: So It Goes”

“Please, somebody open this lock / My mind is breaking apart…”

The final collapse, or the final confession. The speaker begs for release from the cage of their own mind. Whether this is Vaxis or someone else, it’s a moment where the veil between internal and external horror is paper-thin.

We’re left not with closure, but a question:

Can the light escape the dark?

“Vaxis III” is more than a concept album. It’s a study in duality, illusion vs reality, connection vs fracture, myth vs memory. And while it expands the “Amory Wars” universe, it also holds a mirror to our own: asking how we survive when the truths we built our lives on collapse.

It’s not just a story, it’s a reckoning.

P.S.

I initially held off on writing this review, hoping to dive deeper once the deluxe edition arrived, particularly to expand on the narrative elements through the included story materials. But after several delays, I decided the album itself deserved its own reflection. The review is, shaped by the lyrics, the music, and the emotional arc they deliver to me on their own terms.

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Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

Machine Head’s ‘Unatoned’ Is a 41-Minute Punch in the Soul – Brutally Honest Review (Track-by-Track)

Machine Head’s eleventh studio album, “Unatoned”, released on April 25, 2025, through Nuclear Blast and Imperium Recordings, marks a significant evolution in the band’s discography.

Clocking in at 41 minutes, it’s their shortest album to date.

Landscape of Thorns

A 31-second instrumental opener that is like walking into a post-apocalyptic cathedral made of rust and bad decisions. No lyrics, just vibe.

The vibe?

You’re screwed.

Atomic Revelations

You know that moment when you realize humanity might’ve peaked with sliced bread and everything since is just radioactive garbage?

Yeah, that’s this song.

“Atomic revelations / These cryptic devastations…”

In other words, the future’s here, and it’s wearing a hazmat suit. Think less “technological utopia” and more “Oops, all fallout.”

It’s a poetic bitch slap to our blind optimism. A warning, framing the future not as a bright evolution but as a terrifying construct built from our short-sighted and immoral decisions.

Unbound

This is the sonic equivalent of breaking out of a mental straitjacket while screaming into a hurricane.

Lead single for a reason, it’s the sound of someone clawing their way to freedom, with bloody nails and existential panic.

It’s not about being free. It’s about realizing you’ve been your own prison warden the whole damn time.

Outsider

A love letter to being done. Betrayal, bitterness, burn-it-to-the-ground energy.

All the lying, all the cheating
All you left me was defeated
There could never be forgiveness in the end

No redemption arc. Just someone standing over the wreckage of trust and lighting a cigarette off the flames.

It’s beautiful.

In the way that watching your ex trip over karma is beautiful.

Not Long for This World

Here’s your death anxiety, set to music. Haunting, lyrical, and bleakly gorgeous. The kind of track that makes you text your therapist and also maybe your mom.

Through the struggles life hurls
Behold the heavens unfurl
Not long for this world

You’re gonna die. Everyone you love will die. And this track whispers: “Yup. And?” It’s oddly comforting, like being hugged by a ghost.

These Scars Won’t Define Us

A motivational anthem for people who’ve seen some serious crap and didn’t get a cheesy Instagram quote tattoo about it.

Head to the grindstone, power forward through the endless dark
Focus, determination, on this world I’ll leave a mark
It took so long for any confidence to get in here
And now the question that I need to know, I cannot hear

It’s not saying “you’re special.” It’s saying “you survived, now do something with it.” Less “self-love,” more “self-discipline.”

Dustmaker

“Dustmaker” is a little musical intermission.

A breather.

Kind of. It’s the metal equivalent of a weird dream sequence in a war movie. You’re not dying yet, but your brain’s doing weird crap.

Sip some water. You’ll need it.

Bonescraper

It’s a head banger with themes of self-destruction and a side of guilt.

We scrape our bones to numb the pain

If you’ve ever tried to drink your problems away, punch your trauma into silence, or sleep with someone just to feel something, this one’s your anthem. Congrats, you’re the problem and the solution.

Addicted to Pain

This one goes out to everyone who keeps dancing with the same demons and calling it “growth.” Spoiler: it’s not.

We’ll never know what could’ve been
Cravings pulled you deep within
Thrown into the hit machine
Feed the beast, start the routine
You gave it all just to chase this flame
The dotted line, a puppet in the game now
Twisted and cheating
The fame we chase is bleating
Turned against brother for acclaim that is fleeting

The fame-chasing, dopamine-looping, clout-sucking treadmill of modern life, and how it turns people into hollowed-out achievement junkies.

No wonder you’re tired.

Bleeding Me Dry

This one’s a gut-punch, a slow-motion collapse of a relationship that started with dreams and ended with pill bottles and silence.

There’s no pain without living life
This liquor helps cope with the strife
We talked of you being my wife
Picket fences, some kids, and two bikes
But all that was a fantasy lost in our haze
Through all of the weed smoke and piles of cocaine
A pharmacy of Vicodin, Percs, refillers
You and I were worst friend’s best painkillers

Jesus.

That line alone deserves a Pulitzer in “Emotional Damage”.

It’s not a love song, it’s a eulogy for what could’ve been. And it hurts because it’s true.

They’re not lovers, not saviors, just each other’s favorite painkillers in a life too painful to face sober.

Shards of Shattered Dreams

More heartbreak. More poetic destruction. Think of it like picking glitter out of a crime scene.

It’s raining
Shards of shattered dreams
This love divine
Ruins everything
Left to pick up the pieces
Of my dejected heart
I’m breaking and I’m ripping at the seams
These shards of shattered dreams

When hope becomes a weapon. When dreams cut deeper than knives. This one will haunt you at 3 a.m., probably while scrolling through old texts you should’ve deleted.

Scorn

The final exhale.

Closing the album, “Scorn” is a haunting ballad that delves into themes of manipulation and societal decay, featuring piano-driven melodies that contrast its dark lyrical content.

The music says “reflection,” but the lyrics say “everything’s broken.”

The Wrap Up

It’s short, sharp, and swinging a sledgehammer. Less an album, more a therapy session set to blast beats. It’s a bleak, beautiful middle finger to false hope and a mosh pit for your emotional baggage. If you’re looking for easy answers, you’re in the wrong pit, buddy.

Joining Robb Flynn and Jared MacEachern is drummer Matt Alston and guitarist Reece Scruggs, injecting fresh energy into their sound, making “Unatoned” a noteworthy entry in their discography.

Final Score:
5 existential crises out of 5.

Now go scream into the void or your pillow, whichever’s closer.

\::/

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Influenced, Music, My Stories

Is Metal in Crisis?

The idea that metal is in crisis, whether due to oversaturation, a lack of originality, or changing audience engagement, seems to be a recurring sentiment among older generations of fans.

But is metal truly in decline, or is this perspective more a symptom of aging, nostalgia, and shifts in how we consume music?

The Age Factor: Fatigue vs. Fresh Ears

A young listener coming into metal today wouldn’t think the genre is in crisis. If anything, they’re encountering a landscape full of new music, endless subgenres, and countless bands to discover. They don’t have the same point of reference as someone who grew up when there were fewer metal bands, more gatekeeping, and a greater emphasis on full-album experiences.

For older fans, like me, there’s often a sense of fatigue. Over decades of listening, many metalheads feel me like we’ve “heard it all before.”

Riffs, song structures, and production styles that once felt groundbreaking might now seem derivative. This isn’t necessarily because metal has gotten worse, rather, it’s a byproduct of familiarity. The more you consume, the harder it is to be surprised.

But each new wave of fans is excited about something that may seem repetitive or uninspired to those who have already lived through multiple cycles of innovation.

I had to actively seek out metal, often through record stores, tape trading, and word of mouth. This process required time, effort, and sometimes even risk, buying an album based on cover art alone, waiting weeks for an import to arrive, or discovering new bands through underground zines.

That level of commitment created a deep connection between listener and music. There was an emotional investment in the experience. When you spent your hard-earned money on a single album, you had to give it multiple listens, even if you weren’t hooked right away. That patience often led to a greater appreciation for the depth of the music.

Compare that to today’s streaming era, where music is instantly accessible. While this allows anyone to explore niche genres with minimal effort, it’s also led to an endless sea of content.

Listeners can skip tracks within seconds, constantly moving on to something new without letting an album sink in. This convenience fosters a different kind of relationship with music, one that can feel less “earned” to those who grew up under the old system.

For an older fan, it can seem like metal has lost its soul, not necessarily because the music is worse, but because the ritual of discovery has changed.

Oversaturation vs. Opportunity

There’s no denying that metal, like all genres, is more saturated than ever. Advances in technology mean that anyone with a laptop can record and distribute music, leading to an overwhelming volume of releases.

But is that really a bad thing?

For young listeners, this means more diversity, more experimentation, and more ways to find exactly what speaks to them.

While an older fan might lament that there are “too many bands that sound the same,” a younger fan may see an ecosystem where they can explore an endless array of niche styles.

It’s also worth noting that every generation has had complaints about oversaturation.

In the late ‘80s, thrash metal had so many similar bands that many critics claimed the genre was becoming stagnant. The same was said about hard rock towards the end on the 80s/start of 90s, death metal in the early ‘90s, metalcore in the 2000s, and djent in the 2010s. Yet metal has always found ways to reinvent itself.

The Role of Nostalgia in Perceived Decline

It’s human nature to view the past as a golden era. This is particularly true in music, where people tend to romanticize the bands they grew up with. Metal fans who came of age in the ‘80s often see that as the peak, just as those who started in the ‘90s might champion that era, and so on.

However, if you ask a 16-year-old today, they might argue that metal has never been stronger. They’re discovering bands without any baggage, without comparisons to the past, and without the weight of decades of listening experience making them jaded.

What might seem “unoriginal” to an older listener could feel fresh and exciting to them.

Similarly, the tendency to view the past as superior is amplified by the way we remember things. The weak or generic bands of the ‘80s and ‘90s have largely been forgotten, while the legends remain in cultural memory. If you judge the current scene by its mediocre bands while remembering the past only through its icons, of course it will seem like metal has declined.

The perception that metal is struggling isn’t new, it’s been a conversation since at least the late ‘80s. But in reality, metal isn’t in crisis; it’s simply evolving in ways that can be harder for long-time fans to appreciate.

Young listeners today don’t think metal is dead because they aren’t burdened by nostalgia or fatigue. To them, the sheer abundance of music is an opportunity, not a problem. The old model of discovery, where commitment was required, has been replaced by one of limitless accessibility, and while that changes the experience, it doesn’t necessarily make it worse.

Ultimately, metal will continue to thrive as long as there are new generations of fans who are excited by it. The real crisis isn’t in the music itself, it’s in whether long-time fans can adapt their perspective and find new ways to engage with the genre.

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Scorn – Machine Head

Dom Lawson, in Metal Hammer, called it “ostensibly a dark, crestfallen ballad” that builds through synth-drenched haze and emotional swells before erupting in a syncopated, spine-tingling finale.

He’s not wrong.

In fact, “Scorn” might be the most hauntingly beautiful track Robb Flynn has ever penned.

Machine Head is no stranger to monumental album closers, think “The Burning Red,” “Descend the Shades of Night,” “A Farewell to Arms,” “Who We Are,” or “Arrows in Words from the Sky.”

Now, add “Scorn” to that list, lifted from their new record “Unatoned” a fitting name for what feels like both an indictment and a lament.

The opening verse says it all:

“I’m putting you under my spell / ‘Cause I’ve got a Bible to sell
Let go your convictions, restrictions will cost you / Your fiction and all that is well
Distrust all the fable they sell…”

This isn’t subtle. It’s manipulation disguised as salvation. The “Bible to sell” is a loaded metaphor, suggesting the commodification of belief, the weaponization of faith. Convictions and moral boundaries are liabilities here, illusions sold to the weak, while the puppeteers profit.

“I look to the sky / As it won’t be the first / And it won’t be the worst
‘Cause there’s still yet to come / With a nation undone by their Scorn”

Hope?

Maybe.

But not without cynicism. The sky becomes a metaphorical void, once a symbol of transcendence, now indifferent or complicit. The “nation undone” is a clear nod to societal collapse, a warning about the corrosion eating away at public trust, autonomy, and truth.

The chorus drives the point home with venom:

“Scorn / Paranoia seeps through every pore
Scorn / Envenomated eyes emit their scorn”

Yes, “envenomated.”

A rare, brutal word choice. It means poisoned. But more than that, it implies a kind of psychological venom, gazes that don’t just judge but infect. Surveillance becomes psychotropic. The “eyes” don’t just watch; they erode.

“The eye in the sky never rests
Watching to form our arrest
They’re chasing us out of our nests
Keeping tabs as they play us like masters of chess…”

There’s Orwell here, but also something more, this is modern paranoia woven through algorithmic control, deep-state tactics, and manufactured chaos. The image of being driven from nests evokes exile from comfort, from truth, from home.

“I look to the sky / As they give us new rifles / To stifle our words
With a Bible and bulletproof vests / As we suffer their Scorn…”

Weaponized religion. Militarized faith. Truth gets smothered in the name of protection. Resistance becomes treason. Free thought becomes a target.

Thematically, “Scorn” stands shoulder-to-shoulder with:

– Rage Against the Machine’s political fire
– Pink Floyd’s “The Wall” and its suffocating institutional critique
– Dylan’s “Highway 61 Revisited”, where biblical imagery twists through cultural critique
– Metallica’s “…And Justice for All”, where justice is just another rigged game

But “Scorn” isn’t derivative, it’s a culmination. It distills our present-day fears: media manipulation, mass surveillance, the erosion of belief systems, and a creeping spiritual void. It’s a bitter elegy dressed as an anthem.

You don’t just listen to “Scorn”. You endure it, absorb it, and then see the world a little more clearly and perhaps a little more grimly.

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A to Z of Making It, Influenced, Music

Joel Hoekstra on The Jay Jay French Connection Podcast (Sept 19, 2023)

Steve Lukather has nothing but the highest praise for Hoekstra, and it’s easy to see why.

Born in Iowa City, Joel moved to Chicago as a kid, then later spent time in L.A., working at Cherokee Studios in 1991 and 1992. By that time, legendary producers Tom Werman and Geoff Workman had already moved on, but their legacy lingered.

Hoekstra studied at the Musicians Institute (GIT) in L.A., though he had a head start, his local teacher had already introduced him to the curriculum before he even arrived. On day one, he found himself among 500 other guitarists in the main hall, an intimidating experience.

Growing up with classically trained parents, he learned to read music early on, though he admits it’s only occasionally useful in his current work. It did, however, come in handy when he landed “Rock of Ages” and other theater gigs.

Unlike many of his peers, the ’80s shred scene didn’t have a huge impact on him, he was too young for it to be a major influence.

He did, however, run in circles with some serious musicians, including drummer Scott Coogan, guitarist Pete Thorn (well-known for gear demos), and Joy Basou (who found success in pop music, working with artists like Jessica Simpson and Nick Lachey).

When asked about his guitar heroes, Hoekstra named Steve Morse (High Tension Wires), Steve Vai (Passion and Warfare), and Joe Satriani (Flying in a Blue Dream, Surfing With the Alien).

While Eric Clapton wasn’t a big influence, he admired Jimmy Page for his rhythmic licks, Jeff Beck for, well, everything, and Jimi Hendrix for his showmanship. He also loved everything “Rush” did, as well as Trevor Rabin’s “Yes” era, he still follows Rabin’s work, including his latest album “Rio”.

Jay Jay French mentioned for his generation, Johnny Winter and Alvin Lee were the Yngwie Malmsteens of their time.

Over the years, Hoekstra transitioned from playing Floyd Rose-equipped Jacksons and Kramers to a Fender Telecaster, then a Gibson SG, before settling on a Gibson Les Paul in 2004. He admitted that while playing a Les Paul means sacrificing about 10% of your technique, each note is worth it. Initially, he avoided Les Pauls because he’d heard they had tuning issues.

As a solo artist, Hoekstra has released three instrumental albums covering various styles. However, when he shifted into hard rock and heavy metal, fans wanted more of that sound.

Instead of branding it as a solo project, he launched “Joel Hoekstra’s 13”, where he writes all the music and lyrics while bringing in powerhouse rock musicians to jam with him. At the time of the interview he was onto his third release with “JH13”, along with “Eagle Flight” from Revolution Saints.

Speaking of collaborations, Hoekstra has another project called “Iconic”, featuring Michael Sweet (guitar), Marco Mendoza (bass), Tommy Aldridge (drums), and Nathan James (vocals). At the time of the interview, new releases from Iconic and Revolution Saints are on the way.

Since then, Revolution Saints dropped “Against The Winds” in 2024 however Iconic hasn’t been released yet.

As for Whitesnake, the future remains uncertain. Everything depends on David Coverdale, with the band currently in a holding pattern. Their European tour had a few canceled dates, and the U.S. tour was ultimately called off due to Coverdale’s sinus infection.

If you like to hear a good story, check out Joel Hoekstra.

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A to Z of Making It, Copyright, Influenced, Music, Unsung Heroes

Derek Schulman

On October 15, 2020, Derek Schulman appeared on the Bob Lefsetz Podcast.

I first heard of Schulman as the guy responsible for signing Bon Jovi and Cinderella. But before becoming a label executive, he was a member of Gentle Giant (GG), a band that has a bigger fan base today than when they originally broke up.

When Lefsetz asked why GG had grown in popularity, Schulman explained: “We wrote music for ourselves, didn’t follow trends, and the music held up.” Interestingly, GG never considered themselves a progressive rock band. Rock, yes, but not prog. They simply pushed themselves musically.

I believe GG’s resurgence is largely due to the internet. Their music isn’t locked away in a vault, it’s widely accessible. If we were still in the pre-Napster era, their catalog might have remained buried, since labels wouldn’t see the financial incentive to print CDs. Labels have always believed they know what fans want, but they’ve often been wrong. Had they continued releasing hard rock in the ’90s, the genre could have still produced acts selling close to 500,000 units. Instead, they abandoned it.

It always comes back to the music. People return for the music, not for record sales, labels, executives, or streaming numbers.

From Musician to Executive

Before Gentle Giant, Schulman played in a band with a few hit singles, but by 1969, he was burned out from the pressure to keep churning out commercial hits. He wanted to form a band that was the opposite of pop, so GG was born.

But by 1980, after 14 years in bands, Schulman was done. GG had become a job, and he had lost enthusiasm for recording and touring. With nothing lined up, he spent a year feeling lost. Fortunately, he had savings, thanks to his role as GG’s quasi-manager in the mid-’70s.

A friend at PolyGram called with a job offer. Schulman moved from California to New York and joined the label as a Promotions/A&R rep, though his role was mostly promotions. He was hired because two of PolyGram’s heads of radio promotion were huge Gentle Giant fans.

At the time, PolyGram was a mess. The label had major acts like KISS and Def Leppard, but they drained a lot of resources. Schulman’s break came when artists and managers started bringing him albums. Uriah Heep was shopping a new record, and Schulman helped organize a deal to release it.

Then came Bon Jovi.

Bon Jovi’s Breakthrough

Schulman met Jon Bon Jovi and was impressed by his focus and drive. Jon wanted to be bigger than Elvis. He even introduced Schulman to his parents, who told him: “Take care of our son.”

At the time, no other labels were bidding on Bon Jovi. Schulman also had a strict policy, he refused to get into bidding wars.

The key move was bringing in Doc McGhee. Doc originally came to Schulman’s office pushing Pat Travers, but Schulman told him to check out Bon Jovi instead. Schulman saw in Doc the same relentless drive that Jon had.

Jon met Doc, they struck a deal, and just like with Schulman, Jon’s parents needed to approve.

McGhee put Bon Jovi on tour with Ratt and Scorpions. Their debut album was a success, but their second record, “7800° Fahrenheit”, was considered a sophomore slump. Schulman hated the album title, the recording process was a mess, and the overall vibe felt off. But the album did its job, it kept the band on the road while McGhee worked overtime to book shows.

Schulman, meanwhile, had started working with producers Bob Rock and Bruce Fairbairn, who had just finished albums with Loverboy and Honeymoon Suite. Jon and Doc knew they needed great producers to reach the next level.

Schulman suggested co-writing with others. Paul Stanley and Gene Simmons had already introduced Jon to Desmond Child. The rest is history.

The label knew they had something big as soon as “Slippery When Wet” was mastered. The original album cover was scrapped, and Jon designed the new one himself. “You Give Love a Bad Name” and “Livin’ on a Prayer” were immediate hits, and the album shot to No. 1. Schulman had a percentage point on the album, but when he left the label, his royalties ended.

Cinderella

Schulman was introduced to Cinderella by an agent, a lawyer, and Jon Bon Jovi, who knew Tom Keifer.

He went to see them play a club in Philadelphia. The band wasn’t great, Tom Keifer stood out, Jeff LaBar was solid on guitar, but the other two members weren’t up to par. Then Schulman listened to a 90-song demo of Keifer’s original material. He was blown away by Keifer’s songwriting.

Schulman told the lawyer: “Get Tom to replace the other two with better musicians, and I’ll give you a deal.”

Andy Johns was brought in to produce “Night Songs”. The album dropped shortly after “Slippery When Wet” exploded, and “Night Songs” shot into the Top 10. Suddenly, Schulman was on fire, he had two bands in the Top 10.

When Lefsetz asked why Cinderella never released another big album, Schulman pointed out that they did, “Long Cold Winter”, but he had briefly forgotten the title.

Tom Keifer eventually lost his voice, which Schulman confirmed was true. Schulman also helped shape Cinderella’s albums with his artist experience, though he didn’t contribute to Bon Jovi’s records in the same way. He even co-wrote songs with Tom but never took credit.

Dream Theater

Derek Oliver, an A&R representative at Atco Records and a passionate fan of progressive rock, was the key figure in discovering Dream Theater.

In the late 1980s, Dream Theater had self-released their debut album, “When Dream and Day Unite”, through Mechanic/MCA Records, but the album failed to gain much traction due to poor promotion and distribution.

Meanwhile, Oliver, who had interviewed and reviewed the band during the period as part of Kerrang was impressed by their technical proficiency and songwriting.

Recognizing their potential, he brought Dream Theater to the attention of Derek Schulman, the head of Atco Records at the time.

After meeting the band and seeing their dedication, Schulman agreed to sign them to Atco. Under his guidance, Dream Theater recorded their breakthrough album, Images and Words (1992), which featured the hit single “Pull Me Under.” The album’s success helped establish them as a leading force in progressive metal, proving that Schulman and Oliver’s instincts were right.

Running Labels

Schulman also played a key role in launching Bob Rock’s production career, giving him his first gig with Kingdom Come, another band that went on to dominate the charts.

In 1989, Schulman left PolyGram to run Atco Records. PolyGram wanted to keep him, offering him control of Vertigo and Mercury, but he wanted a change, even if it meant losing his Bon Jovi and Cinderella royalties.

Doug Morris was hesitant about Schulman at first and saw him as a potential replacement. But Schulman built an impressive roster, signing Pantera and The Rembrandts. He had actually planned to sign Pantera to PolyGram but knew he was leaving, so he told their attorney to wait until he moved to Atco.

At first, Atco thrived. Schulman put together a strong team, and the first three years were fantastic. But eventually, he started losing perspective. One day, he heard a No. 1 song on the radio and liked it. When he asked a work colleague who had signed the artist, they said: “You did.” That moment shook him.

Doug wanted him out, but Schulman quit. He even attempted a coup while on a trip to Russia.

Roadrunner Records and the Rise of Metal

Schulman took a break before getting a call from an old friend, Case Wessels, at Roadrunner Records. Initially consulting for a year, he eventually became president.

Roadrunner was independent, which Schulman loved—no board to answer to. He scrapped some of Wessels’ ideas and focused on breaking bands like Coal Chamber and Fear Factory, both signed by Monte Conner.

Then he saw Slipknot live and knew they would be massive.

He also signed Nickelback. Their first album (with Roadrunner) featuring “Leader of Men”, got some airplay, but when “Silver Side Up” dropped, Schulman immediately recognized its potential. The moment he heard “How You Remind Me”, he knew it would be huge.

Roadrunner was suddenly rolling in cash. Wessels wanted another “Silver Side Up”, but Schulman knew those albums don’t appear every six months, more like every 5 to 10 years.

Lefsetz asked why Nickelback gets so much hate. Schulman believes they’re a guilty pleasure, many people who claim to hate them secretly enjoy their music.

Finally, Schulman pointed out that while the industry panicked over piracy during Napster, hip-hop thrived by giving music away for free.

When streaming took over, hip-hop was already dominant—and it still is.

If you like your hard rock and metal history, then Derek Schulman is an unsung hero and this podcast is one to listen to.

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

The Record Vault: Dream Theater – Master Of Puppets

The cover above is the version I have, released in 2004 via their own YtseJam label.

It was also re-released in 2021 via the “Lost Not Forgotten” Archives with the below cover.

The performance of this album would inspire the writing for their most Metal album in “Train Of Thought”.

The show was recorded live in Barcelona, Spain on February 19th 2002. It was the second night of a two night stand in a city.

And it was the start of a new Dream Theater tradition (while Mike Portnoy was in the band), which was to play an entire album from another band.

This is what Mike Portnoy had to say about it in the CD booklet;

“Dream Theater is playing the 2nd night of a 2 night stand in Barcelona, Spain…

After an almost 2 hour set of DT material and a 15 minute intermission, the lights went out and the opening chords to “Battery”
began…

50 minutes later, the Spanish crowd had no idea what had hit them.

The next day the word was all over the internet and our new tradition to cover a classic album whenever we did a 2 night stand in the same city had been established…but for those 50 minutes in Barcelona, the completely unsuspecting crowd had no way to see it coming…

I remember looking into the crowd by the time we started “The Thing That Should Not Be” and seeing people look at each other like;

“Holy shit…they’re doing the whole
fucking thing!!!”.

Yep, that would have been the same response I would have had.

The band for the recording is James LaBrie on vocals, John Petrucci on guitars, Mike Portnoy on drums, John Myung on bass and Jordan Rudess on keys.

Battery

This is performed exceptionally.

LaBrie also brings out the chainsaw aggression of a youthful Hetfield.

Petrucci and Portnoy nail their sections.

Master Of Puppets

As soon as Petrucci plays the first four chords the crowd responds. If this song is played again in 2024, it will be bigger than ever due to “Stranger Things”.

The Thing That Should Not Be

The Intro with the keys is more ominous.

And LaBrie gives the song a more theatrical vibe with an octave higher vocal line, and I like it. It would have been cool if Dream Theater explored the groove doom Metal domain.

Sanitarium

Masterful.

It’s the only way I can describe Petrucci. The intro, acoustic and lead, played by Petrucci is exactly that.

LaBrie tries but doesn’t have the same demented vocal delivery as Hetfield here.

From 3.36, it’s basically a Dream Theater song, with riffs, leads and sporadic vocals. LaBrie is awesome here, his “fear of living on” delivery; excellent.

Disposable Heroes

The drums sound like machine gun fire in the intro.

But it’s that galloping palm muted E string riff that comes after which seals the deal for me.

LaBrie delivers a great vocal here.

Jordan Rudess in an interview with the Revolver Magazine said this;

“Master of Puppets was an eye opener for me because before we covered this album my Metallica knowledge was not so deep.

Having grown up playing Bach, Liszt and Chopin the idea of technique and virtuosities had a definite place in my mind. I have to admit that upon discovering Metallica my perception of technique opened up to other possibilities outside of the classical world.

A song like ‘Disposable Heroes’ sounds like machine-gun fire to me. The blistering, galloping guitar rhythms that sound like the pick is about to go up in flames is an impressive display of intensity and technique. [James] Hetfield really shows what he is made of in a track like this one and I was very impressed.”

Leper Messiah

I always love the section from 40 seconds to a minute. The groove behind it and the way the guitars are orchestrated so that the bass and drums stand out.

Orion

It’s right up Dream Theater’s alley, a nine minute instrumental. And a classic Metallica song.

Damage Inc

They had covered this song previously during the era between “Awake” and “A Change Of Seasons” and released a version of that live performance.

Overall people can compare this album with the real album and find issues.

When an artist covers another artist, it is purely for fun initially and to show respect to the artist who inspired and influenced them.

This is no different and it sounds like the band is having fun, using the last hour of the their three hour set to pay homage to Metallica.

Press play and enjoy.

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

The Case For Cryptic Writings

It’s 1996 and you are writing riffs for your next album. Your first four albums pushed the boundaries of technical thrash metal. Your last two albums went for more accessible song structures, which gave you radio airtime.

Seattle came and went but its cultural changes remained. Industrial Metal was becoming a thing, Alternative Rock, EMO and Goth Metal/Rock were slowly becoming a thing.

Your label wants to sell albums and the only way you can sell albums in their eyes is by having your songs on the radio.

You also fired your previous manager, as you believed that he was also taking a paycheck from the label. He reckons he wasn’t but hey that’s a story for another day.

So what do you do?

These were the questions that Dave Mustaine had to answer in 1996.

This wasn’t the Dave from ten years ago, addicted to drugs and with nothing to lose. This Dave had something to lose now, a family and a corporate machine called Megadeth.

Freedom to do what you want doesn’t come when you have something to lose. In addition, this Dave had been in and out of rehab since 1988, and he just finished another rehab stint just before the “Cryptic Writings” sessions started.

Oh, and by the way, his band was also splintering.

Actually his band was always splintering, but the longest running version of Megadeth was splintering. For those who don’t know, this version involves Marty Friedman, David Ellefson and Nick Menza (RIP).

Dan Huff is producing and the new management company ESP Management was led by Bud Prager, who had guided Foreigner from a small time rock band to an 80 million seller.

Mustaine still had a chip on his shoulder from a certain band he was in and he “wanted what Metallica had even if it meant selling a piece of his soul to the devil” (his exact words on page 276 of his bio).

Trust

The drum intro. Its familiar.

Avenged Sevenfold were very heavily influenced by it for their opening track “Shepherd Of Fire” on the “Hail To The King” album. Metallica had “Enter Sandman” before this and the great AC/DC had “Dirty Deeds (Done Dirt Cheap) before all of em.

Once a great drum hook, it’s always a great drum hook.

If I look into my crystal ball, I can see the heirs of the artists or the Corporations that would end up owning the Copyrights litigating against others for this drum groove in the future.

When that riff kicks in, its head banging time. Yes the tempo is slower, the song is more accessible but it wasn’t a sell out. This was still very much Megadeth.

The Chorus; anthemic.

Apart from becoming a set list staple, it’s also their biggest hit single.

Almost Honest

That intro riff.

It’s bone crunching with a feel and vibe from AC/DC and a Major key Chorus which is a massive no-no to the Minor key Thrash community.

In the end, Mustaine was trying to rewrite “Symphony Of Destruction” and he got a song that sounded similar but different enough to stand on its own.

Very accessible but still very much like Megadeth.

Use The Man

Alternative rock or Grunge. Take your pick as it’s still rock and metal to me.

Plus I always like it when artists take what is popular at the time and still make it sound like their sound.

Mastermind

An intro riff influenced by “Walk This Way”.

The verses are demented, perfect for Mustaines snarling.

The Disintegrators

It’s fast and thrashing like the old Megadeth, but with more melody in the vocals.

If the main riff sounds familiar, Mr Hetfield was obviously influenced as “Lux Aterna” has a similar riff.

Then again, both Mustaine and Hetfield are influenced by the NWOBHM and this riff is from that movements playbook.

And the solo. Brilliant.

At 3:04, it’s over and the only thing left to do is to press play again.

I’ll Get Even

It’s got the same playbook as “Almost Human” but with clean tone in the verses and a psychedelic alternative rock Chorus.

And how good is the bass groove, locked in with the drums.

SIN

It’s accessible but it’s still Megadeth. The riffs are angry and head banging.

A Secret Place

From writing an accessible album, they came up with a classic, a song that still does the rounds in the live show.

As soon as the Intro kicks in, I was hooked.

Have Cool, Will Travel

The harmonica, and a groove reminiscent of “American Woman”, yet it still feels like a Megadeth track.

She-Wolf

A masterpiece.

Make sure you stick around for the Outro harmony section.

Vortex

Another classic but this one gets no love.

It’s a fast cut influenced by the NWOBHM especially Judas Priest, with a demented Mustaine snarl in the verses and an anthemic melodic chorus.

FFF

The fast punk that Megadeth is known for is evidenced here. Definitely a forgotten track.

The Wrap Up

The album achieved a Platinum certification but it didn’t bring in a new audience as Mustaine and his new management team had anticipated.

I read that hard core fans were confused. They liked it but didn’t like it completely. That viewpoint never made sense to me as I see myself as a hard core fan and I like it alot.

Mustaine mentioned in his book that by “trying to become more melodic and still remaining true to their metal roots”, he alienated his core fans with this album as he didn’t get the mixture right.

A terrible Howard Stern interview didn’t help matters either. And during the tour, Nick Menza was booted with Jimmy DeGrasso replacing him. However Menza would still return for the next album.

Overall, “Cryptic Writings” is a great album. The concise songwriting and simple arrangements suited Mustaine and for me, having this album in 1996 was a godsend, compared to some of the other confused albums my favorite artists started delivering during this period.

If you haven’t heard it, hear it. If you have heard it, hear it again.

\::/

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music

The Case For “Unmasked”

Gene Simmons hated it.

Paul Stanley called it wimpy.

Ace Frehley didn’t get the memo that the album was meant to be a pop rock album.

Peter Criss, well he just didn’t participate.

And I was confused why Paul Stanley didn’t use Desmond Child again, since their hit from “Dynasty” was co-written with him.

Instead Vini Poncia, who produced the album, co-wrote most of the tracks.

In case you are confused, I’m writing about “Unmasked” released in 1980.

It didn’t meet commercial expectations in the North American market however it did very good business in Northern Europe.

And in Australia, it sold more than 110,000 copies on the first day of its release and 3,000 more were stolen from a truck on the way to stores. Well, this is according to the Sydney Morning Herald.

You see “Kissmania” or “Kissteria” in Australia was about 4 years behind their U.S. peak.

It didn’t sound like past Kiss, but this record definitely gave the power pop / melodic rock scene a good kick in the ass. You had bands like The Raspberries and Small Faces, but suddenly you could mention Kiss in the same sentence.

Its influence on the Scandinavian market is large and it’s no surprise that a lot of melodic pop and rock artists and songwriters have come from these markets.

Is That You?

The opening track and it’s not even written by a Kiss member.

But it is the parent to “Lick It Up”.

Listen to the verse riffs in both. The feel and groove is the same. The layered backing vocals are also great, something which Def Leppard mastered with Mutt Lange.

And Stanley always challenged himself vocally, the falsettos on the pre-chorus are braver than the ball tearers on “I Was Made Lovin You”.

On a side note, as a solo artist, McMahon’s 15 minutes of fame came with “Cry Little Sister” from “The Lost Boys” movie, 7 years later.

Shandi

Australia was also going through a “disco ABBA mania craze”, so it’s no surprise that a crossover disco/rock pop ballad went huge here.

And if ABBA wasnt doing music like this anymore, fans would always look to others to fill the void.

If you want to hear what inspired it, press play on the song “Tomorrow” from Joe Walsh. Paul basically lifted the first 60 seconds from it. And Joe Walsh is far from wimpy.

Talk To Me

Ace steps up with a rocker, which did good business as a single in Switzerland, Germany, Netherlands and Australia.

It has an intro riff that sounds like it was influenced by Rick Springfield’s “Jessie’s Girl”.

The major key riffage in the Chorus reminds me of “Do Ya” from ELO.

Naked City

My favorite song on the album and one of Gene Simmons best, giving melodic rock music some grit.

It’s written by a committee involving Simmons, Poncia, Bob Kulick and Peppy Castro.

Ace even contributed a solo, while Anton Fig and Bob Kulick did the drums and guitars.

But it all started with Bob Kulick who had the guitar riff and he demoed the song with Peppy Castro.

But the final recorded version didn’t make Bob happy and he has said that “Kiss ruined “Naked City”.

Ruined or not, it’s my favorite. And if the demo is available anywhere, please share it.

What Makes The World Go Round

I always like it when artists take influences from different styles of music.

In this case, Paul is taking inspiration from soul act, The Spinners and fusing hard rock, pop, soul and R&B into a unique style that still sounds like a rock song.

How good is the Chorus?

Tomorrow

My second favorite.

The power pop of 2000’s acts like Wheatus, Good Charlotte and the like is right here.

It might sound light on the rock, but inside the song you’ll hear a feel and vibe from “Coming Home”.

It’s also influenced by “Tonight” from The Raspberries along with Rick Springfield.

And even the most hardened rocker cannot resist singing along to the Chorus.

Two Sides Of The Coin

More ELO meets Free from the Spaceman.

I forgot to mention on “Talk To Me” that Ace employs an Open G tuning, a tuning popular with slide players because with one finger they can play a chord instead of fretting the chord. He also employs this Open G tuning here.

Keith Richards was a well known user of this tuning, however many believed that Keith used this tuning because of how wasted he was. It’s easier to play with one finger than four. And that same view point was held for Ace, however if you look at interviews during this period you cannot see or hear Ace sounding wasted.

The lyrics are dumb but then again Kiss weren’t scholars when it came to lyrics, so that’s what makes their music fun.

She’s So European

Press play for the intro. That’s all you need to listen to here.

Then again Gene Simmons does a good job on the lyrics and melodies as well, about a girl with a glass of pink champagne and well you can read the rest.

Easy As It Seems

Another favorite.

Paul is the star of the song. His bass riff is sinister, yet groovy and his sense of melody elevates the track.

I’m also a fan of The Pretenders and it looks like Paul was influenced by them as their song “Mystery Achievement” came out in January, 1980 and Kiss released their album in May 1980.

Check em out, they are both great songs.

Torpedo Girl

Press play for that rhythm and blues swing drum groove and stick around to hear Ace summon Joe Walsh for the verse riff and The Beach Boys for the Chorus.

You’re All That I Want

It has that feel of early Kiss musically. And somehow it gets no love.

The Wrap Up

They didn’t tour the North American market, but they did hit Europe, Australia and New Zealand. It kept em in business.

On Australian TV they also got a lot of press and interviews.

They appeared on the Australian “60 Minutes”. The segment is on YouTube if you want to see it. Bill Aucion was also interviewed, telling the interviewer how Kiss was turning over $120 million a year, and how he was looking to get the band into movies and comic books.

We sort of know how that turned out with “The Elder”.

A few things to note for 1980.

AC/DC dropped “Back In Black”, a slab of hard and bluesy rock that proved you can be commercially successful during this period playing that style of music.

The NWOBHM was also gaining momentum. This was even harder sounding and more abrasive than AC/DC and it also had an audience that was growing.

Most of the acts who had success in the 70s were either broken up, or on their last legs with the original members and looking to bring in new members.

So I understand the “wimpy” and “not sound like Kiss” comments, but this album has aged well because so many of the songs are so well written.

For a band that was just not functioning anymore they still found a way to deliver a great album.

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

Four For Friday

A short one today.

IN THIS MOMENT

What happened to em?

“The Dream” and “A Star Crossed Wasteland” are great albums of melodic rock/Metal.

And then the transition started to the point where there is nothing recognizable or worth liking on their new album “Godmode”.

DOKKEN

A new album is out but if you can’t put any effort into the singing, why bother.

It’s the same monotone throughout, which is a shame because songs like “Lost In You”, “I Remember”, “Saving Grace”, “Fugitive” and “Gypsy” could have been great if the vocal delivery had emotion.

LYNCH MOB

George Lynch sure keeps busy and as a fan of the 80s, I like it.

And Mr Scary has still got a lot of things to say with his riffs. And Frontiers Records is keen to give him a platform to showcase his riffs.

So here we are with “Babylon”, the 8th Lynch Mob album. The difference between Lynch Mob and other artists from the 80s is the singers.

Gabriel Colon is a great vocalist with a great tone. He is the X Factor here. On the Metal cuts, it feels like Halford. On the rock cuts, its loose, sleazy and rawk.

And if Lynch could keep him around he has a lot of albums with him.

For the Metal check out “How You Fall”.

For the Rock check out “I’m Ready” and it’s nod to the great EVH.

ANY GIVEN SIN

The song “Dynamite” came up on a playlist and I pressed save instantly. It reminded me of Shinedown and it’s a great act to be associated with.

What do you guys think of em?

And that’s a wrap for this week.

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