When he went to an audition with a band called “Legend”, he took his guitar.
But they said to him that they need a singer and wouldn’t let him play.
And then he gets the vocalist gig for Black Sabbath, who were going through an identity crisis between 1984 and 1987.
And as soon as he righted the Sabbath ship, he was out and Dio was back in for the “Dehumanizer” album.
And while that was happening on the Sabbath front, Tony Martin kept writing until he had enough material for a solo album.
“Back Where I Belong” was released in 1992 on Polydor.
“It Ain’t Worth Fighting For” is the opening track from the album.
The musicians are seasoned professionals.
Nigel Glockler from Saxon is on drums. Neil Murray from Whitesnake is on bass. Richard Cottle is a session pro, and he plays the keys and also performs the saxophone solo. Carlo Fragnito is on guitars.
A bit if trivia, Fragnito and his brother Anthony formed a band called Blacklace, with vocalist Maryann Scandiffio.
Hailing from Canada, their music is best described as NWOBHM. They released “Unlaced” in 1984 and “Get It While It’s Hot” in 1985. Like a lot of bands who didn’t see success right away, they struggled and eventually broke up.
Carlo then became a session pro.
As soon as you press play, the riff that smacks you in the face is reminiscent to “Headless Cross”.
But the track feels like a heavy blues rock track instead of a metal track.
If it ain’t worth fightin’ for It ain’t worth having And I just gotta have your love
The Chorus is Arena Rock. Make sure you pay attention to the melodic guitars underneath the vocal melody.
Bad Company comes to mind here and the feel from “Rock ‘N’ Roll Fantasy.”
Vocally, Martin comes across as a combination of Lou Gramm and Paul Rodgers.
And that Sax solo works perfectly. It outlines the Chorus vocal melody with some improv.
Disaster. That’s how the American magazines described this album.
Released in 1985, the album never stood a chance.
It was fighting for our attention along with a lot of other things.
Like.
The trilogy of Mutt Lange albums were outselling everything else AC/DC put out during this period.
The Sunset Strip gave the charts and MTV a major shake up and sales followed.
The British had invaded the U.S again with Judas Priest, Iron Maiden, a solo Ozzy Osbourne and Def Leppard cementing themselves as arena acts.
The Germans also invaded via a hurricane called The Scorpions.
And finally an underground Speed Metal scene in San Francisco was slowly taking over the U.S.
But in Australia we remained true. Never wavering. And we made it triple platinum.
But let’s go back in time.
The success of “Back In Black” in 1980 showed the labels that their was an appetite for hard rock music. And the labels wanted more of the same.
So it’s no surprise that by 1985, most of the label rosters had a lot of “hard rockers” on the books. But these rockers wore everything that wasn’t denim and their hair kept hair dressers employed for decades.
Even acts from the 70’s started to participate in this new look so they could remain relevant. But AC/DC didn’t change. They stuck true to their denims and Angus still wore the schoolboy outfit.
And the critics found them irrelevant while they still sold out arenas.
Fly On The Wall
The music is infectious and the vocals indecipherable.
Sign me up.
Shake Your Foundations
It was the only song that got a pass back in the day.
How good is that intro and the Chorus is iconic?
Plus it got decent radio play in Australia.
First Blood
Musically, it’s typical of AC/DC.
Lyrically, Brian Johnson is indecipherable and hard to understand.
Danger
“Come Together” comes to mind when I hear this.
“Here come old flat top” is what my ears are expecting when the song begins.
It’s no surprise that the Young brothers are referencing Chuck Berry here as his fingerprints are all over the riffs the Young’s write.
Sink The Pink
The music clip comes to mind here.
Seeing the band playing in a pub/bar again and that pesky fly from the cover getting a hard on (via its nose going from limp to hard) when a women dressed in pink enters the pub.
But it’s the music that seals the deal and Brian Johnson sounds better in the video than the recording.
I like the musical reference to “For Those About To Rock” and The Who’s “Won’t Get Fooled Again”. So I was hooked.
“Sink the pink, it’s all the fashion”
It has so meaning meanings.
The Urban Dictionary tells us, sink the pink means to “have sexual intercourse with a virgin, and to pop her cherry”.
But the Urban Dictionary didn’t exist in 1985 and my young impressionable brain saw it as a song about drugs.
And thanks to the Internet, I believe it is.
Welcanol was known during the eighties as the South African Heroin (Pink Heroin). It could be obtained via a Doctor prescription and it came as a pink tablet.
So before OxyContin there was Pink Heroin.
“Drink the drink it’s old fashioned”
I’ll take an old fashioned drink any day.
Playing With Girls
I love the music and the groove here.
But I hate the title and the fact that Johnson is mixed low and indecipherable.
Definitely a missed opportunity here.
Stand Up
I like this song. It’s defiant and it rocks.
If you just listen to the Chorus you would think it’s about standing up and facing the world, but when you read the lines in context with the verses, well, it has a different meaning.
Hell Or High Water
A 4/4 groove and we are off.
But it’s pointless as Johnson is buried in the mix and the song is ruined.
Back In Business
A deep cut. It reminds me of ZZ Top and I like it.
Send For The Man
Musically it rocks but the buried Johnson chainsaw like vocals ruin it.
It’s not a perfect album, then again most of the albums released in 1985 are far from perfect. In other words, the era of more filler than killer was well and truly in motion.
But I would say, it’s an underrated album from a band that enjoys doing their thing without over obsessing about it.
The U.S tour had controversy. It all took place underneath the censorship discussions concerning rock music. Religious groups tried to ban certain shows while city officials wanted to rate each show and give the shows a movie style rating, which would then exclude fans from going. Fire officials would also get in on the act and limit or stop any pyrotechnics.
But the band went on.
In the vinyl album sleeve of the “Fly On The Wall” re-release from 2020, Angus sums up the tour like this;
“This tour’s a little like a series of wrestling matches with the loonies. But what’s the fun of life without an occasional tussle”.
All at once in 2004, Dream Theater dropped three bootlegs under the sub headings of DEMO, COVER and LIVE.
The DEMO release was reviewed here, and it covered the “When Dream And Day Unite” period between 1987 and 1989.
The COVER release is their play through from start to finish of the “Master Of Puppets” album and will be reviewed next.
This review is on the LIVE release and as I’m writing this review it has not been re-released as part of the Inside Out re-releases/new releases.
So all we have at the moment is the Ytse Jam Records release.
The full 2 hours and 20 minutes, recorded live on the run of shows used to promote the “A Change Of Seasons” EP.
This is from October 28th, 1995 at NHL Hall, Tokyo, Japan.
The band is John Petrucci on guitars, Mike Portnoy on drums, John Myung on bass, James LaBrie on vocals and Derek Sherinian on keys.
Intro
There is a tape intro that goes for about 1 minute. It’s got a clock ticking and the sad piano lines from “Space Dye Vest” are played.
Then there is a voice over, some backwards sound effects and the octave notes from “Under A Glass Moon” kick in.
Under A Glass Moon
I like the surrealist title.
The verse riff on this song with the keys playing Chords over it. Perfection.
Stick around for the solo as it’s one of Petrucci’s best.
The Mirror
It’s a heavy song with Petrucci deploying the 7-string. Its intricate arrangements and dynamic shifts are interesting.
Lie
It goes together with “The Mirror” as some musical sections appear in both songs. This was a single from the “Awake” album, however it didn’t have the same success as “Pull Me Under” from the album previously.
The mix of heavy riffs and melodic moments, highlights their versatility.
Petrucci as usual delivers a few killer solo sections.
Lifting Shadows Off A Dream
It starts off like a slow jazz blues fusion jam before it goes into the well recognized bass intro.
It feels like a cross between U2, ballad like Marillion and 80s synth Rush.
Instrumental Medley
You get to hear “The Rover” from Led Zeppelin, “Killers” from Iron Maiden, “Damage Inc.” from Metallica, “In The Flesh” from Pink Floyd and “Heart Of The Sunrise” from Yes.
Press play to hear the way they fuse all these different songs into one cohesive track.
Innocence Faded
It’s in a major key. While it rocks it does have pop sensibilities.
But it’s the outro that you should listen to.
Because if you worship at the altar of guitar gods then the outro is for you. Even James LaBrie screams “John Petrucci” when it starts.
If you can’t find this track, then any other official live version or even the studio cut will suffice.
A Change Of Seasons
You get the full 23 minutes.
The way this piece is written is that each part can be played separately in the set list amongst other songs or it can be played as one song, like it is here.
And like all multi-part epics, it serves as the grand centerpiece of the show, displaying their songwriting prowess and technical skills in a live setting.
Lost Without You
“Lost Without You” was officially released in 2005 on John Petrucci’s solo album “Suspended Animation”.
But here it is, live in 1995.
Its an intimate and introspective moment within the setlist, very blues/jazz fusion like and I’m all in.
Petrucci nails it and the emotion drips from the strings.
Surrounded
The “Images And Words” album is all killer.
And this song is largely out of the conversation, however the band does a stellar job playing tracks from the back catalogue in the live setting.
After the piano intro and verses, the song picks up. Listen to how Petrucci decorates.
Derek Sherinian Keyboard Solo
I’m not a huge fan of solos in concert like this, but this one actually rocked and kept me interested.
It was a mixture of ragtime, blues, classical and cinematic/video game like music.
Erotomania
Mike Portnoy takes over the middle of the song with a drum solo.
But at least they go back into the song and to one of my favorite instrumental sections.
Voices
This is another song that seems like it’s out of the conversation when it comes to Dream Theater songs.
But it’s a classic
The Chorus is arena rock.
And that solo is what guitar heroes are made of.
The Silent Man
It’s a great acoustic song.
And they bring the 70s Classic Rock vibes (which is known as Country Rock these days) to it live.
Pull Me Under
Closing the main set with their most recognizable hit, leaves the audience energized.
The 1st Encore begins with a cover.
Perfect Strangers (Deep Purple cover):
The Deep Purple cover sounds like it came from the minds of Dream Theater.
You can hear the fun in the music and they definitely jam it out.
The 2nd Encore begins with the last two tracks of the “Images And Words” album. And for a 1995 set list it’s perfect.
Wait For Sleep (Acoustic version)
An acoustic version of “Wait For Sleep” is excellent.
Learning To Live
The grand finale. The whole song is a masterpiece.
And then that outro section. Wow.
In summary, its raw as a bootleg should be.
The setlist is diverse and it showcases their instrumental virtuosity and ability to navigate complex musical compositions.
There are mistakes and pitch issues but hey, if I wanted the studio recordings I would play them.
The inclusion of covers and acoustic moments also adds depth to the overall concert experience.
They got some traction with the single “Don’t Tell Me You Love Me” from the “Dawn Patrol” album in 1982. The future looked bright.
Then their record label “Boardwalk” went under.
But they had a believer in former Boardwalk vice-president Bruce Bird, who organised a deal with Irving Azoff to sign the group to MCA. Night Ranger would be the first signing to Bird’s new imprint under MCA, Camel Records Inc.
“Midnight Madness” came out in 1983. Check out the ages of the guys in the band.
Jack Blades is 29, Brad Gillis is 26, Jeff Watson is 27, Kelly Keagy is 31 and Alan Fitzgerald is 34. These are seasoned pros, who have paid their dues in other bands since the start of the Seventies.
And in 1983, fame came to them in the form of music television.
MTV would turn regional club acts into arena acts instantly on the back of a song, and “Sister Christian” along with “(You Can Still) Rock In America” became the songs that launched Night Ranger across North America.
While the album has alot of good songs my favorite is the first song on Side 2.
“Touch of Madness” is written by Jack Blades.
The eerie music box gets your attention immediately.
Then a heavily palm muted arpeggio single note riff kicks in before, all hell breaks loose with the blues slide rock riff from the 19 second mark.
The playing is excellent.
At the 42 second mark, the verse groove comes in. It’s groove Rock and Kelly Keagy thunders on the kit.
Blades delivers a stellar vocal,
The lyrics suggest a feeling of being drawn to someone who has a captivating and mysterious quality.
She say “I get high when I want to Don’t ya think you need it too” I need a touch, I need a touch of madness
All of the religious leaders in the 80’s got it right, that the youth of the world had been seduced by the devil’s music. We liked to get high when we wanted to and Mister Juana was a favourite.
The “touch of madness” is the irresistible allure of someone’s unpredictable and exciting nature.
I need a touch, a touch of madness
The lead break is Randy Rhoads-esque. Building on a simple motif and embellishing it with fast scalar runs.
I like how you get another verse, pre and chorus after the solo section. It’s the reason why it clocks in at 5 plus minutes.
I remember the kids asking me around 2019, if The Night Flight Orchestra (TNFO) would ever tour Australia as they are massive fans but they couldn’t come as it was an over 18s gig.
I said to them that Bjorn Strid as part of Soilwork tours here, so it’s a possibility but it all depends on a promoter who wants to bring them out and it also depends on fans. Streams and sales are key here.
Fast forward 4 years later, TNFO arrived on our shores. Hardline Media was the promoter who got em out here. I’ve purchased stuff from the site before and Doug does a great job/deed for Metal and Rock music in Australia.
Their first gig was at Brisbane, on Thursday 3rd August at a venue called “The Zoo”.
And on Friday, 4th August, they had their show in Sydney at a venue called “Crowbar”.
Their final show was on Saturday, 5th August in Melbourne at a venue called “Max Watts”.
It’s like waking into a time warp and coming out 40 years ago when you enter “The Crowbar”. The pub was formerly known as “The Bald Face Stag” (it was a venue I played with one of my former bands) and in 2018, it relaunched as “The Crowbar”. The furnishings are still very 80s retro, it’s painted black and I like it. Plus their is a decent selection of boutique beers on tap and in cans. Their is also a decent sized live room inside the pub, which they utilize for live music.
I purchased two VIP Meet and Greet packages.
This included:
early access to the show and merch stand,
a photo on my phone/device with the band
an Australian tour poster to get signed by the band
exclusive VIP lanyard/laminate
plus I was able to bring along 3 personal items to get signed.
And the prices at $160 each were reasonable.
I was thinking of what merch to take for signing. And I settled on the vinyl album, “Sometimes The World Ain’t Enough”. It’s a gatefold album, with a massive picture of the band on the inside, so it would be cool to get them to sign it. Plus I had two copies of the albums as I forgot I purchased it and then purchased it again.
The meet and greet was very relaxed. They signed our items including the tour poster and then we got the photo.
The band is Sharlee D’Angelo on bass, Sebastian Forslund on guitar, percussion and congas, Anna Brygard on backup vocals, John Lonnmyr on the keys, Bjorn Strid on vocals, Asa Lundman on backup vocals, Jonas Kallsback on drums and Rasmus Ehrnborn on guitar. In the middle, ruining the photo is yours truly.
Midnight Flyer
It was the first song recorded for the “Amber Galactic” album and the first single released to promote the album.
It’s a great opener.
Then again so is “Siberian Queen”, “Sail On”, “This Time” (which sounds like the twin of “Midnight Flyer”), “Servants Of The Air” and “Violent Indigo”.
I remember reading an early interview from the band that Deep Purple’s “Made In Japan” and “Made In Europe” are favourites.
And I can hear it in “Midnight Flyer”, how it builds from the keyboard intro, similar to how “You Fool No One” builds on the “Europe” live album or “Speed King” on the “Japan” live album.
I’m not leaving I’m just going somewhere else Far from the sighs and whispers And the weakness of myself Now is not the time To think of all I’ve lost There are skylines left to conquer There are oceans left to cross
The work ethic of the TNFO members is high. Multiple bands means more touring, more time in recording studios, more time song writing and lots of champagne. Meanwhile they are all trying to keep relationships going.
I’m a midnight flyer rushing through the storm I got lost without your loving and I can’t find my way home
Such a great lyric for the Chorus hook.
They went straight into “Sometimes The World Ain’t Enough” and we were moving and singing.
That keyboard Intro is from what David Coverdale calls “Hook City”, a mythical place of arena-like choruses and riffs.
And I love the drum beat which I call the “Deuce” beat. I know other 70s acts did this kind of beat, but I’m a Kiss fan so I’ll associate it with Kiss.
Every song TNFO played got us moving. My order of the songs is wrong compared to the live show, but here they are.
“Divinyls” rocked. It grabs your attention as soon as the guitar intro starts and it builds nicely with the drums. Rasmus Ehrnborn filled in for TNFO when Dave Andersson couldn’t tour. Now he is the guitarist in the band.
“Gemini”, “Paralyzed”, “White Jeans”, “Burn For Me”, “The Sensation”, “If Tonight Is Our Only Chance” and “Satellite” all followed with lots of grooving, people dancing and some head banging.
“Something Mysterious” (which reminds me of “Burning Heart” from Survivor) was dedicated to guitarist Dave Andersson, who passed away in 2022. For those who are not aware, Andersson was a co-founding member of TNFO along with vocalist Bjorn Strid. A lot of the TNFO songs have his riffs and lyrics. He also wrote this.
They closed the set with the 9 minute long “The Last Of The Independent Romantics”. As Bjorn said in the Intro, let’s go on a journey. And we did.
The band went off stage and we went into a football chant.
It was encore time.
“Josephine”, “Stiletto” and “West Ruth Avenue” closed the night.
“West Ruth Avenue” deserves special mention as Bjorn got a decent Conga Train happening which resembled a circle pit. Instead of people running, people were dancing.
It was also this song from the debut album which made me a fan. And the tempo was slightly increased. Which I like.
I am biased but this gig is a 10. They never let up on the energy and the setlist was perfect.
Moving forward, current single “The Sensation” is doing the rounds. A new album is expected in April/May 2024 and I’m looking forward to adding it to the collection.
Hopefully another Australian tour as well. They put down some roots here so let’s see what grows.
It was released in 2004 on Ytse Jam Records, the official bootleg label of the band created by Mike Portnoy and John Petrucci, but Portnoy was the main driver.
Yep, the thing that bands are doing right now, Dream Theater has been doing it since 2003. Marillion, one of Portnoy’s favorite bands have been doing it even earlier via their fan club.
This was also released as part of their Inside Out record deal via the “Lost Not Forgotten Archives” on 12 May, 2023.
The CD contains pre-production demos as well as instrumental versions of the songs and songs that did not make it on to the album, or were recorded around the same time. Also included are six tracks the band recorded as a Christmas gift for their friends.
The band started this recording process as Majesty. By the end of it they would be Dream Theater.
They started it with Chris Collins as the vocalist. Then a whole year would pass before Charlie Dominici would join Mike Portnoy, John Petrucci, Johnny Myung and Kevin Moore. This is the band that recorded the debut album.
Afterlife – Instrumental Demo
It’s my favorite track from the debut album and it was the first new track they wrote upon returning home from Berklee in the Summer of 1986.
It’s straight ahead speed technical Metal and the instrumental demo highlights it.
And Johnny Myung is one hell of a bassist.
The harmony solo between the keys and guitar is still here, however the solo before is different to the recorded version.
The song was performed live with vocalist Chris Collins however it had different lyrics and melodies.
The Killing Hand – Instrumental Demo
It’s weird how my two favorite songs on the debut are the first two songs written.
You can say this song is the start of the Dream Theater epics.
That section after the solo still hooks me.
The Ones Who Help to Set the Sun – Instrumental Demo
The working title of this song was “Death Of Spock”.
It’s the most progressive of the tracks so far and the Arabic Metal feel is very prominent in the demo.
The Rush influence is also prominent when you hear the song instrumentally.
Ytse Jam – Instrumental Demo
Well the song was written to be an instrumental so instrumental demo doesn’t make sense.
Regardless, it’s a fan favorite and that Intro gets peoples attention immediately.
Cry for Freedom – Instrumental Demo
I needed to rehear it to remember it. A leftover from their Berklee jams.
Standard riffing that seems lost without a vocal melody.
But I do like the Sunset Strip riff from about 2.40 and then the change in feel at 3.00. The drums play a simple groove, the synth takes the lead and it sounds like “Stranger Things” took it for their intro. Or maybe the band was heavily influenced by the “Signals” album from Rush.
It’s also been preformed live with Chris Collins.
Resurrection of Ernie – Instrumental Demo
It’s like a John Carpenter soundtrack piece and I like it.
The music here has never been used or rewritten for another song, so it’s a true rarity.
Drum Solo – Instrumental Demo
I hate drum solos in concert and I hate them on albums. If they add some music to it and have the drums doing intricate things then I’m all in.
Portnoy created it for a contest that Modern Drummer magazine was running. The prize, “Neal Peart’s Tama Drum Set”.
Portnoy submitted it under the title “Peartnoy’s Complaint”.
He didn’t win.
A Fortune in Lies – Instrumental Demo
It is the opening track on the album. I still get hooked on the verse riff and how the keys decorate it.
And in the demo here, there’s no Chorus
Only A Matter of Time – Instrumental Demo
It’s missing the excellent synth lead which defines it.
A Fortune in Lies – Early Charlie Demo
Charlie Dominici is a great vocalist.
But at 36 years of age when he joined the band, he was always on borrowed time with the Dream Theater guys.
Mike Portnoy said it was like having Billy Joel singing in Queensrÿche. In this case it was more Steve Perry singing in Dream Theater.
A good singer in the wrong band, they would amicably part ways after this album.
Afterlife – Early Charlie Demo
My favorite track with a killer chorus. But you had to wait for it.
The Ones Who Help to Set the Sun – Early Charlie Demo
You hear a lot of Marillion in the demo and I like it.
These “Early Charlie” Demos are the ones that got the band signed. A friend of Portnoy’s had an ex-band mate who left Combat Records to start Mechanic Records and on June 23 of 1988, Majesty signed their deal.
Once signed, Terry Date was selected as Producer, who at the time had a reputation for making albums sound great on a low budget.
Portnoy’s 4 track came out and away they went with the Pre-Production demos.
A Fortune in Lies
Afterlife
Ytse Jam
Only A Matter of Time
The Ones Who Help to Set the Sun
The Killing Hand
Light Fuse and Get Away
All of the pre-production demos are more polished than the instrumental demos.
The solos are still a work in progress however most of the elements are there.
“Light Fuse And Get Away” was newly written during this phase.
“Status Seeker” was written just before they entered the studio and never demoed.
The entire album was recorded and mixed in 3 weeks.
Shortly before the release, the guys were informed of another unsigned band who held the registered trademark for the name Majesty. So they had to change their name.
And Dream Theater was born.
The album dropped on March 6, 1989 to little promotion and fanfare. The label reneged on their promise to fund a video and provide touring support.
It was dead on arrival as the guys retreated back to their basement rehearsal studio and their day jobs at delis, Chinese food places and music stores.
To Live Forever – Xmas Demo
The song was written after the guys watched “Rattle and Hum” from U2.
It’s stuff like this which I like from Dream Theater. They would take all kind of influences and still make it sound like Dream Theater.
On here, you can really here the pop vocals in Dominici.
Mission Impossible – Xmas Demo
A little jam with Portnoy losing his shit at the end of the song at Petrucci who was wailing away.
Golden Slumbers/Carry that Weight/The End – Xmas Demo
A Beatles medley.
O Holy Night – Xmas Demo
It’s not a Xmas demo with a Xmas song.
A Vision ’89 – Xmas Demo
I like Dominici’s vocals as well. Then again I’m a fan of this song, so I enjoy all versions of it.
This one is very Queensryche like.
And there you have it.
If you want to hear Dream Theater as a technical speed Metal band with various influences of other styles then this is the album.
It’s all about Copyright, that little piece of legislation meant to give creators a monopoly on their works, so they could create new works, however the creators now sell or license their rights to a corporation, who then seem to hold onto the rights forever and by doing so, the Corporations keep lobbying hard to change laws so copyright lasts forever.
THE VALUE IN COPYRIGHTS KEEPS GETTING BIGGER
It’s 2008 and the Global Finacial Crisis decimated assets across the world. In these wastelands, the Investment Houses turned to Copyrights to balance portfolios.
The arrival of streaming services took off the cloak and funny math on royalties by the labels. While artists complained about the pay per stream rate, one thing they couldn’t complain about was the amount of money paid to the organizations that held the rights.
15 years later, these portfolios keep making money for the Investment Houses as the majority of music consumers transitioned to streaming.
In 2022, Germany generated 1.656 Billion in streaming revenue. The total income for the country was 2.07 Billion so streaming equated to 80 percent of it.
Globally in 2022, streaming revenues reached 17.5 billion U.S. dollars. 70 percent of total recorded music revenue.
If you are not getting a cut of it, someone else definitely is.
The unusual trial will determine which of the two handwritten wills, including one found in couch cushions, will come in force.
The interesting part is how Aretha valued her earnings from Copyright, which she listed as $1. Meanwhile, the Estate earned $4 million in one year after her death.
It is estimated that Spotify has paid the rights holder of Sabaton’s catalogue between $9.6 million and $15.9 million during this time.
If Sabaton owned their Masters 100%, then they would have received between $7.6 and $12.6 million dollars from Spotify. It equates to $507K and $840K per year. There are five members in the band, so taking the lower amount, each member would get $100K each. This takes into account that they have no manager percentage, accountant percentage and so forth.
If they had a 50% Royalty agreement with their label, they would have received between $3.7 and $6.3 million dollars. It equates to $247K and $420K.
If they had a 20% Royalty agreement with their label, they would have received between $1.5 and $2.5 million dollars as the label would get the other 80%. It equates to $100K and $167K. Taking the lower value, each member would receive $20K for the year, which comes to $1,666 per month. This takes into account that they have no manager percentage, accountant percentage and so forth.
RE-RECORDINGS
The Law states that artists can get back their rights after so many years. But the labels are fighting each case tooth and nail.
So if the artists have the means, they are creating new masters and are making those new masters as canon. This in turn gives them control over their music and they can then license these recordings to TV Shows and Movies and Games on their own terms.
Metal music is always resilient to changes in genres however it’s also easily adaptable to other genres or it can be used as a fusion element.
And fusion is happening everywhere.
Taylor Sheridan is good at mashing unrelated and different story ideas into one cohesive story. Yellowstone is a mash up of Classic Westerns, Medieval dramas with a lot of back story and political thrillers. Tulsa King is “The Godfather” in a Western setting.
And then I did some research on em, and they have a gimmick, wearing face covering like ninjas from an anime.
Will people talk about Michael Schenker in 20 years time?
We all knew who Michael Schenker was from his time in UFO and Scorpions, but none of us could name his MSG tunes correctly.
He wasn’t on MTV and back in the 80s, there was no Spotify, no YouTube, no BitTorrent and no internet where we could go and look up his MSG output.
Radio in Australia never played MSG.
Basically if you didn’t own his albums or know someone who did, it’s like he didn’t exist.
But he was all over the guitar magazines. It’s how I came across him.
The first MSG album came out in 1980 and it stiffs in the major U.S market. Japan however loved Schenker where his popularity remained high on the back of his Scorpions and UFO contributions.
The second MSG album came out in 1981 and it did nothing as well. Something had to change. Original singer Gary Barden was fired in 1982 and Graham Bonnet fresh from his stint in Rainbow was hired. Album number 3 came out the same year (along with the “Live at The Budokan” album) and again, it did nothing. Bonnet was fired and Barden was back in for the tour.
And here we are at album number 4 released in 1983.
Commercially, it stiffed again in the major North American market. It’s forgotten from the conversation.
But it’s a favorite.
I could have picked alot of different songs from “Built To Destroy” as it’s that good. But this time around I wanted to write about “The Dogs Of War”.
It’s written by Gary Barden and Michael Schenker.
Drums and bass start it all off. A simple groove yet so catchy with Schenker decorating the Intro with feedback, chords and leads.
It builds until the verses kick in.
Nothing worth taking, all was forsaken
A sense of loss as there was nothing of value left to hold onto or protect.
Hit on the blind side, caught in the spotlights
Exposed and vulnerable, as if suddenly thrust into the spotlight without any preparation, leaving you exposed and defenseless.
Warning came late, no chance of alluding
It conveys a sense of helplessness and a lack of options.
Shadows were long as they forged through the night
I like the way this is delivered vocally. It’s almost classical and yet it feels new wave.
The line tells me it’s about perseverance and determination amidst challenging circumstances.
Looking for signs of the day, Deep in their minds as they walked out of sight
A sense of introspection and anticipation as we search for signs of hope or a brighter future. A mindset of seeking out positive change or opportunities in the midst of uncertainty or darkness.
The line “deep in their minds as they walked out of sight” suggests that despite being physically present, our minds are occupied with thoughts, hopes, and aspirations.
Mission completed all were defeated Branded with fire, now filled with desire
“Mission completed all were defeated” suggests that a goal or objective was successfully achieved, but it came at a cost. The mention of being “branded with fire” tells me that the experience was intense and left a lasting mark. However, instead of being discouraged or weakened, there is a newfound sense of determination and passion, as they are now “filled with desire” for more.
Message came through on the wings of a prayer Feelings were high for a time
The line “Message came through on the wings of a prayer” suggests that guidance or inspiration arrived unexpectedly, perhaps in a moment of spiritual connection or hope.
“Feelings were high for a time” indicates a period of excitement and enthusiasm following the completion of the mission. Emotions are intense and elevated during this phase, reflecting the sense of accomplishment and fulfillment.
Slap on the backs for the ones who had dared To run with the wolves of our time
These lines honor those who have dared to defy conventional norms and expectations, applauding their willingness to take risks and venture into uncharted territories.
They embody the spirit of running alongside the metaphorical “wolves” of their time, showcasing their courage and tenacity in the face of adversity.
Michael Schenker embodies this spirit. At 15 he left Germany to join UFO in the U.K. Imagine that, in 2023.
The dogs of war, will bite the hand for a price, and then hear them roar
The destructive nature of conflict and the willingness of certain individuals or entities to engage in acts of aggression or violence for personal gain. The phrase “dogs of war” symbolizes those who are eager to participate in warfare or engage in hostile actions. They are portrayed as fierce and relentless, driven by their own motives and desires.
The line “will bite the hand for a price” suggests that these individuals are willing to turn against their own benefactors or allies if offered a sufficient incentive.
It implies that loyalty can be easily swayed by material or monetary rewards, and they will not hesitate to betray those who once supported them.
Their mission completed, the innocents bleeding
Overall, this phrase captures the bittersweet nature of achieving a goal or objective while acknowledging the devastating impact on the innocent individuals caught in the crossfire.
To buy someone’s freedom’ who pays?
The question challenges the notion of freedom as something that can be easily obtained through financial means. It prompts us to consider whether true freedom can be bought and whether the act of purchasing it merely shifts the power dynamics or perpetuates a system of inequality.
A lot of the lyrics in the 80s got blasted and they still get blasted by music writers as being immature.
That is the case for some songs and some acts still make a living on writing simple immature lyrics with simple rhymes, laced with sexual innuendos.
Then you get other lyricists who write with some depth and double meanings. Gary Barden is one such lyricist. He’s also pushed out the “tease/please/knees” kind of lyrics as it was a symptom of the era he was in but overall his output is a lot more mature.
And Michael Schenker. He’s a lifer and what a rollercoaster lifestyle he’s had. He didn’t top the charts as a solo artist but his impact is as large as his UFO and Scorpions career.
Back in 2007, the issue surrounding that album was getting paid. Remember “pay what you want”. It was meant to bring the money back into music. It didn’t.
But it gave artists a hard truth, that they have fans who are willing to pay zero dollars for their recorded music.
Today the main issue is getting peoples attention and holding it. Anyone remember what was trending last week. Me neither.
“Amnesiac” is the fifth studio album by Radiohead, released on 30 May 2001.
Although the album came out in 2001, it was recorded with producer Nigel Godrich in the same sessions as Radiohead’s previous album “Kid A” released in 2000.
Radiohead considered releasing the work as a double album, but decided against it.
Based on the buzz created from the earlier albums, “Amnesiac” debuted at number one on the UK Albums Chart and number two on the US Billboard 200.
Packt Like Sardines in a Crushd Tin Box
It’s an electronic song with synthesisers and industrial percussion. Actually the tone of the synth riff feels like it became the design for the TonePad or SoundPrism apps.
Auto-Tune was also used to process Yorke’s vocals which sound hypnotic and other worldly.
After years of waiting nothing came, as your life flashed before your eyes you realize
A realization that the thing you have been eagerly anticipating for a long time, didn’t come to be.
After years of waiting nothing came, and you realize you’re looking in the wrong place
After the passage of time you come to the realization that your search or focus has been misguided.
Your strategy was ineffective and it led you astray. But there is time to reassess your approach, redirect your efforts, or reconsider your expectations in order to find the desired outcome or solution.
I’m a reasonable man, get off my case
Pyramid Song
The piano chords drive the song, which is a trippy 60s experimental acid rock track. Wikipedia tells me the musical part of song was inspired by the Charles Mingus song “Freedom” and its lyrics were inspired by an exhibition of ancient Egyptian underworld art Yorke attended while the band was recording in Copenhagen and ideas of cyclical time discussed by Stephen Hawking and Buddhism.
I jumped in the river and what did I see, black eyed angels swam with me
A symbolic leap into the unknown.
And while angels normally represent the light, the mention of black-eyed angels is seen as mysterious. The color black is also associated with darkness.
And we all went to heaven in a little row boat, there was nothing to fear and nothing to doubt
The mention of a row boat, which requires teamwork and coordinated effort to navigate, suggests a collective experience or shared journey.
“Pyramid Song” was named one of the best tracks of the decade by Rolling Stone, NME and Pitchfork
Pulk/Pull Revolving Doors
Wikipedia tells me it began as an attempt to record another song, “True Love Waits”.
It features keyboard loops recorded during the “OK Computer” sessions. Deciding that the arrangement did not fit “True Love Waits”, Radiohead used it to create a new track.
Yorke added a spoken vocal and used Auto-Tune to process it into melody.
Unfortunately the story of the songs creation is better than the song. It’s a skip for me.
You and Whose Army?
Wikipedia tells me that the song is about someone who is elected into power by people and who then blatantly betrays them.
At the time Yorke was protesting against the British PM, Tony Blair. However it seems that every democratic country has this problem.
Its like lounge music with a drunken vocal melody for the first 1.50 as the song builds and I was going to skip it.
But it changes and the last minute is dreamy rock and I like it.
We ride tonight ghost horses
A journey into the unknown. It seems to be a recurring theme on the album.
I Might Be Wrong
I like the Bluesy riff but don’t like the industrial sounding drum beat.
You go down the waterfall, think about the good times and never look back
Another phrase about a challenging or transformative experience.
As you draw strength, inspiration, or comfort from the good times during times of adversity. You know the whole wellness business model is built on selling the “power of positive thinking”.
Knives Out
It sounds like they just got in the room and jammed this one out.
Lyrically I think it’s about cannibalism.
Morning Bell/Amnesiac
I’ll give them points for trying to do something different and out of their comfort zones, but as a title track it’s terrible.
A skip for me.
Dollars and Cents
Another skip for me.
Hunting Bears
Its a two minute instrumental on electric guitar and synthesizer and backwards effects. It’s cinematic and I like it.
Like Spinning Plates
It’s a skip for me.
Life in a Glasshouse
It’s jazz noir and jazz trumpeter Humphrey Lyttelton and his band performed on this in the style of a New Orleans jazz funeral.
Wikipedia tells me that the lyrics were inspired by a news story Yorke read of a celebrity’s wife so harassed by paparazzi that she papered her windows with their photographs.
But it’s a skip for me.
Back in 2001, two years after Napster, sales were still a big thing and man of albums were good, sales would go through the roof. Linkin Park’s “Hybrid Theory” and “Meteora” come to mind here.
“Amnesiac” was certified Gold in Argentina, Australia, Belgium, France, Japan and the United States.
It was certified Platinum in Canada, United Kingdom and Europe.
When Twisted Sister disbanded in 87, Dee wasn’t in the news a lot, except for a few little paragraphs here and there in a magazine about his upcoming “Desperado” project.
Then that project got killed by record label bosses at Neglektra.
And the biggest voice in my life was missing during the “golden commercial years” of metal and rock music.
Then Widowmaker got up and running, however Grunge came and after a two albums, the band was done.
A solo album called “Never Let The Bastards Wear You Down” revived hope that more would come. But it didn’t eventuate.
However Dee is a lifer when it comes to music. He battled tooth and nail to make it, so there was no way he was going to lay dormant for long.
And like it was written in some holy book, Dee came back, more diverse than ever. He became a movie maker, a radio show host, a solo artist, an author and when TS reformed, he led them up front all the way to the last show.
“For The Love Of Metal” came out in 2018 and it is basically metal music the way I know it.
His solo music doesn’t have the same public acceptance as the Twisted music, but it doesn’t mean it’s not important or influential. As I’ve said before, a million sales of an album doesn’t mean you have 1 million fans. You just have a million people who purchased the album.
The question any artist should be asking is, how many people actually listened to the album from start to finish?
In a one to one commercial sale, it will never be known how many people listened to the album at least once and how many people listened to the album over a hundred or a thousand times.
“Mask” is a great song.
Depending on how you experience the album, it’s either hidden deep in the album at track 8 or it’s at the start of the B side of the vinyl.
That intro riff hooks me in right away. It’s thrash power Metal like.
With torn and bleeding smiles we move on And mouth all different kinds of broken promises Why should our days be spent in denial While counting our faults and ripping our hearts out
These lines express the struggle of carrying on with a facade of happiness despite inner turmoil.
The smiles we wear is depicted as torn and bleeding, indicating the pain and suffering we endure internally.
We continue to make promises we cannot keep, adding to the brokenness within. The questioning of why one should spend their days in denial is a desire for honesty and authenticity, rather than pretending everything is fine.
The act of counting faults and ripping hearts out shows a self-destructive pattern of dwelling on personal flaws and causing emotional harm.
These lines highlight the complexity of navigating through life’s challenges while grappling with inner turmoil and the longing for genuine connection and self-acceptance.
The face you see is not our own It hides our tears and shades our eyes The heart you touched has since grown cold We wear the mask that grins and lies
We live in a world of suppression.
The idea of each one of us presenting a false image to the world, concealing our true emotions and vulnerabilities behind a mask is real.
The face that others perceive is not a genuine reflection of our inner feelings. Instead, it serves as a shield to protect ourselves from judgment, pain, or further emotional exposure.
The heart that was once open and receptive has now become distant and detached.
The mask we wear may project a smiling and seemingly content facade, but it conceals the truth and hides the pain beneath the surface.
Behind our doors the time cannot be whisked away Crashing and burning, leaving hints of darkness Deep within their withered faces, lines are sunken in We say we’re fine behind the mask We say we’re fine, why do you ask
The passage of time and the struggles that accompany it. Behind closed doors, the weight of time cannot be escaped or avoided.
The phrase “crashing and burning” conveys a sense of chaos and turmoil that leaves traces of darkness in its wake. The imagery of withered faces with sunken lines reflects the toll that time and life’s challenges have taken on us.
Despite the weariness and pain hidden within, we still maintain the facade of being fine. We wear a mask of contentment and happiness, even when asked about our well-being.
The repetition of “we say we’re fine” emphasizes the disconnect between our true emotions and the image we project to the outside world. Its easier to maintain appearances and avoid delving into the depths of our inner struggles.
The subject matter is serious and the music is thunderous.
destroyerofharmony 