Category Archives: My Stories

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

The Record Vault: When Dream And Day Unite Demos 1987-1989

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.

Crank it.

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

Four For Friday

RESIDUALS

Actors and Writers are striking.

The actors have joined the writers in taking industrial action, because they want streaming giants to agree to a fairer split of profits and better working conditions.

And a recent Black Mirror episode has made em all worried about digital replicas, so they want further protection in this area.

The BBC article has this to say about it;

Mark Ruffalo went on to say that while actors and screenwriters have “made great content”, the business brains behind them had “created an empire of billionaires”, who are “laughing like fat cats” and “believe we are no longer of value”.

You see, actors are paid residuals. Residuals are a form of royalty paid to actors when movies and TV shows air on television after their initial run.

Residuals came into practice in the 60s and were updated to include Cable TV. But it doesn’t work for streaming because streaming shows aren’t scheduled.

To show how valuable residuals are, the article over at “The Conversation” states;

Hwang Dong-hyuk, the creator of “Squid Game,” forfeited all residuals when he cut a deal with Netflix.

It earned Netflix nearly US$1 billion, but Hwang got none of that bounty.

You see, Hwang would get a large upfront fee to create “Squid Game”. It would be large enough to tempt him to forfeit all residuals. Netflix and Hwang both gambled and Netflix won.

And while some actors are paid well because they had the “old gatekeeper power” to get residuals higher, the rest struggle, while the streaming services and studios along with their CEO’s earn billions and multi-millions.

WHAT MAKES IT

Because no one knows what will make it big. Here is a snippet from a newsletter that Billy Oppenheimer writes;

When Tom Hanks was filming Forrest Gump, he asked director Bob Zemeckis, “if anybody will care enough to watch the movie?”

Zemeckis replied with “It’s a minefield, Tom. You never know what’s good…It’s a minefield! It’s a goddam minefield! We may be sowing the seeds of our own destruction.”

There is no safety net or guarantee that things will become popular.

After Bon Jovi finished recording “Slippery When Wet”, producer Bruce Fairbairn was hoping it would get a Gold Certification, which is 500,000 sales in the U.S. Currently the album is at 13,364,000 units sold.

David Coverdale just recovered from surgery after a bad sinus infection. He had fired everyone. He was over $3 million in debt to Geffen. The music to the songs which would make up the 1987 album were recorded. All he had to do was sing.

And he hoped there was a place for Whitesnake in the market dominated by Bon Jovi, Motley Crue, Scorpions and Europe. It’s at 8 million and counting in U.S sales.

“Welcome to the Jungle” from Guns N’ Roses performed poorly in both the United States and the United Kingdom when first released in September 1987.

As the band’s popularity grew steadily in 1988, on the back of “Sweet Child O Mine” and their ferocious live performances, it became a sleeper hit in the US and reached the top 10 of the Billboard charts. It was then re-released in the UK, charting within the top 40 there.

In June 2005, it was certified Gold in the U.S.

By 2017, it surpassed 3 million in sales however it’s never been re-certified.

Nirvana’s second album “Nevermind” was released in September 1991 with low expectations, hoping to sell 500,000 copies.

The album entered the Billboard 200 at number 144.

It entered the top 40 in November.

When December rolled around, the album was selling 300,000 copies a week.

By January 1992, it replaced Michael Jackson’s “Dangerous” at number 1 on the Billboard charts.

The album has gone on to sell over 30 million copies worldwide.

When Def Leppard released “Hysteria” in 1987, they were expecting the same sales as “Pyromania”. In addition, due to the lengthy recording process, in order to break even they had to sell a minimum of 5 million albums.

After 8 months, the album had sold 3 million in the U.S and the band was preparing to wrap up their tour, take a short break and go back into the studio.

Then “Pour Some Sugar On Me” and “Love Bites” hit the airwaves. The popularity of the singles led to renewed interest in the album and the band was back on the road.

The “Hysteria” tour ended on 27th October 1988. By then the album had moved 7 million units in the U.S. It was basically moving a million units a month in the U.S from June.

By May 1990, the album was at 10 million units in the U.S. and it’s still selling today.

DO THE WORK YOU LOVE

It’s a strong mindset to work on a project and knowing that no one will possibly care about it once it’s released.

But the ones that do it, do it because it’s a need to create and they live to create. If it’s successful, the money and fame is a byproduct of their need to create.

THE JOURNEY

When Bruce Springsteen dropped “Born to Run” in 1975 he was 11 years into his journey. During those years he was in and out of numerous bands and his first two albums as a solo artist bombed.

When “Appetite For Destruction” came out in 1987, Guns N Roses were an 7 year over night success. And the album was a slow burner. It took over a year to get traction and once it did, it was outselling everyone.

During these periods, “talented” and “schooled” musicians were in their thousands. But the biggest artists didn’t come from Julliard or Berklee.

If your are not committed to the journey talent doesn’t matter.

Standard
A to Z of Making It, Classic Songs to Be Discovered, Copyright, Influenced, Music, My Stories

Four For Friday

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.

COPYRIGHT AFTER DEATH

It’s been five years since Aretha Franklin died and her heirs are still fighting over who handles her Estate, which has her Royalties paid to.

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.

SPOTIFY PAYMENTS TO SWEDISH ARTISTS

Since 2008, Sabaton has amassed 2.5 billion streams on Spotify. Check out the research.

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.

SONG I AM LISTENING TO

Chokehold from Sleep Token.

It came up on a Release Radar many months ago and I’ve been hooked ever since. Hooked enough to buy the Vinyl album when it came out a few weeks ago.

From the U.K, they combine Pop, R&B, World, New Age, Church, Classical, Folk and Djent like tech metal. And I’m a fan.

To show how much cross over appeal they have, you can watch Daughtry do a live acoustic cover of the song.

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.

Check em out.

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

Four For Friday

Without artists and their connections to their fans, no one else can make money.

Artist Power

Movies are struggling at the box office, but Taylor Swift’s “Eras Tour” is tipped to bring in over $1B.

The sorry state of ticket prices, dynamic algorithms and artists scalping their own tickets to increase demand, all play their part to increase these revenues.

Artists deserve to be compensated well because it is their connection with the fans which brings in the dollars, however it sure look like everyone else is getting a larger cut of the pie than the artist.

And the government investigation into the monopoly that Ticketmaster and Live Nation have, ended up like all other government investigations against monopolistic corporations.

Business as usual for the corporations.

When monopolies exist, prices go up, so it’s no surprise that the previous highest tour revenues have came from 2017 to now.

Elton John’s “Farewell Yellow Brick Road” tour is still going I think and it’s almost to $900M for shows played between 2018 and 2023.

Ed Sheeran’s “Divide Tour” grossed $776M between 2017 and 2019.

Hans Zimmer

If he comes to Australia again with his 38-piece orchestra and band, I’ll be in the audience.

Truth is, his music was and still is performed by Orchestras around the world to sell out crowds.

While they pay a licence fee to perform his material, the bulk of the money is in the show.

So Zimmer has seized the day and over the last 5 or so years, he’s hit the road himself.

And he’s selling out arenas at the moment. Because he knows he has fans. He’s seen his streaming stats and he knows there is money to be made.

An 80’s Doc

“I Wanna Rock: The ’80s Metal Dream,” is coming to Paramount+.

Dee Snider from Twisted Sister appears.

But.

Then you get Kip Winger from Winger, Janet Gardner from Vixen, Dave ‘The Snake’ Sabo from Skid Row and John Corabi from The Scream along with former Guns N’ Roses manager Vicky Hamilton.

Most of these are smaller players.

Apart from Twisted Sister, the other artists had their big breaks from 1988. The Scream didn’t even release an album in the 80’s as their first and only album came out in the early 90s. However two of their members were in Racer X who released three albums in the 80s.

But we will hear stories of rejection and resilience.

Because, regardless of what happened in the 90s and the wastelands of the early 2000’s, all of these artists survived the chaos and are still making music and creating in 2023.

I’ll still watch it. It’s only three episodes.

Discography

One album or one song can make an artists career. But no one knows which song or album it’s going to be.

The problem after that, is artists fall in love with the one album or the one song that breaks them and suddenly all the albums and songs sound the same like the hit album. Suddenly their discography is that one album over and over again.

The best Discography’s have some albums or songs that are out there or ahead of their time or just bad. They often end up as the ones most talked about. Variation is good for the career.

However there are some artists who are the exception to the rule. Like AC/DC.

Standard
Music, My Stories

Discogs Newsletters

Are CDs making a comeback?

Discogs seems to think so in their newsletters. They have over 20 million CDs listed for sale and 1 in 5 items purchased from the site is a CD.

It makes sense.

CDs can be produced a lot quicker and cheaper than vinyl and the current prices are dirt cheap. So it makes them very attractive to music consumers.

The thing is, I don’t have a CD player anymore however I am looking for one similar to the stand alone vinyl turntables with their own speakers.

If you know of any brands let me know as I have a lot of CDs I would like to play

And I saw a post on the Top 25 most expensive items sold on the site. Black Metal at its core is or was opposed to Christianity however it was also a movement against political correctness, consumerism and globalization.

Well the commercialism aspect didn’t bother a Black Metal fan who parted with $5200 for two Mayhem albums; the original vinyl pressings of “Deathcrush” and “De Mysteriis Dom Sathanas”. Regardless of ideology and ethos, anything to do with music is a business.

And a 7 inch single from 1981 by a hard rock metal band called “Fallout” sold for $2400. I saw that it was a limited 500 pressing.

But.

I had never heard of the band and that surprised me however a fan of theirs was parting with some serious money.

And who said punk fans are a bunch of anarchists because they sure like collecting rare punk records.

One thing I don’t understand on the site are the delivery fees for a item.

They are so damn high especially when a lot of eBay items I buy from the US, the UK and Europe come with free postage.

I am looking for a few albums on vinyl and while I am happy with the vinyl price, the delivery feea are ridiculous.

Case in point.

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

Mask

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.

Crank it.

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

Springsteen

Bruce Springsteen making it is a miracle.

Have a read of his autobiography.

He couldn’t play guitar, and when he took lessons, he felt he got worse, so he quit.

Based on how “singing talent” was defined in the late 60s and early 70s, Springsteen had none.

The groups he was in kept looking for a lead singer, and it wasn’t him.

People ignored him or avoided him. His agent deserted him and audiences walked out on him.

The bands he was in left him.

He would write lyrics of driving/cruising around town but he didn’t know how to drive a car.

He would write lyrics of relationships, good times and bad times and he wasn’t even dating.

But he showed up everyday. Whatever talent people told him he lacked he acquired in skill.

A skill about telling stories and making people believe those stories are his.

The first two albums bombed. But he didn’t walk away. He was consistent and he kept on creating and releasing, even though the critics blasted him.

And then he dropped “Born to Run” in 1975.

All of our favorite artists have taken multiple albums to find their audience.

And if by chance a debut album comes out firing like “Appetite For Destruction” did, you need to look into how Guns N Roses were a 7 year over night success, like The Beatles.

Izzy Stradlin hit LA in 1980 and after doing time with unknown bands formed Hollywood Rose in 1983 with his childhood friend Axl Rose, who also moved to LA in 1982.

Duff McKagan played guitar, bass and drums in various bands from 1979 before moving to LA in 1983.

Slash, Steven Adler and Duff ended up in a band called Roadcrew, and due to not being able to find a suitable singer, Slash disbanded the band.

Adler then joined Guns N Roses and got his Roadcrew band mates to join as well when the other members left.

After some member changes and a band merger between LA Guns and Hollywood Rose and further member changes, the Guns N Roses version that blew us away with “Appetite” formed sometime in 1985.

Community is important.

Springsteen built a community around himself with the E Street Band. The people you surround yourself with, can raise the bar and push you on. In the case of “GnR”, the community can party even harder than you are used to and push you on in other ways.

None of it matters if your are not committed to the journey.

Springsteen was committed and at certain points in the last 40 years, he won by converting people to fans one at a time.

Standard
Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

How Has It Aged: Iron Maiden – The Book Of Souls

Iron Maiden, is one of the greatest heavy metal bands of all time.

In September 2015, they released, “The Book of Souls”. The press release had something like this, “the album features eleven epic tracks, including the 18-minute-long “Empire of the Clouds.”

“The Book of Souls” takes its inspiration from several sources, including the Mayan civilization and the ancient Aztec mythology. Talking about the inspiration behind the album, Iron Maiden’s bassist, Steve Harris, said, “We all love exploring the myths and legends of different cultures around the world, and I think fans will really enjoy seeing how we’ve taken these ideas and turned them into something new and exciting.”

The album is also known for its successful chart performance, reaching number one in several countries worldwide.

The album’s tracks are not typical radio-friendly tracks; instead, they are epic journeys that take the listeners on a ride.

If Eternity Should Fail

Written by Bruce Dickinson. The song is played in drop D tuning and it originally had been written for one of Dickinson’s solo albums.

As Dickinson explains in a Kerrang interview;

The demo was done and the band just copied what Roy [Z, along time Bruce collaborator] and I did in his bedroom. In fact, the little keyboard bit in the beginning is me in Roy’s bedroom.

In a Rolling Stone interview, Dickinson described the song being about a machine designed by the evil Dr. Necropolis that steals the souls of men.

After the effects laden Intro, it really kicks into gear at the 1.32 mark.

Dickinson is at his best here, with each word and syllable clearly pronounced.

What the hell does “reefing a sail” mean?

I had to look it up.

Waiting in line at the ending of time if eternity should fail

It is open to interpretation.

The idea of a final judgment or reckoning, where all souls must wait in line to be judged, even if eternity itself were to come to an end.

Or it could be the idea of waiting for something that may never come, even in the face of eternal time. This interpretation could speak to the human experience of waiting for something unattainable or out of reach, despite the seemingly infinite amount of time available.

At the 5 minute mark it kicks into overdrive, classic Maiden. At 5.45 we get the harmonies.

I could have done without the demonic voice at the end.

Speed Of Light

Written by Adrian Smith and Bruce Dickinson.

Nothing super original about this musically as it is a track with alot of Deep Purple swagger mashed up with “From Here To Eternity” from the “Fear Of The Dark” album.

Shadows in the stars, we will not return, humanity won’t save us, at the speed of light.

It’s not just words to fit the music. There is a lot to unpack here.

“Shadows in the stars” could be interpreted as a metaphor for the human condition of feeling small and insignificant in the face of the vastness of the cosmos.

“We will not return” suggests a finality, perhaps implying that humanity is on a one-way journey towards some unknown destiny or fate.

“Humanity won’t save us” suggests a lack of hope or faith in the ability of human society to solve the problems facing us. This could be interpreted as a commentary on the current state of the world, where many pressing issues such as climate change, political instability, and inequality remain unresolved.

And the phrase “at the speed of light” suggests a sense of urgency and the idea that time is running out. This could be interpreted as a warning that we need to act quickly and decisively if we want to avoid a catastrophic future.

It conveys a sense of resignation and a lack of hope for the future. It suggests that we may be on a collision course with some form of disaster, and that there may be little we can do to avoid it.

The Great Unknown

Written by Adrian Smith and Steve Harris.

The Intro.

It reminds me of “Aerials” from System Of A Down. And I like it.

But it doesn’t lift off after the Intro and Dickinson is hard to decipher vocally.

But make sure you stick around for the harmony solo which kicks in at 4.11, before the main solo.

Overall if the great John Kalodner was sequencing the album, this song would be left off or it would be heavily edited to a 4 minute song.

The Red And The Black

Written by Steve Harris.

This song confuses me. It’s sort of a classic but it’s not. But depending on mood it is. Hear me out.

After the bass doodling, the whole Intro is classic Maiden.

We hear the vocal melody played on the guitar before the first verse kicks in. And it’s excellent. But the singing that comes next is way too busy and indecipherable. Even Harris has said in various interviews that Dickinson freaked out at singing this because there are so many words.

Lyrically it’s based on a 1830 French book called “Le Rouge et le Noir”.

The story is about a man trying to rise up the social ladder via working hard and then abandoning his ambitions as he spirals down with mental illness.

See myself in the hall of mirrors
A different shape every step I take
A different mind every step of the line
But in the end they are all mine

The idea of self-reflection and the complexity of one’s identity.

The “hall of mirrors” is a metaphor for the mind or the self, as we look inward and see different versions of ourselves reflected back.

Our perception of ourselves is constantly changing.

At 2.26, they start the woh-oh part.

At 2.58, the song moves into another section. The lead guitar plays the vocal melody and it works this time around.

And they move back to the woh-oh part.

Chance your luck a four leafed one

Success is uncertain and one must take a chance or a risk in order to achieve it. The “four-leafed one” emphasizes the idea that success or good luck is rare, like finding a four-leaf clover in a field of three-leaf clovers.

When the chorus kicks in it’s in major key territory.

At 6.34, a harmony section kicks in and then an excellent lead. I think it’s from Janick Gers. And there still another 6 minutes to go.

Another excellent lead kicks in at 8.38.

And the piece d resistance is the lead break that starts at 9.40. You need to stick around for that. It continues to the 11.53 mark.

It’s only fitting that it ends with the woh-oh part.

When The River Runs Deep

Written by Adrian Smith and Steve Harris.

How good is the riff that kicks in at the 35 second mark?

But the vocal melodies don’t do it justice.

The Book Of Souls

Written by Janick Gers and Steve Harris.

A baroque like intro from Janick Gers gets things started.

At the 58 second mark it goes into an Arabic feel, more “Powerslave” Ancient Egypt like than Aztec/Inca.

Prophecy of sky gods

The foretelling made by deities associated with the sky. In many cultures, the sky is seen as a domain of the gods, and so predictions made by them would be considered especially significant.

The sun and moon
Passing of old ways will come true soon

A prophecy of change and transformation. The sun and moon are often seen as powerful symbols of change and cycles of renewal.

But the song could have done with some editing.

Death Or Glory

Written by Adrian Smith and Bruce Dickinson who bring pack the power of the first three Maiden albums.

Lyrically it continues Dickinson’s love affair with aerial combat, which he covered in “Aces High” and “Tailgunner”.

Musically, the whole solo section is definitely worth pressing play for.

Shadows Of The Valley

Written by Janick Gers and Steve Harris.

An intro reminiscent of “Wasted Years” and “Paschendale”. And I’m hooked.

And musically the song is great. Melodically it is great. Lyrically it’s not so great.

Tears Of A Clown

I love the groove on this, written by Adrian Smith and Steve Harris, the song is praised by Dickinson as his favourite track and it is based on comedian Robin Williams’ depression and suicide in 2014.

Tomorrow comes, tomorrow goes
But the cloud remains the same
Wonder why he’s feeling down
Tears of a clown

A façade of happiness, even though the person is struggling with inner turmoil or sadness. Hiding their true emotions, just as a clown hides their true face behind a mask or makeup.

The Man Of Sorrows

Written by Dave Murray and Steve Harris. An arpeggiated Intro with a lead. Perfect.

Then the vocal melodies come in and Dickinson is crystal clear.

And when the Chorus kicks in, it brings back memories of “Wasting Love” from the “Fear Of The Dark” album.

Looking through a mist of truth
That we believe an elusive cloud

We perceive reality as hazy or unclear, and we struggle to discern what is true and what is not. Truth may be difficult to perceive clearly, perhaps because of personal biases or limited information. We see truth as something that is difficult to grasp or pin down.

The things we find are hard to say now
That we live through day to day

Do you struggle to articulate your thoughts and experiences. You may feel overwhelmed by the complexity of the world around you, or you may be grappling with difficult emotions or circumstances.

Find it hard to force the reasons
Why we find it hard to die

A feeling of hopelessness, reflecting on the mystery of human mortality and the meaning of life.

As we look to see the man of sorrows
Passing knowledge to those who don’t know

Is the “man of sorrows” a reference to Jesus Christ, who is often depicted as a figure of suffering and compassion in Christian theology?

The line suggests that this figure is offering guidance or insight to those who are open to receiving it.

As we watch all our friends passing over
As they pass through the edges of time

The passage of time and the inevitability of death.

Steve Harris had to deal with a loss of a family member and a close friend during the writing and recording of this album.

The passing of friends and loved ones, has led Harris to contemplate the meaning of life and mortality.

From the Thin Lizzy like harmonies to the lead breaks the whole solo section is excellent.

Empire Of The Clouds

It’s long. 18 minutes in length but this song will be seen as a masterpiece if it isn’t seen that way already.

Written by Bruce Dickinson.

The track tells the story of the “British R101” airship, which crashed in northern France on 5 October 1930 during its maiden voyage.

Over the course of various interviews during the album’s release, we found out that the song was written entirely by Bruce Dickinson, who initially intended it to be about “World War I fighter aeroplanes.”

Dickinson abandoned the idea after using the same theme for the song “Death or Glory,” also from The Book of Souls.

At the time of recording, Dickinson was reading “a big, sort of encyclopedic crash report” of the R101, entitled “To Ride the Storm”.

It took Dickinson about a month to compose the song during the recording sessions.

The track features Dickinson’s debut on piano and the rest of the band had to play along to this piano track while following instructions from Dickinson and producer Kevin Shirley.

And how good is that piano riff and melody. It sounds like it’s out of sync with the metronome but that’s what makes it sound even better.

And when Dickinson starts singing with the catch cry “to ride the storm”, you stop and pay attention.

To ride the storm, to an empire of the clouds
To ride the storm, they climbed aboard their silver ghost
To ride the storm, to a kingdom that will come
To ride the storm, and damn the rest, oblivion

At 6.35, the guitars play the Intro piano melody and at 7.00 the song changes tact. The Instrumental section starts with all playing SOS Morse Code.

Then the best part of the song. A melodic lead in a Major Key kicks in at about 7.10 and I’m stopped in my tracks.

These harmonies continue to 10.04, when the first of the individual leads kicks in.

At 10.35, the song changes feel and tempo. And the riff.

Wow. It gets the foot tapping and the head banging.

At 11.00 it goes back to one of those harmony riffs.

And like Chekov’s Gun, they bring back that riff from 10.35 with a vocal melody at 12.31.

Anton Chekhov is a Russian playwright and he famously said that “if a gun is introduced in the first act of a play, it should be fired by the third.”

This riff is like the gun.

And at 13.00 it changes tact again, more operatic and cinematic. And progressive.

But at 13.40, that riff is fired again.

The empire of the clouds, just ashes in our past

On 11 March 2016, the band announced that the song would be released as a 12″ picture disc single for Record Store Day limited to 5,500 copies, using the front cover of the Daily Mirror from 6 October 1930 as the cover artwork. The single’s B-side features an interview with Dickinson and McBrain, entitled “Maiden Voyage”, in which they recount the song’s creation.

In conclusion, “The Book of Souls” is an album that showcases Iron Maiden’s musical brilliance, passion, and maturity.

The songs are not to formula as they don’t have the weight of MTV or label pressures to do that. What you get is an album that allows the musicians to follow their creative muses.

I wouldn’t walk out of a concert if any of these songs came up in the setlist and for that, this album has aged well.

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

Shattered

From Trading Yesterday.

A band project from David Hodges.

He walked away from Evanescence before “Fallen” exploded and after it he become a new Jim Vallance or Desmond Child or Max Martin in the song writing world of modern/pop rock.

But a musician needs to create and sometimes their creative output outweighs what the big labels require. So Hodges started to form some projects.

Let’s go back to 2003. Hodges and Mark Colbert began to collaborate and formed Trading Yesterday, recording music from an apartment setup.

A demo album listening party attracted the attention of Epic Records.

They finally got the green light to record an album and it was finished during the first half of 2005.

But.

The label deal with Epic fell apart which meant the “More Than This” album was shelved.

Sound familiar.

Welcome to label purgatory.

After returning to independent status, the band had their first demo album “The Beauty and the Tragedy” reprinted for sale on February 25, 2006.

Due to leaving Epic, “More Than This” was unable to be released due to licensing. However, the entire album leaked to the internet in December 2006. Thank you, Mr Internet.

“Shattered” is from that album, which finally got an official release in 2011 on an independent label created by David Hodges.

It is a hauntingly beautiful ballad that explores the pain and heartbreak of a failed relationship. But in this case, the failed relationship is between David Hodges and his faith.

The song starts off with a gentle piano melody that sets the tone for the emotional journey to unfold.

Yesterday I died, tomorrow’s bleeding, I fall into your sunlight

With “yesterday I died”, the phrase represents a significant loss or change that feels like a death. This could be a literal death of someone close, or a metaphorical death of a relationship or a part of oneself.

“Tomorrow’s bleeding” could suggest that further pain or difficulty is anticipated in the future. The use of the word “bleeding” creates an image of something raw or exposed.

“I fall into your sunlight” is seeking comfort or refuge in someone or something that brings light or positivity into our lives. The phrase “fall into” suggests a surrender or a letting go, allowing ourselves to be embraced by this source of warmth and hope.

And the song really comes to life at the 2.13 mark. There is a quiet piano. It’s melodic, haunting and yet hopeful.

Then the acoustic guitars come in and vocals.

There’s a light, there’s the sun
Taking all the shattered ones
To the place we belong, and his love will conquer

“There’s a light, there’s the sun” is interpreted as a metaphor for hope and positivity. The light and the sun represent brightness, warmth, and clarity, which can help dispel darkness and confusion.

“Taking all the shattered ones” are the people who are broken or wounded in some way. The phrase “shattered ones” could be a metaphor for people who have experienced trauma, heartbreak, or disappointment.

“To the place we belong” could be interpreted as a metaphorical destination, a place where the “shattered ones” can find a sense of belonging and acceptance. This could be a literal place, such as a community or a home, or a more abstract concept, such as a state of mind or a spiritual dimension.

“And his love will conquer” could be interpreted as a reference to a higher power or a divine force that can help heal and transform the “shattered ones”. The phrase “his love” could refer to the love of God or some other spiritual figure, or it could be a more general reference to the power of love and compassion.

Overall, this phrase conveys a sense of hope and optimism, that even those who are broken and wounded can find a sense of belonging and healing. It suggests that there is a higher power or a force of love that can help overcome adversity and bring people together.

The band announced in 2007 that they would change their name from “Trading Yesterday” to “The Age of Information”, with an EP, “Everything is Broken”, released on September, 2007.

But this whole project is forgotten. It shouldn’t be.

Press play on “Shattered”.

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

Metallica – 72 Seasons

It bored me on the first couple of listens.

Then my vinyl came in and I listened to it the old way, cranking the stereo with the lyric sheet in front of me.

And I kept thinking.

Stryper would like to have their yellow and black colors back. The colors of caution. If you grew up in the 80’s you would know that Stryper had the “Yellow And Black”. And as much as those colors are associated with Stryper, as part of the Stryper reunion in the early 2000’s, one of the stipulations from Michael Sweet was that he wouldn’t wear the Yellow and Black anymore.

So Metallica took it 20 years later.

In the “So What” interviews conducted by Stefan Chirazi and available on the Metallica website, Chirazi asked James Hetfield what the colour yellow means. James, responded with the following;

“Yellow, for me, is light. It’s a source of goodness. So against the black, it really pops.

My vision was I wanted this album [to be] called “Lux Aeterna” because that summed up all the songs for me, kind of an eternal light that was always inside of us that maybe is just now coming out.

And I was out-voted, which is great. “72 Seasons” is definitely more chewable. But that colour came out of “Lux Aeterna.”

“72 Seasons” is released on their own “Blackened Records”.

They are free to do what they want, and it all happened because they control their masters and the highly lucrative back catalogue. Not another label or some investment fund. It is them.

They print so much vinyl they purchased their own vinyl press. Because they can.

As part of the press releases, Hetfield stated “the first 18 years of our lives, that form our true or false selves. Much of our adult experience is re-enactment or reaction to those childhood experiences”.

So here we go.

72 Seasons

As told to Stefan Chirazi, in the “So What” interview, this is what James had to say about it; “It was the “72 seasons of sorrow,” and I dropped the “sorrow” part because the first 18 years of life aren’t all sorrow”.

One thing about the songwriting team of Hetfield and Ulrich is that they sure know how to start off a song.

When that fast riff comes in at 50 seconds it’s mosh pit time. And at 65 seconds it’s the same riff but played with a hard rock feel.

“Shot down, traumatic, time haunted by the past”

What an opening line.

It’s easy to read the situation as someone who has experienced significant emotional trauma, and this trauma continues to affect them in the present.

The opening phrase “shot down” is interesting to me. It generally implies a sudden, unexpected loss or defeat. This could be a reference to a specific event that caused the trauma, such as the loss of a loved one or a significant failure.

And with the phrase “time haunted by the past”, it suggests that it is difficult to focus on the present, as the events of the past are a constant reminder.

Shadows Follow

I gotta say, I like the way this song starts. Actually all of the riffs in this song are headbanging.

I also like the whole “Seething, breathing, nightmares grow”. It’s a different vocal style for Hetfield. It’s simple and very melodic.

“Facing my demons, now I run, still my shadows follow”

It’s menacing and it goes to show the mind state of Hetfield as he tries to confront his inner demons or personal issues, but despite his efforts to escape or avoid them, the problems continue to affect him.

And then there is the word “shadows”.

It could be interpreted as a metaphor for the negative aspects of Hetfield’s personality or past experiences that continue to linger and affect him.

Screaming Suicide

This track is classic Metallica.

Rob Trujilo thinks this song would be a killer in the live arena because there is a groove element to it.

Via the “So What” interviews, Trujilo has stated that; “the verse in that song is different from anything Metallica’s ever done, and it’s surrounded by this groove that is just so infectious, it captures you, kicks you in the ass, and, well, you’ve got to move.”

Lyrically it’s dark.

In the first verse, Hetfield is telling us about a voice inside and how it is questioning if he’s good enough and how he should just give up.

In the second verse, the lyrics state;

“Then a voice appears, whisper in your ears, “you are good enough”, throwing down a rope, a lifeline of hope, never give you up”.

Does it suggests a moment of encouragement and support as the rope is pulling Hetfield out of the dark hole or is the rope a noose.

The phrase “you are good enough” could be a powerful statement of validation and acceptance.

How can it be that the Metal God known as Hetfield is struggling with feelings of inadequacy or self-doubt?

But is the voice offering a message of self-worth and confidence as a way to trick the person into listening to it.

How good is the section from 3.50?

Sleepwalk My Life Away

The Intro.

It builds perfectly. The bass is dominant while the guitars decorate like “Enter Sandman”.

And the bluesy riffing is back.

Maybe it’s back too much but i don’t care.

“Stagger on through the fog in the midnight sun”.

Its metaphorical.

It could represent a challenging and confusing situation that the person is facing, where they must navigate through unclear circumstances (the fog) while enduring a continuous period of brightness and clarity (the midnight sun).

Additionally, the word “stagger”, a lack of balance, due to alcohol or some other addiction, shows that the person is unable to maintain their composure in the face of difficulty.

You Must Burn

Hearing this, I can hear those groove metal tracks like “Harvester Of Sorrow” and “Sad But True”. And I like it.

Via “So What”, this is what Trujilo had to say about the twisting middle section;

With this particular middle section that came to be, that was really centered around a jam and was very moody, and there’s a danger to it; I like how the bass is walking. It’s got a feel to it where it’s “walking through a forest,” like a scene from a Tim Burton movie or something. That’s the feel I get. And James and I just started kind of grooving on it. It was just the two of us.”

How good is the riff at 4.26?

“Smile as it burns to the ground, the perfect don’t want you around, question yourself you may learn who’s the next witch you must burn”

Smile people as you watch that something you disliked or have been rejected from burn to the ground.

The latter part of the line, “question yourself you may learn who’s the next witch you must burn,” is more metaphorical. Its asking is to reflect on our own actions and judgments, perhaps in relation to the exclusion we also might have experienced.

Overall, this line seems to be expressing a somewhat dark and cynical perspective on social dynamics and human behavior otherwise known as social media.

Lux Aeterna

I had to look up what “Lux Aeterna” meant. I knew that “Lux” meant “Light” but wanted to know more. Well “Eternal Light” is the answer.

While acts like Judas Priest, Iron Maiden and Def Leppard became commcercially successful, the biggest Metal band in the world right now, wouldn’t exist if it wasn’t for Diamond Head.

A tribute to “Diamond Head”, their “Kill Em All” album and their fans.

“Amplification, lighting the nation” Hetfield sings.

Crank it.

Crown Of Barbed Wire

“So tight this crown of barbed wire”

The Metaphorical Crown of Thorns.

The “crown of thorns” is often used to refer to the painful burden that someone is forced to bear.

The “crown of barbed wire” suggests the heavy burden Hetfield is carrying, that is causing him pain and distress.

Barbed wire is also used to create boundaries or to keep people in or out of certain areas. The “crown” of barbed wire could represent the sense of being hemmed in or limited in some way.

I like the “Harvester Of Sorrow“ feel in the Interlude and Solo Section.

Chasing Light

“Harvester Of Sorrow” is back again. I love the groove from the original song and I like it here.

Then it morphs into a speed Metal track.

How good is that Chorus?

I’m screaming at the top of my lungs, “chase the light, lean on me”.

If Darkness Had A Son

The military style drumming hooks me in. And the way Hetfield builds the guitars reminds me of “Now That We’re Dead” which is my favorite song from the “Hardwired” album.

Let’s go back to 2019.

I remember it well. Metallica were about to arrive in Australia to play a lot of sold out shows, but the tour was cancelled a week before the shows as Hetfield entered rehab again.

Are we surprised when Hetfield chants “temptation”?

“If darkness had a son, here I am”

What an iconic and powerful line.

It suggests a willingness to confront the darkness and embrace one’s own inner struggles, but it also carries a sense of danger and potential for evil.

Too Far Gone

It’s classic Metallica.

And I’m a big fan of the fast punk vibe in the Chorus.

Finally Kirk Hammett breaks out some decent licks. Especially the fast picking bit between the Chorus and Verse. Very “Master Of Puppets” like.

And that “all away” section is perfect.

The song ends with “make it through the day, just for today”.

Room Of Mirrors

It’s a punk song.

“In a mirrored room, all alone I stand, strip away the phantom fame”.

It shows a desire for self-reflection, authenticity, and honesty. Hetfield wants to show us who he truly is, without the illusions of fame and celebrity getting in the way.

And I like that Thin Lizzy like harmony after the solo, which they use a few more times throughout the song.

Inamorata

I had to look up what it meant.

“Inamorata” means “the woman that a man loves”.

The woman here is called Misery and when Hetfield sings “She’s not why I’m living” and “She’s not what I’m living for”, you feel every word.

Via “So What”, this is how Hetfield sums it up; “Misery as my mistress, and I’m trying to hide her. I enjoy her at certain times, but I don’t want the world to know about her.

I don’t want to introduce her to the world because it’s not okay. So misery as a mistress, it does serve a purpose in my life, but I don’t want it to be my life, and I’m tired of it running my life.”

Via the “So What” interviews, Trujilo stated they “hit a grand slam with “Inamorata”. It’s a cross between a beautiful old film with a really cool painting or something… it resonates “California.”

5.11.

It’s the breakdown. The hi-hat shimmering in the background. The bass playing a groove. Swing like. The guitars decorate.

It’s got a Bill Ward Sabbath groove and swing.

And Hetfield, The anguish.

Then the harmonies begin, like “My Friend Of Misery” and a section from “Orion”.

Its why I press play.

Press play and band that head. \::/

Standard