Copyright, movies, Music, My Stories

Bands

Bands, the way we have known them will be no more.

It will be the era of the songwriter. It might look like a band on the outside but really it will be the main person or two and the supporting musicians. Sort of like how it was in the 50s and 60s up to a certain point. Until The Beatles changed everything.

For example, like James Hetfield and The Metallica Band or like Jon Bon Jovi and The BJ Band or like David Lee Roth and The Van Halen Band or Rob Halford and The Judas Priest Band.

Maybe they will just use their name like Bryan Adams, Keith Urban, Don Henley, Neil Young or Ozzy Osbourne.

Even Alice Cooper started off as a band and morphed into a solo artist with musicians supporting the artist.

Maybe a return to the Crosby, Stills and Nash kind of names.

These are just examples of using artists that I know. The new artist could use just their name or their name with a backing band or a group name but the reality will be that the group is really just the artist with other musicians supporting the artist.

If you look at bands right now and in the past, most of their songs are written by one main member. Sometimes two or three members, especially when bands had artists who paid their dues and had experiences before joining.

Ignore pop songs for the moment who seem to have 10 writers to start with, and if the songs are a hit, there is a writ and more songwriters are added to the list.

Yeah I know what your saying, U2, Def Leppard, Black Sabbath and Van Halen just to name a few, have albums saying that the songs are written by all the members.

But the truth is, what is in print for us to see on the lyric sheet or album, is not always the truth. Songs are complicated beasts when it comes to a band setting. It didn’t used to be that way but it is that way now. Especially when there is money involved.

For example ASCAP is a music publisher in the US, had total revenues of $1.226 billion dollars in 2018. They paid $1.109 million in royalties back to artists. And they kept $117 million in administration costs. Basically money for nothing and the chicks for free to the publishing company.

That’s just one of many in the US. Then there is BMI who had total revenues of $1.283 billion and paid out $1.196 billion to artists by 30 June 2019. And they kept $87 million for administration costs.

And each country has multiple publishing companies. And each country has record labels. And everyone is making multi millions from music for nothing.

The actual copyright registration and the splits associated with the song plus the band agreement which also has percentage splits determine who is entitled to what. Van Halen even took Michael Anthony off the songwriting credits when they renegotiated a multi million dollar publishing deal in the early 2000’s.

COVID-19 has changed the game.

A normal band makes their money on the road.

Some bands might have streams in the billions and own their own copyrights, but if they are that level, they will have a team of people in their organization like managers, legal, accountants and other employees who do fan club and website.

Right now, no one can tour and they don’t know when they can start touring again because having so many people in a room, theatre, arena or stadium is a problem when it comes to social distancing. And even if concerts are allowed, will people just go back to life as normal or be cautious. Maybe concerts will resume with a cap of 500 people max.

And no one gets into bands or starts writing songs to get paid. They do it because they love it and there is a need within them to create. But with any artist that starts to become popular, money is a byproduct of creating something which resonates.

And then it becomes about the revenue streams and how is the artist going to make money.

Streams will pay and the artist will get more if they own their rights. And the person who wrote the song will get two bites of that revenue. One from the streaming service to the Copyright owners account and another from the Rights Organization which administers their catalogue. This always causes resentment between members because one person has more than others.

Especially when the band agreement in place favors one over the other. And the other member feels like their songs should be considered but they are not up to standard.

Remember when Kirk Hammet told everyone he lost his phone with riffs and that’s why he had no song writing contributions on the “Hardwired” album but James set the record straight when he said that Kirk’s riffs just weren’t there, meaning they weren’t good enough to James and Lars to consider.

We wait to see what live music will look like post COVID-19.

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

You Want A Battle (Here’s A War)

“You Want A Battle? (Here’s A War)” from Bullet For My Valentine (BFMV) starts off with a call to arms which is familiar to people who grew up in the 80’s.

“We will not take this anymore, These words will never be ignored, You want a battle? Here’s a war”

And the band blasts in with some head banging riffage.

The message based on the first three lines, is the same message from Twisted Sister’s war cry of “we’re not gonna take it”, to Bullet For My Valentine’s “we will not take this anymore”.

But the subject matter is a bit different if you look at the music videos.

While in the 80’s, the enemy for Dee Sninder and Co. was the disciplinary parent while the BFMV music video, the enemy is the abusive parent and the violence in the family, until the victims get their revenge.

And the Genus lyrical annotations state the song is about bullying. Which is basically what the Twisted Sister song is about as well. Standing up to the oppressors.

Don’t suffer in your silence
Know you are never alone

Vocalist and guitarist, Matt Tuck, said that he suffered a lot of bullying at school because he was the heavy metal kid with long hair that didn’t fit in and how it took him a lot of time to finally stand up for himself.

You see, back in the 80s, there was a lot of metal heads in just the one area/school. The music and the metal movement was like a juggernaut and all of us sick motherfuckers helped propel it.

But as the years went by, the metal head unity got more fragmented.

Suddenly a fan of Death couldn’t like Motley Crue or Bon Jovi. But I did. If you liked Metallica or Slayer, how could you like Poison and Warrant. But I liked all of em.

Suddenly a Pearl Jam fan couldn’t be a Dream Theater fan or a Yngwie Malmsteen fan. But I was.

Suddenly a Smashing Pumpkins fan couldn’t be an AC/DC fan. But I was.

But to the elitist, it was sacrilege and man they and their little stooges sure knew how to let you know. And all I can say to these elitists with fixed mindsets and surrounded by their echo chambers, they missed out on experiencing different things.

From about the 2.50 minute mark there is this bridge like section which I like and then when the outro chorus kicks in with an open string melodic lick under it, its head banging stuff.

Check it out.

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Dream On

Another artist / songwriter / producer that is represented on Revolution Saints debut album from 2015 is Erik Martensson, who is also the guitarist for the Swedish melodic rock band Eclipse.

“Dream On” is probably not the best title to use since those two words together are associated with a song about looking in the mirror and the lines on your face not getting clearer by a band from Boston called Aerosmith.

Anyway.

“Dream On” is a better derivative version of “Back On My Trail” and it really brings back memories of Night Ranger.

“Dream On” has a committee of songwriters.

Music is written by Erik Martensson (along with Finish-Swedish songwriter Johan Becker and Kristofer Becker. Lyrics are written by Martensson, J. Becker, K. Becker, Alessandro Del Vecchio and Jack Blades.

Man, that intro riff puts me right back into the 80’s. Those dreams of youthful innocence. And it’s got all of the cliches in the lyrics from the 80s and I like it.

For all the young and the innocent
For those who long who you are to catch their falling star
I guess you know who you are

I wonder what kind of dreams the youth have today.

In the 80s it was a rite of passage to get your drivers license and get a car like it’s a badge of honor. Then it morphed to tech devices.

The kids are more than happy to drive their parents car because it’s all about their social media status and the latest tech they have and gaming online. Car markers are challenged trying to get younger buyers who actually care about the environment, something which the car makers don’t care about to actually buy a car.

For all the strong sticking to their guns
For all the ones that wave their flags up high
Comes a time to make it or break it

I was always told that if you don’t make it by a certain age focus on Plan B. It’s the worst advice ever. Because no journey is the same. Every person has a destination in mind, and they need to be flexible with the route.

When times get tough just don’t dare to stop

It’s when a lot of people quit.

Something has steered them away from their goal. It could be a relationship break up or an argument or a rejection for a project they were working on. And it sets something off, like their not good enough. But everyone is good enough, it all depends on how much determination a person has to push through the lulls.

And the lead break from Doug Aldrich is quality. Hear it, experience it and play air guitar to it.

Another song to check out which also has Erik Mårtensson co-writing on this debut is “How to Mend a Broken Heart” (Originally recorded by Eclipse).

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The Best Of Times

This song has three distinct movements that grab me.

The excellent melancholic intro which comes in again as a sad and tragic symphony around the 6.20 minute mark.

If you like Rush, you will like this song. That riff that comes in at the 2.45 mark, reminds me of “The Spirit Of Radio”. And you can’t escape the Rush’isms in the first verse vocal delivery and phrasing.

That Petrucci solo from the 10 minute mark to the end. It’s emotive, it’s sad, its hopeful, its classical and from the 10.50 minute mark, he shows why he is one of the most formidable guitarist when he decides to step on the pedal, ease off, and step on it again, to ease off again. And after 13 minutes, the song ends.

The lyrics are written by Mike Portnoy for his dad Howard Portnoy as he was dying of cancer. This song has never been played live by Dream Theater. When Portnoy was in the band it was too emotional for him to play it and after he left, it hasn’t been included in a set list without him. There is a demo version as well with Portnoy actually doing the vocals. It appeared as a the B-side to the “Wither” single.

But as a guitarist, I need to mention again, the ending solo from Petrucci. It’s emotional, it’s got shred, and a lot of melody. Basically you don’t want it to end.

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Locked Out Of Heaven

The debut Revolution Saints album was number 5 on my 2015 list. And they just released their 3rd album this year.

Revolution Saints is a supergroup of musicians who have been around for a long time.

Deen Castronovo (was discovered by Neal Schon and was then given a chance to play in Bad English by Schon) is on drums and vocals. It was a shame that a few months after this album was released, he was in the press for all of the wrong reasons. He even lost his Journey drumming gig because of it.

Doug Aldrich can shred and he helped prolong the careers of artists like Dio and Whitesnake, while Jack Blades has a stellar resume with Night Ranger, Damn Yankees and writing songs for other artists with Tommy Shaw. But the star of the album is an Italian songwriter called Allessandro Del Vecchio. He’s like the Desmond Child or Jim Vallance or Max Martin for Frontiers Records president Serafino Perugiono.

And “Locked Out of Paradise” is written solely by Alessandro Del Vecchio. There is a live version of the song on the “Light In The Dark” deluxe version, which shows the power of the song.

The palm muted intro for the first 20 seconds and then the power chords come crashing in with metronome drum rolls precision from Castronovo supplementing the build into the verses.

From about 38 seconds we are into the verse. Its rocking, its melodic and it builds nicely into the pre-chorus and that tasty arena rock chorus.

“We’ve been locked out of paradise, we lost our battle to survive”

Paradise is this elusive utopian refuge we try to get to. But we can’t quantify it or measure how far we need to go to get there, so we keep chasing it. My view to get there, is drip by drip, little steps at a time and trying to make each day, each week, each year, each decade better than the previous.

“Bring your heart to me, what do you touch?, I’m just a man with a hope”

Because in the end all we do is hope. We feel that our expectations and desires for a particular thing to happen are getting closer to the event. So we keep hoping. Some keep praying. And we keep going.

For the debut album, the songs were already written by other writers, so all Aldrich had to do was learn the riffs, put his unique spin on them and then work out what he needed to do for the solos.

Which are quality.

The lead break for this song is well-structured and well thought out, as Aldrich pulls out various techniques from his arsenal. It starts off melodically, builds nicely and ends with a guitar acapella two bar shred fest before moving back into the song.

By the end, I am pressing repeat just to hear that intro again and that guitar solo.

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Re-Watching

It’s been an interesting last six weeks or so.

We went from living life as normal, to lockdowns and now the Government is looking at easing restrictions. And since all sport was cancelled and some of my night jobs ceased, I have had some serious time available to catch up or re-watch or just watch.

I’ve got another post coming of the new stuff I’ve sunk my teeth into but I’ve also re-watched quite a few films because they’ve either come up on my payTV box or in the case of Tarantino, I wanted to watch an earlier flick before devoting time to “Once Upon A Time In Hollywood”.

“Remember The Titans” is an Amercan Gridiron film, based on a true story of a segregrated U.S high school, which became integrated in the early 70’s and how the integration between black and whites happened within the schools and via the football team, within society.

“Any Given Sunday” is a fictionalised story of an NFL team, with a coaching staff mentality of “win at all costs” even if it meant hiding the truth of the players injuries from the players themselves, who then risked permanent incapacity if they played.

Both sports movies offer different perspectives of what sport means to people and how it can be used to connect or divide people.

“Meet The Parents” is one of those comedy flicks that is still good to watch regardless how long ago it was released. Robert DeNiro is wonderful in this role. That scene when Ben Stiller digs a hole for himself, about milking cats, is classic. Stiller then goes on to stay, that he can milk anything with nipples, and DeNiro just nails the comeback line after a bit of silence, saying, “well I got nipples, can you milk me?”.

Plus the airport scene as a bonus, when the really eager flight announcer will not let him board the plane because Stiller is sitting in a row she hasn’t called for boarding, even though there is no one else waiting before or after him.

I’m a Tarantino fan and before I started to watch “Once Upon A Time In Hollywood”, I needed to get into a Tarantino mindset. So I grabbed my DVD of “Inglorious Basterds”.

Now and then, when Tarantino makes a film, he normally has another movie within the film playing.

In this one, you have a German war hero, who is pulled from the battlefield and put into a propaganda movie by Goebbels about his war exploits. So you get to see that propaganda movie on the big screen.

And the way Tarantino’s flick plays out, the viewer gets to watch the people from the actual movie, watching the propaganda movie on the big screen, while three other plots are being carried out at the same time.

Brilliant. And of course you have betrayal, mayhem, fire, bullets and the Tarantino famous dialogue.

So how many rock songs can you fit into a movie?

If you watch “Hot Tub Time Machine” you will hear a lot of tracks. I first saw it many years ago and it came up again on my PayTV box.

“Turn Up The Radio” from Autograph kicks it off. “(I Just) Died in Your Arms” from Cutting Crew is there. Two big rock hits, even though Cutting Crew was classed as more pop soft rock.

“Cry Tough” and “Talk Dirty To Me” from Poison are played while the fake Poison band from the movie performs em live. “I Want to Know What Love Is” from Foreigner appears.

“Keep Your Eye on the Money”, “Home Sweet Home” and “Kick Start My Heart” from Mötley Crüe are all there. The “Keep Your Eye On The Money” track is interesting because it really is an obscure track. Even “Smooth Up in Ya” from the BulletBoys also appears.

But none of the songs mentioned above appear on the official soundtrack, except for “Home Sweet Home”. If you purchased the soundtrack, you would have gotten a lot of pop songs and dance songs and new wave songs. The only rocks songs on the soundtrack which I know are “What You Need” from INXS, “Modern Love” from David Bowie and “Jessie’s Girl” from Rick Springfield.

It’s strange how there isn’t any AC/DC, Bon Jovi, Kiss, Whitesnake, Judas Priest, Ozzy, Van Halen, Quiet Riot, Ratt or even Europe with “The Final Countdown”. Especially for an 80s coming of age movie. Maybe the licensing costs were too high.

As for the movie, it’s got some laughs, like the American Pie movies. A bunch of dudes whose lives are at breaking point, end up going back to a pivotal moment in time. By the end of it we got Lougle instead of Google because rock and rollers in the past don’t care about the butterfly effect.

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The Record Vault – Bullet For My Valentine

Come here you naughty girl, you’re such a tease

“Fever” is BFMV’s hard rock/heavy metal album. It’s my favourite, just ahead of their previous effort, “Scream, Aim, Fire”. Then “Venom” and “Temper and Temper”. The Linkin Park sounding “Gravity” is up next and “The Poison” (too much screaming for me, but great riffage) is last.

The first three tracks, “Your Betrayal”, “Fever” and “The Last Fight” would fit on any 80’s album written between 1981 and 1985. To me they are metal classics especially “The Last Fight”. “A Place Where You Belong” is the ballad track, the same way Metallica has track 4 as a slower tempo ballad.

The lead breaks on the first four songs by Michael Paget are guitar hero worthy, with emotional bends, arpeggios and fast picked lines.

“Pleasure And Pain” is a fast heavy rocker with the lead break again from Paget being very Iron Maiden like. It starts off with a memorable line, which is then harmonised and then he breaks out the hard rockisms and shred.

“Alone” kicks off with an open string pull off lead which gets you to pay attention straight away. Then from about 40 seconds, it feels like a cut from the “Rust In Peace” album from Megadeth. And the lead break from Paget has tapping and fast alternate picked lines. And somehow it all works together and is memorable.

Listen to the start of “Dignity” and if it doesn’t get your head nodding and foot tapping, then you are too uptight. And it has Judas Priest and Iron Maiden all over it. Even Helloween. “Begging For Mercy” has a thrash metal riff. It’s the got some screaming vocals. But the Chorus, man, how catchy. “Pretty On The Outside” is another up-tempo thrash song, with screaming in the verses. And the Chorus again is pretty catchy.

The “Temper Temper” album further evolves the hard rock and metal tones from “Fever”.

“Breaking Point” is a fast tempo rock with a super catchy chorus and another lead break masterpiece from Paget. Plus did I mention that Michael Moose Thomas builds this intro perfectly. “Truth Hurts” feels like an evolution of “Your Betrayal”. “Temper Temper” is an sleazy but aggressive verse riff and an AC/DC style chorus.

“P.O.W” has this palm muted riff in the verses which reminds of Jake E Lee’s style riffing in tracks like “Waiting For Darkness”.

“Dirty Little Secret” has this intro that reminds me of “Back In The Village” from Iron Maiden. And the way Michael Moose Thomas builds the drumming in the intro to the next part of the song is great musicianship. And that section from about 3.20, when the drums hold like a Kashmir beat, and the guitars are playing fast down picked chords and octaves and Matt Tuck is singing “Dirty Little Secret” over and over again.

“Leech” is like a punk song, but it sounds like a song that could have come from the “Slave To The Grind” album from Skid Row. “Dead To The World” is one of those slower tempo songs

BFMV is well known for. There is always a nice intro which goes for about a minute with a lead break. Think of tracks like “Fade To Black”, “One” and “Welcome Home” and “The Unforgiven” from Metallica as examples. Then about 3.20 it picks up into a metal tune with great riffage and harmonies and a lead break from Paget which is brilliant.

“Riot” is basically a blues track with its staccato style riff in the Chorus. Think ZZ Top and “La Grange”. “Tears Don’t Fall (Pt. 2)” has this cool riff with digital delay on it, which basically makes the first note repeat when they are like on the third note of the riff.

“Livin Life (On The Edge Of A Knife)” is just a good rock song. “Not Invincible” is an 80’s classic metal song, the way I know metal.

On the deluxe edition, there is a cover of “Whole Lotta Rosie” (Live at BBC Radio 1) and I think its perfect how they do it, because you can hear that Acca Dacca was an influence on the making of this album, especially when you look at songs like “Riot” and “Temper, Temper”.

Up next Black Veil Brides.

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

A Rite Of Passage

“A Rite Of Passage” is the second track on the “Black Clouds and Silver Linings” album released in 2009.

The music is written by John Petrucci, Mike Portnoy, Jordan Rudess and John Myung. The lyrics like “The Count Of Tuscany” are written by John Petrucci.

There are always accessible songs on each Dream Theater album. Accessible in Dream Theater’s language is shorter.

The main riff on this song is a metallic masterpiece. The riff moves between the E major and E minor scales.

Actually John Petrucci recorded this song using a 6-string guitar tuned 1 whole step down (D-G-C-F-A-D) so even though you play the riff like you would play it in standard tuning, the actual tone is D major and D minor.

And the song is filled with so many good bits like;
– The heavily palm muted verse riff.
– The pre chorus riff and the vocal melody.
– The chorus riff and the melodic lead break over it and the vocal melody. It’s an AOR arena rock chorus.
– Then when we go back to the next verse, the foundation chord progression is the same, but Petrucci decorates it with fast arpeggio and single note lines, before it moves back to the familiar pre chorus and that excellent Chorus.

After the Chorus, the intro riff is back and in your face.

Then it goes into this Megadeth style riff, like how they do in “Holy Wars” for the solo section. And man, John Petrucci brings it. Especially that chromatic little section with sweeps and single note lines.

Then Jordan Rudess makes chicken noises and gets a chance to throw another million notes at us, but I wanted Petrucci to take this one. It was perfect just for the guitar to shred over.

And then the solo section abruptly ends as it goes back to the intro riff for 10 seconds before it moves into the Chorus.

Did I mention that the Chorus is excellent?

And it ends the same way it started, with the bone crushing intro riff which fuses major and minor modes in E, but it’s in the key of D because Petrucci down tuned.

Lyrically the song is about secret organisations, like the freemasons.

As the lyrics state, “a brotherhood of wisdom, strength and dignity, its rituals and secrets, remain a mystery.”

These kind of organisations are shrouded in conspiracy, and are either up to good or evil. Just think of Dan Brown’s novel – ‘The Da Vinci Code’.

And these kind of organisations have so much power, but not a lot of people know much about them. There was a quote from a documentary I watched which said, there is a very high chance that a person would have had dealings with a person who is a freemason, and they wouldn’t have known it.

Beneath an ever watchful eye
The angels of the temple fly

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

The Record Vault – The Butterfly Effect

The Butterfly Effect are from Brisbane, Australia. Formed in 1999, they dropped their debut EP in 2001.

“Crave” is from their “Begins Here” album released in 2003. The next song “Saved” didn’t appear on any album until their 2016 release, “B Sides, Live and Rarities”. “The Cell” and “Take It Away” appeared on their six song EP, released in 2001. It was “Take It Away” from the EP, which got me interested in the band. 

“Imago” was released in 2006.

It debuted at No. 2 on the ARIA charts.

You could hear in this album that the band was progressing in their song writing department. You can hear the onus on more melody. Getting older, playing live, building on experiences and relationships all enhance the song writing.

But it wasn’t so smooth making the album.

“I think, as a grown man, I can probably say it would have been the most stressful seven weeks of my life”

Drummer Ben Hall 

Joe Barresi was hired to produce the album. He heard the demoes the band sent and was enthusiastic to work with them. He just finished recording Tool’s “10,000 Days” album and the band flew to LA as soon as a slot came up in Barresi’s calendar.

But the band wasn’t really ready to start recording at this point in time. And Barresi sure let them know it. The band started to not enjoy the process, but the experience with Barresi, showed them gaps in their commitments which they used to realign their goals with their music career.

From the opening one minute instrumental “Imago”, to “Aisles Of White” to “Gone” to “A Slow Descent”, it’s a four punch combo. The ending of “A Slow Descent” is excellent. But the album gets better. “Before They Knew” and “In A Memory” are my favourite cuts on this album. 

“In A Memory” has this bass riff inspired by Tool as it rumbles along and leads the song. But when you think the song is over at the 3.30 minute mark, it moves into this beautiful section which starts with chords and then arpeggios and a haunting vocal melody. And it’s got an ending as good as “A Slow Descent”. And those endings are pure gold.

It’s just a memory of all that we could have been

It’s just a memory and all that we could have been

It’s just a memory, I’ve seen

It’s just a memory, I’ll see 

The way these words are delivered is haunting, like a dream you’ve just had and you are not sure when you wake up, if it’s a real memory or a dream memory.

As good as “Imago” is, their piece d resistance album is “Final Conversation Of Kings” released in 2008.

I have no photo to share of this album because I gave it and the debut EP to my ex drummer, along with “The Dirt” hardcover book from Motley Crue, a  Rush “Live in Rio” DVD and a Coheed and Cambria live DVD. I should have gotten my stuff back first, before I booted him.

And speaking of band members not getting on, The Butterfly Effect had some issues between founding guitarist Kurt Goedhart and lead vocalist Clint Boge. So it was no surprise that the band members went their separate ways, until a few years ago, when they released a new song and announced a tour around Oz. 

Welcome back. 

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

Army Of Noise

“Army Of Noise” has got that feel of “Metal Militia” and overall the song has a “Kill Em All” vibe in the lyrics.

The intro riff morphs into the verse riff and it’s a combination of Metallica and Slayer, from their “Ride The Lightning” and “South Of Heaven” albums. It’s fast and aggressive and Matt Tuck spits out the words.

Anticipation we’re on the attack, just keep pushing forward, there’s no turning back

I lived this during the 80’s, but there is a whole new generation who needs these words and are living it right now.

Lights out, fist raised, adrenaline rushing infecting our veins

Going to the show was about the adrenaline. Now it’s about the best seat, which you pay premium for, and the selfie and the filmed footage to show the world that you went.

I’m guilty of it as well.

Now feel the heat as the temperature spikes, bodies are thrashing, the fire ignites

I’ve never been in a circle pit but goddamn they are wicked to watch.

At one of the Machine Head Sydney concerts, I saw this guy on crutches make his way into the circle pit and he just vanished like a person in a twister, only to be lifted up in the air and held up high by the circle pitters. Unbelievable, that in all of that chaos, there was a sense to protect.

Before the Chorus comes in, there is this foot stomping riff that just gets me ready to break stuff.

Once the Chorus kicks in, its arena rock all the way.

So here we are
Weapons in arms
Army of noise has come to destroy
We will not fall
Brothers in arms
We will deploy our army
An army of noise

The message and the ethos is the same as the 80s. In those times we had “Stand Up And Shout”, “I Wanna Rock”, “Cum On Feel The Noize” and “We Rock”. Judas Priest took it to another level with “Ram It Down” and “Heavy Metal”.

One thing that I’ve always liked about BFMV is the drumming from Michael “Moose” Thomas. The way he builds intro’s and riffs with metronome precision, his double kick work and tom rolls is excellent.

But he is no longer in the band, fired during the “Venom” tour. Well, he left the tour to go home, so he could be there for the birth of his child and after a few months, he contacted the band and said he was ready to return, but they didn’t offer him a return date.

And the lead break is Triple A rated. Michael Paget is an unknown in the larger field of guitarist these days, but he is a bonafide guitar hero in my book.

So feel the sound as it pounds in your chest
Eardrums exploding bodies possessed

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