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

1984 – III – Are We Evil Or Divine?

Music television was everywhere which meant music in general was everywhere and since we had so much access than what we had before, it was no surprise that certain styles started to become popular.

At the time I was looking for a sound, a look and a feel that resonated and I wasn’t the only one. But some times great songs came from artists that didn’t have the metal look so in my head there was a war going on.

Should the LPs of Bruce Springsteen, Tina Turner, Bryan Adams and U2 just to name a few artists be standing side by side with Dio, WASP, Motley Crue and so forth.

In the end, a great song is a great song and I’m content I didn’t succumb to peer pressure. Even to this day I still cop shit for having Madonna next to Metallica, Motley Crue, Marillion, Molly Hatchet, MSG and Megadeth.

Anyway here is the playlist and here are the previous 1984 reviews to date.

Part 1

Part 2

Dio – The Last in Line

Did anyone else think that the Dio logo upside down spelled Devil?

I did.

“The Last In Line” was my first Dio purchase and I played this album to death. There isn’t a song I don’t like on it and if you want an introduction to Dio, then this is the album to sink your teeth into. And Vivian’s guitar work at the time became very influential to me.

To this day, I still have the original cassette, plus the LP and the CD which I purchased much later on.

We Rock

The key of A minor gets a good work out on “We Rock”.

And that solo from Vivian Campbell is perfect. It’s fast and melodic and it has a bluesy feel with doublestop bends and pentatonic licks.

The best part is the outro chorus when Vivan is playing the riff and the chords change from Am to F under it and Dio is ad libbing his vocals in the outro.

You can’t get better at that.

The Last In Line

That fingerpicked intro.

Man, that’s what I call music and when Dio holds the “home” vocal note and the band comes crashing in around him with an epic Kashmir like groove.

Well what can I say?

And the stop start music in the verse so the vocal melody is the centerpiece, goes to show how a strong melody can carry a song.

“Well know for the first time if were evil or divine” is one of the best lines Dio has put to paper.

For so many of us we live a life which we think we’ve done good and when it comes to judgement at the pearly gates, the almighty one might might have other views.

Breathless

If the sound of a person being breathless in the intro isn’t enough to get you interested, then that groovy riff that kicks in will do it.

Dio’s strength (apart from his voice and good business sense) was the addition of a young guitarist that resonated with the youth and all the new young shredders who wanted to make their mark in Hard Rock and Metal.

And even though they parted ways bitterly, the three albums Dio did with Vivian set up Dio’s solo career, in the same way the two albums Ozzy did with Randy Rhoads set up Ozzy’s solo career.

One other thing that I always enjoyed with Dio songs is Dio’s ability to ad lib in the Outro.

I Speed At Night

A speed metal song before speed metal became a thing or a genre. If you don’t believe me, then press play on this song.

And that solo again from Vivian. It’s fucking perfect.

One Night In The City

The music is fucking head banging material for a song that introduces a dark child called Johnny, who was promised but seemed to get into trouble and then found some form of love.

Did you get that?

And what about the drum fills from Appice after the solo and into the outro.

Who said drummers are not important?

I can even air play the fills.

Evil Eyes

They promise you treasure if you fly and fly Dio did. It’s a perfect combination of fast blues and metal.

Mystery

It’s in the key of Dm and it moves between major and minor keys throughout. It’s F major in the chorus and D minor in the verses.

And Vivian is on form again in the guitar solo department.

Eat Your Heart Out

In the key of Em and Vivian is all over this one. From a guitar point of view there is a lot to unpack in the riffs department.

And for the guitar solo, what can I say. Vivian kicks it off with a tapping lick before blazing into some arpeggios and finishing it all off with some pentatonic lines.

It might not be Dio’s most famous song but it’s a guitar players delight.

Egypt (The Chains Are On)

The best track on the album for me and the drumming from Vinnie Appice is excellent under the epic and groovy guitar riff.

And then Dio references his singing style on “Heaven And Hell” in the verses.

I love the lyric line, “when the world was milk and honey”. Dio puts it out there that the world was nice and sweet and so far removed from the warmongering and ills that came after.

Did I mention that Appice lays down some serious groove?

Well he does. It’s so effective, so simple and fucking frightening.

And in the outro, Vivian plays the intro riff and the chords under it change, like in “We Rock” and it’s brilliant.

Kiss – Animalize

Mark St. John (RIP) makes his appearance on a Kiss album. It’s a shame that he was just hired to play leads and not even asked to be a co-writer because I believe there was untapped potential there.

But Kiss was in such a state at this point in time, you could say “Animalize” is a combination of songs written for Paul and Gene’s solo albums.

I’ve Had Enough (Into The Fire)

You can see how co-writing with Vinnie Vincent, showed Stanley how easy it is to write a metal riff. Because I guarantee you, his co-writer Desmond Child didn’t come up with it.

And the lead by Mark St. John is a plethora of scales and repeating licks much in the same way Vincent wound attack a lead break. It’s okay to learn as a warm up exercise.

Heavens On Fire

To me, this is how AC/DC would sound if they went all pop rock.

And it’s because of this AC/DC groove, the song has survived to this day in KISS’s live show.

It’s also another Stanley and Child composition.

Under The Gun

It’s dumb, fast and fun and for some reason it reminds me of Y&T. And I dig it.

This is a Stanley, Child and Eric Carr composition.

Thrills In The Night

A Stanley composition in conjunction with Jean Beauvoir, who had a song called “Feel The Heat” which was in the “Cobra” movie, starring Stallone. Beauvoir actually plays bass on this song as well as on “Under The Gun” and another track I can’t remember right now.

And for the “Cobra” movie here is my favorite quote:

Supermarket Baddie: I got a bomb here! I’ll kill her! I’ll blow this whole place up!

Stallone’s character: Go ahead. I don’t shop here.

Only Stallone can pull that line off.

U2 – The Unforgettable Fire

“Pride (In The Name Of Love)” and “The Unforgettable Fire” got played every day on radio and the music video programs. They also got played on rock radio programs because U2 always got lumped in with hard rock bands.

In other words the band was fucking everywhere and these two songs are forever engraved in my mind.

Early morning, April four
Shot rings out in the Memphis sky
Free at last, they took your life
They could not take your pride

Deep Purple – Perfect Strangers

“Knocking at Your Back Door” and “Perfect Strangers” are the two that stand out here because I had those songs on compilation albums like “Headbangers Heaven”.

And to be honest “Knocking On Your Back Door” musically could have come from a Rainbow session. Especially the sing along Intro/Chorus riff.

For “Perfect Strangers”, distorted keyboards kick it off and that groove that comes in, is simple and effective.

Queen – The Works

This album has some cool rock tunes.

Tear It Up

It reminds me of a Billy Squier song with a simple stop/start riff and vocal groove. Rock fans satisfied.

I Want To Break Free

The big hit that was all over radio and TV. Pop fans satisfied.

Is This The World We Created…?

This a song that crosses genres. I think Queen introduced unplugged before it became a thing. Basically it doesn’t matter what kind of music you are into, the message of the lyrics is enough to connect.

Hammer To Fall – Headbangers Mix

As the title states, this mix is loud for Queen’s standards. And it’s a great song that reminds me of all these other songs that came before it, but I can’t put a name to those songs and that’s why I love music.

Tina Turner – Private Dancer

She is a rock goddess.

What’s Love Got To Do With It

There is excellence in simplicity and this song is evidence. This song is from the “Private Dancer” album. I cant claim I’ve heard the whole album but this song was played that many times on radio and music television it’s part of my Eighties days.

We Don’t Need Another Hero

I know it came out in 1985 but I’ve always associated it with the “Private Dancer” release cycle. As mentioned previously there is excellence in simplicity. Simple musical grooves propelled by strong vocal melodies.

It’s Only Love

It’s from Bryan Adams “Reckless” album however I always saw it as a Tina Turner song with Bryan co-singing and man she can rock it as good as the boys.

Part 3 is done and onto part 4.

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Music

1984 – Ep 2

the playlist

Coming into 1984, hard rock and metal bands started popping up everywhere in the mainstream. Magazines moved their reporting from different styles of music to cover only hard rock. The labels even started promoting rock music with glam metal, hair metal, glam rock, heavy rock and melodic rock suddenly becoming genres. And regardless of what “genre” a band got labelled with, we still found the albums in the heavy metal category of the record shop.

Part 1 is here.

Judas Priest still had the world in the palm of their hands with “You’ve Got Another Thing Comin” released two years before. And then they dropped “Defenders Of The Faith”.

Judas Priest – Defenders Of The Faith

Before Judas Priest there was metal music, but the mighty Priest woke us all up and got us addicted. With “You’ve Got Another Thing Comin”, they infected television, radio and the jukeboxes around the world. So the world was waiting with what they would unleash next.

“We’ve always maintained that albums are important from year to year, but especially after topping the platinum mark in the States, we knew that we had to come up with a follow-up which was going to carry on from there and take us to even greater heights.”
Rob Halford, Heavy Duty official biography, 1984

What an album.

Rising from darkness where hell hath no mercy and the screams for vengeance echo on forever. Only those who keep the faith shall escape the wrath of the Metallian… Master of all metal.

Freewheel Burning

How good is this song?

The speed, the lyrics, the riffs and those lead breaks. It’s all break neck stuff. I am pretty sure a few members from a band called “Helloween” were listening intently.

Fast and furious / Look before you leap has never been the way we keep / Our road is free / Charging to the top / And never give in never stops the way to be

The words that leap off the vinyl instantly capture the essence of the metal spirit of never giving in and dealing with whatever comes our way. And it sets the tempo for what the album is, fast and furious all the way.

Jawbreaker

There are no radio hits on this album, just songs made for the artist and the fan.

Rock Hard Ride Free

That guitar intro and harmony lead is enough to hook me in. And the lyrics sum up the 80’s movement to a tee.

No denying we’re going against the grain
So defiant they’ll never put us down

By this stage, rock and roll wasn’t becoming part of the grain and by 1986 it was the grain. But we still loved the “us versus them” lyrics.

Rock hard, ride free
All day, all night
Rock hard, ride free,
All your life

It’s what we wanted to do all day, to rock hard and be free.

The Sentinel

My favourite track on the album. I could listen to it over and over again.

This is music made for the sound system and not the earbuds. I would crank it up and the whole room would be filled with the sound. And it felt good. Halford sets the scene along deserted avenues with figures primed and ready for a quick surprise.

Sworn to avenge
Condemn to hell
Tempt not the blade
All fear the sentinel

It’s an arena rock chorus but it’s lyrical message is so far removed from the pop charts and the “We’re Not Gonna Take It” and “Cum On Feel The Noize” type of messages.

And how good are the riffs underneath the Chorus vocal melody.

Some Heads Are Gonna Roll

If the man with the power cant keep it under control
Some heads are gonna roll

So relevant today as it was back in the 70’s and 80’s. Especially with so many men in power with ego’s to match.

The power mad freaks who are ruling the Earth
Will show how little they think you’re worth

And these power mad freaks are not just the leaders in charge, they are the giants in control of the biggest global corporations we have ever scene.

Heavy Duty/Defenders Of The Faith

The simple drum intro reminds me of “I Love It Loud” from Kiss and then the riffs come crashing down. Brilliant. It sounds heavy and it suits the title to a tee.

And prove to all the world
Metal rules the land
We’re heavy duty
So come on let’s tell the world

And for a brief moment in time in the 80’s metal did rule the world.

Bon Jovi – Bon Jovi

The debut album from the “guys from Jersey” is tiny compared to the albums that came after, but still has some worthy riffs to talk about.

Runaway

The keyboard riff and the synchonrised drums and guitar all work together.

As much as Jovi hates playing this song or any song from the first two albums live because of the silly lyrical themes, “Runaway” has become a favourite amongst the “Slippery” fans who purchased the back catalogue once “Slippery” exploded.

And yeah, the lyrics are clichéd, but no can deny it’s catchiness.

Roulette

I actually dig the riffs on this, hence the reason why it’s on here.

She Don’t Know Me

It’s a cover song, and it’s perfect for Jovi’s first album.

Shot Through The Heart

Funny story, when I heard “You Give Love A Bad Name” on the TV music channels, I came in halfway through, so I thought the song was called “Shot Through The Heart”. So when I went to purchase the album, I saw the “Slippery When Wet” album first and it didn’t have a song on it called “Shot Through The Heart”. I picked up the debut album and saw it on there, so I purchased that instead.

“Shot Through The Heart” is written by Jon Bon Jovi and Jack Ponti and the track has this infectious piano riff in the intro and Sambora goes to town in this song, showing his melodic chops in decorating the song.

Burning For Love

It is written by Jon Bon Jovi and Richie Sambora. As with all of the earlier stuff, Sambora goes to town during the lead breaks, showcasing his abilities as a melodic shredder.

Come Back

It’s got some cool riffs and the lead break is very different.

Yngwie Malmsteen – Rising Force

For some insane reasoning, this album is not on Spotify Australia. It still blows me away how artists or the label/corporation who hold the copyright believe that geo-restrictions are a good thing in a world where we are all connected to each other. But it’s on YouTube, which pays less. Yep, it sure sounds like good business logic.

Marillion – Fugazi

The Fish led era of Marillion was an acquired taste and I enjoyed the music more than the vocals. Actually, certain sections of music, which I even used as templates for interludes for my own songs.

Punch and Judy

How good is the start from 0.00 to 0.22? Yep, those 22 seconds hooked me. That’s all it took.

Emerald Lies

Again, the intro hooks me in from 0.00 to 0.42.

Cinderella Search – 12” Version

And again, the intro hooks me.

And then from 3 minutes onwards, the piano starts playing a riff that is addictive, as the drums and guitars start to pick it up and I am hooked all the way to the end, while Fish is singing, “Welcome To The Circus”.

Assassing – Alternate Mix

Dream Theater have used this song as influence for quite a few DT songs. I think it’s one of Marillion’s best songs, combining a lot of influences and genres into one song, as it moves from Pink Floyd like grooves into more progressive adventures and new wave pop.

Three Boats Down From The Candy

Again the first minute of the song gets me interested and then when that guitar melodic lead comes in at 2.49, I am all in.

Metallica – Ride The Lightning

When I first heard the album I was blown away lyrically. Musically I didn’t even know what kind of music it was. I felt like a chainsaw assaulted my earbuds. Because it didn’t sound like the hard rock mixes I was used to, it took me a while to get used to it. What can I say, my ears were conditioned to enjoy the Tom Werman, Keith Olsen, Bruce Fairbairn produced albums.

And I still contend that “Ride The Lightning” is the album that should define Metallica. It was original, progressive and it set the track list template for future albums which followed.

Fight Fire With Fire

Man, those acoustic guitars at the start is the calm before the storm. Because once the chainsaw riff starts, it’s circle pit time and James Hetfield’s vocal delivery is bordering on death metal.

And it ends with a nuclear bomb going off, just before the harmonies of “Ride The Lightning” kick in.

Ride The Lightning

The harmony guitars and the drums in the intro hook me straight away.

For Whom The Bells Toll

A bell tolls. And there is a pause.

A bell tolls again. And there is another brief pause.

Then the staccato F#5 power chord comes crashing down, before it goes to the E5 power chord to ring out. Then the bass solo . Then the descending chromatic riff which mimics the bass solo. And when you think the first verse is about to come in, a harmony guitar lead happens, which is repeated over and over again, until the riff which underpins the Chorus comes in.

And then the first verse happens. 2 plus minutes after the song started. The approach to song writing is progressive and impressive, especially when you take into account the ages of the members.

Fade To Black

It’s a game changer song. The intro is influenced by the intro in “Goodbye Blue Sky” by Pink Floyd from 1979. The start of the outro when James is singing is influenced by the intro from Black Sabbath’s, “A National Acrobat” from 1973. And from all of these influences, the song still sounds original.

By the end of Side 1, I was floored by a four punch knock out. The needle went back to the start and I had to turn over the LP to side 2. But I played Side 1 again and again and again, until I basically overdosed on it.

Then I switched to side 2.

Trapped Under Ice

This song doesn’t get any love, but it’s a tribute to their NWOBHM roots. Kirk also provided the verse riff, which originally appeared in the Exodus song “Impaler”.

I don’t know how to live through this hell
Woken up, I’m still locked in this shell
Frozen soul, frozen down to the core
Break the ice, I can’t take anymore

Yeah, it could be about being trapped under ice or could be all metaphors. The “ice” is the home and the “frozen soul” is a life controlled by others.

Escape

The intro is excellent.

For the “fans” who criticised the “Black” album, they should really not forget tracks like “For Whom The Bells Toll”, “Escape” and “Leper Messiah” from “Master Of Puppets”. Slower tempo songs that would not be out of place on the “Black” Album. The theme of control and manipulation will come up again in “Welcome Home”, “Dyers Eve” and “The Unforgiven”.

Feed my brain with your so called standards
Who says that I ain’t right

Creeping Death

So let it be written that I loved covering this track with the bands I was in. It’s a classic metal song for the ages. “Am I Evil” and “Blitzkrieg” are covers that ended up as B sides to the “Creeping Death” single, but still worthy additions to be included here as people believed these to be proper Metallica songs.

The Call Of Ktulu

Another game changer track, a progressive 7 minute instrumental track. It’s got a bit of everything, written when Mustaine was still in the band and it’s got the embryonic riff of what will become “Hanger 18” in Megadeth many years later.

Y&T – In Rock We Trust

I didn’t know it in the Eighties, but Y&T would became one of my favourite bands in the Nineties, as I managed to pick up all of their albums up to “Ten” from a second hand record shop. Their big money Geffen move didn’t happen until the late 80’s and A&M was the wrong label for these classic albums. Regardless, Y&T’s music goes through my brain on a regular basis. They’re embedded there, part of my DNA.

Rock And Roll’s Gonna Save The World

Y&T always started off with a strong cut. This was even more important in the CD era as there was only one side and a lot of people never made it to the end of the album.

Kings and queens and presidents
Are tryin’ to take the world in hand
Jokers and freaks and Arab sheiks
Are fightin’ over chunks of sand

The same problems that exist today existed 30 years ago and way before that. Guess they never really went away.

Rock & Roll’s gonna save the world
Don’t you know that’s the way we’re gonna change it?
Rock & Roll’s gonna save the world
Rock & Roll

We believed we could change the world. Then we got jobs and got loans and became exactly what the institutions wanted us to be. Slaves by choice.

Tin soldiers march around the world
No matter what the people say
One man makes all the policies
While the rest of us get blown away

It’s what our leaders are fighting about right now. Who should make the policies? Who should tell others what to do? And democratically elected leaders want to dictate how people should live and then they take up arms against dictators. Ironic isn’t it.

Life, Life, Life

It’s a bloody scene
Hear the population scream
As the missile rushes in
Can’t you feel the flames of hell?

What’s changed in 2018 from 1984? Missiles are still rushing in and for people living in these war zones, it is hell. And for all of our technological advancements to integrate and socialise, we are even more divided.

We let the insane play their fools game
They’re runnin’ a race for death

These lyrics might have referenced a dictator, however democratic leaders today are no better.

It’s time to make a stand for
Life, Life, Life
It’s time to break down the chain of command

We are the only ones who can make change happen, but we choose to opt out so we don’t upset other people.

Masters And Slaves

What a song and how good are the lyrics.

It’s such a dirty game
That it fills you with rage
There’s only kings and queens
And you’re a pawn in their game

Truth in these words. If you don’t believe me, name me the one thing keeping you up at night. Money, security, safety. Kings and queens don’t have that problem. And if you borrow money, guess what, you become even a bigger pawn in the game.

Of masters and slaves
We’re divided that way
Are you a master or slave?
Do you rule or obey?

We are born, our parents rule and we obey. We go to school and our teachers rule, while we obey. We go to work and the boss rules, while we obey. We get married, and the other partner rules while we obey.

When they tell you it’s the home of the free
Well, they must be insane

Who would have thought that living in a free country would be so expensive?

‘Cause it’s dog eat dog from morning ’till night
And only the strongest survive
It’s the law of the jungle, only winners have rights
The losers relinquish their lives

There is no story about the losers. Only the winners. And they re-write history to suit their point of view.

So, you think you’re made
When you have your fortune and fame
But don’t you realize
Oh, someone’s running the game

These lyrics reference life, experience, skin in the game. It’s not all about being a red hot live wire, wanting to feel the noise. How many artists lost all the money they made when their career and the public acceptance of their music started to fade.

I’ll Keep On Believin’ (Do You Know)

I’ll keep on believin’
I won’t let our love slip away

Again, words of life, about being out on the road for long periods, leaving relationships and friends behind, only to find out when you come back home, they have moved on.

Break Out Tonight

The streets are misty in the mornin’ light
The fog hides everythin’ from view
It’s time to make a move to change my life
I gotta make my dreams come true

The song is simple, like the band just rolled the tape in the studio and when Dave Meniketti opens his mouth, truth comes out (courtesy of the lyrics written by bassist, Phil Kennemore). If you want to make your dreams come true, it rarely happens when you are sitting in the comforts of your hometown. You need to break out.

Don’t Stop Runnin’

Ahh, yes a song about being with someone as you are rising up the ladder of stardom and suddenly when you hit a rough patch, that person leaves, and as soon as your fame star starts to rise again, they want to come back into your life.

Umm, no.

When I had the world in the palm of my hand
You never looked at another man
But when I started to slip, you said bye, bye, bye

With you one day, gone the next.

Well you heard I got my big break
So now you’re sayin’ that you made a mistake
And you wanna come back for the ride, ride, ride

Does it really happen like this? I’m still not convinced. Once it’s over, it’s over. For me there are no second chances.

Well the word is out all over town
You’re not the only girl that’s chasin’ me down
Take your place at the end of the line, line, line

It’s a cool revenge song.

This Time

I always dig a good power ballad with cool music. And this one has got some nice guitar playing with clean tone apreggios and distorted chords crashing together to create a cool foundation to build the melodies on.

Darling, I’ve been so afraid
To share what’s on my mind
But I believe you’re just like me
And I can trust in you this time, this time

Safety is what connects us and when you find someone with similar values, you feel connected and by default you feel safe.

The past is full of fallen stars
Of love that I’ve denied
But somehow I know we won’t make
The same mistake this time

Oh, all those missed chances or words unsaid.

Whitesnake – Slide It In

From a copyright point of view, how the hell would David Coverdale do the accounting for it. There are the songwriters who would deserve their royalty and then there are the two versions of the albums, with different members and because those members played on the album, they would get a performance royalty.

The remixed US version of the album had John Sykes replacing the guitar parts of Mel Galley and Micky Moody, while Neil Murray replaced the bass parts of Colin Hodgkinson.

Good luck in working out the percentages.

Gambler

This little bluesy rocker opens the UK edition of the album, but not the U.S one. It’s written by David Coverdale and the very underrated and not very MTV friendly looking Mel Galley.

Slide It In

The Free/Bad Company style of blues rock influences this Coverdale composition about sliding a knife in butter right to the top. The lead breaks are different between the US and UK versions. For me, I prefer the UK version lead break as its more melodic and more sing-along.

Slow an’ Easy

The heavily influenced Led Zep “Slow an’ Easy” is written by Coverdale and Micky Moody. Lyrically it deals with a superstitious woman who will be taken down slow and easy. The US mix has a few pinch harmonic screams that the UK version doesn’t have.

Love Ain’t No Stranger

This classic is written by Coverdale and Galley. I liked the way Coverdale, had a slow intro before the whole band crashes in.

Give Me More Time

Another Coverdale and Galley cut that takes its cues from AC/DC in the verses. And the lead break is excellent and very reminiscent to the “Slide It In” lead break.

Standing in the Shadow

Another Coverdale composition. Seriously, is there a more broken hearted person than David Coverdale?

I’m running away from a feeling
Hiding my face in the sand
I’m scared to love and lose again
I don’t know if I can

It’s that moment in time after a relationship has ended. You are hurting and you feel betrayed. Then you come across someone who rekindles the fire. But you are still hurting and after being burned once, you are fearful to jump in, just in case it leads to another broken heart.

Life is short, so you need to live it. And that means, putting the fear away.

Spit It Out

Another Coverdale and Galley composition, which is basically saying if she doesn’t like it, she can “Spit it Out” while Kiss was singing, “Lick It Up”. I guess people just couldn’t make up their minds.

Guilty of Love

How cool are the guitar harmonies at the start, which again are written by the very underrated guitarist known as David Coverdale.

Cold Chisel – Twentieth Century

The final studio album for Australian band Cold Chisel before they went their separate ways in the 80’s. Hell the album even came out months after they played their final show in December of 83.

Side 1 had three Chisel classics in “Saturday Night”, “No Sense” and “Flame Trees”. Hard to believe that “No Second Prize” from Jimmy Barnes solo album that followed this was rejected from this album.

Saturday Night

Piano player and band founder, Don Walker wrote it about his views of Sydney’s King Cross district, with vocals shared between guitarist Ian Moss and Jimmy Barnes.

“The band I’d been in for ten years was breaking up. I think it’s just a ‘kissing all that goodbye and moving on into the unknown’ song.”

Don Walker

No Sense

A Jimmy Barnes composition, with a very reggae feel about people that make no sense at all.

Flame Trees

Drummer Steve Prestwich co-wrote the music on a bass and Walker added the lyrics, about growing up and his dreams of leaving his birthplace behind.

The Game

It’s the only track I like on Side 2, written by bassist Phil Small and lyrics by Walker, about losing your place in the game, which to me, the game could be life, a relationship, a workplace or even a gambling table.

Well that’s it for Part 2, stay tuned for Part 3.

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

1984 – Ep 1

I bought a few CD’s recently. They are still in the plastic wrapping. I don’t even think I will be opening them as I am listening to the music via Spotify.

I used to buy CD’s weekly once upon a time. It wasn’t really news, but hey we are in 2018 and just buying a CD is news. Even though I stream, the itch to buy is still there. Old habits die hard. And the majority of music fans are collectors, so we collect CD’s and vinyls the same way people collect stamps, coins, sports cards, instruments and what not.

The recording industry did an incredible job in brain washing us to believe we needed to purchase these products. They did have a few false starts in the 40’s and 50’s, however the post WW2 rebuilding phase started to put people into jobs, which meant money to spend in society. And once they got a foothold, their Government granted monopoly just kept on growing.

Anyway, buying CD’s got me thinking about vinyl records and how I was pretty peeved that vinyl records got stopped. And just like that, I was in an 80’s mood.

So here is the playlist.

Dokken – Tooth And Nail
Elektra wanted to drop em. Lynch and Dokken wanted to drop each other. Croucier dropped them for Ratt. Werman dropped the producing gig because of everything that came before. Lynch dropped in and out of the band a lot of times. Eventually Pilson dropped into the band to replace Croucier on the recommendation of Shrapnel Records boss Mike Varney. Michael Wagner dropped in to record the vocals, while Roy Thomas Baker dropped in to do the rest.

For a band threatened to be dropped, the production team was top notch. Werman would have got his cut, Roy Thomas Baker and Michael Wagner, would also get their cut. And then you have the record deal that Don Dokken got by using the songs Lynch and Brown had written. Imagine being in a band where Don Dokken would get the money and then he would need to pay Lynch, Brown and Pilson.

But they had Q Prime Management in their corner. In Cliff Burnstein and Peter Mensch, Dokken had an influential team who could build them up into global superstars, organise the tours, the record deals, the funding, the video clips and what not.

Side one kicks off with the instrumental “Without Warning”. For a song that’s 1:35 long, it’s showing Don Dokken, George Lynch and Jeff Pilson as songwriters. Seriously. Three dudes for a minute and thirty five seconds. I don’t think so. Moving on, the title track “Tooth and Nail” kicks in, delivering a 1-2 knockout punch. It’s basically a speed metal song written by Brown, Lynch and Pilson.

Desperate living- driving me mad
Writings on the wall
Crushed all our hopes and the dreams we once had
Just to watch them fall

Such powerful words from people about to call it quits.

“”Just Got Lucky” written by Lynch and Pilson came next but it didn’t get lucky in the charts. “Heartless Heart” written by Brown, Lynch and Pilson deals with a heartless baby who lied. And finally, lead singer Don Dokken gets a song writing credit for the side 1 closer “Don’t Close Your Eyes” co-written with Lynch and Pilson. Lyrically it could have been used for the first “Nightmare On Elm Street” movie.

Ashes to ashes, sorrow and shame
Look at the future again
Angels in heaven walking the streets
Searching for someone to blame

Side two fires up with “When Heaven Comes Down” written by Brown, Lynch and Pilson and it’s followed by “Into the Fire” written by Dokken, Lynch and Pilson about a relationship which is wrong and somehow it goes sour and now he is falling into the fire. I had a theory once, it’s about Lucifer.

“Bullets to Spare” is written by the band and seriously it’s terrible lyrically, linking bullets to spare to a certain substance that comes out of a male. The big power ballad “Alone Again” is written by Dokken and Pilson and it’s underpinned by a great lead from Lynch. The album closes with another speed metal song in “Turn On the Action” written by Brown, Lynch and Pilson, the same team that wrote “Tooth and Nail”.

I’m looking over my shoulder
I’m running reckless through the night
Forever young not getting older
Satisfaction guaranteed tonight

Who didn’t do something naughty or slightly illegal in their youth and when we made our great escape, we laughed but constantly looked over our shoulder in case someone was chasing us.

And while Lynch got a lot of press and front covers in the guitar mags, and Don Dokken got a lot of press and covers in Hit Parader, Metal Edge, Faces and what not, the real hero of this album is Jeff Pilson. While others let egos get in the way of creating, Pilson went on with the task of creating and he co-wrote every single song on the album and paved the way for Dokken (the band) to have a career.

Van Halen – 1984
I will try my best to keep this review as short as possible as this album is highly influential to me, especially the songs “Panama” and “Hot For Teacher”. Actually, this album and “5150” are the ones I always go back to. And there is no denying that EVH was at the peak of his powers between 1983 and 1987. It’s like everything he touched turned to gold.

It’s also the last VH album to feature David Lee Roth until 2012’s “A Different Kind of Truth” and it’s also their biggest album to date in relation to sales and now streams. However as Sammy Hagar likes to point out to DLR, the Van Hagar albums went to Number 1 on the charts, while the Van Roth albums didn’t. But Van Roth albums outsell Van Hager albums. And the VH fan base streams more of the Roth era songs than the Hagar era songs.

Like many bands which start out, each album shows songs written by all members, however it’s rarely the case that all members contributed to the song writing. Van Halen kept this going for every album, even with Hagar. However, when Van Halen, which is now a company run in conjunction with management, renegotiated their royalty deal with Warner Bros in 2004, Michael Anthony was left off the song writing credits. People argued that Alex Van Halen also should have been left off as a songwriter, as all the music came from EVH and all the lyrics from Roth except for “I’ll Wait”.

Jump
I wrote “Jump” on a Sequential Circuits Prophet-10 in my bedroom while the studio was being built. Every time I got the sound that I wanted on the right-hand split section of the keyboard, it would start smoking and pop a fuse. I got another one and the same thing happened. A guy I knew said I should try an Oberheim OB-Xa, so I bought one of those and got the sound I wanted.
EVH

A band I was in from the 90’s wanted to cover it. The problem was, we had no keyboard player, so I had to learn the synth riff and lead on the guitar. The riff was cool to play and the lead was 70% of the recording with the other 30% improv.

For those who want to know, the synth hook was inspired by the Hall & Oates track “Kiss on My List”. Producer Templeman hated it. Roth hated it. Funny how Roth’s biggest hit as a solo artist “Just Like Paradise” also revolves around a keyboard riff.

Panama
The riff.

I remember pausing and rewinding the cassette tape to learn it. Only I didn’t do a very good job as I couldn’t make out all the nuances of the different triad chords moving under the pedal tones.

When the guys once asked me to write something with an AC/DC beat, that ended up being “Panama.” It really doesn’t sound that much like AC/DC, but that was my interpretation of it.
EVH

Oh, but it does sound like AC/DC. Listen to the riff just before the verse kicks in. It’s AC/DC on steroids.

Top Jimmy
It’s a swinging/out there Van Halen track.

For “Top Jimmy” I had a melody in my head and I tuned the guitar to that melody. Steve Ripley had sent me one of his stereo guitars that had 90 million knobs and switches on it. That was too much for me to comprehend, so I asked him for a simpler version. He sent me one with a humbucker in the bridge and two single-coils at the middle and neck positions. It was just a prototype.
EVH

Drop Dead Legs
That was inspired by AC/DC’s “Back in Black.” I was grooving on that beat, although I think that “Drop Dead Legs” is slower. Whatever I listen to somehow is filtered through me and comes out differently. “Drop Dead Legs” is almost a jazz version of “Back in Black.” The descending progression is similar, but I put a lot more notes in there.
EVH

Remember progress is derivative.

Take what came before, tweak it, slow it down, alter it, swing it, mash it and what you have as the end result is something that is yours. It’s the way art evolves and it’s the way music has evolved. Don’t let no one tell you any different and all of those artists and heirs of artists who believe they are so original, they aren’t. They are full of crap. We are all a sum of our influences.

Hot for Teacher
The film clip came first for me. It’s brilliant and who can forget the teacher.

If you want to hear this song’s embryo, then check out the 70s demo from Van Halen called “Voodoo Queen”. Actually you will hear riffs in that song that appeared in other Van Halen album songs as well.

I’m a shuffle guy. I love fast shuffles. I think that stems from my dad’s big-band days. Every Van Halen record has a song like that—“I’m the One,” “Sinner’s Swing.” It was an extension of that—more of me! I distinctly remember sitting in front of Al on a wooden stool and playing that part during my solo where it climbs. Well, I can’t count, so Al needs to follow me. I’d sit right in front of him, and then he’d look at me like, “Now!”
EVH

It’s a full on jam song. If you don’t believe me, check out the solo section. There is no backing guitar. It’s just bass and drums holding down the rhythm, while EVH wails.

I’ll Wait
Co-written with Doobie Brothers/Steely Dan veteran Michael McDonald. Roth and Templeman both voted it out, however Eddie and engineer Donn Landee prevailed. As a guitarist, the keyboard riff is pretty cool to play on guitar.

Ted hated that song. When I played it for him, he kept humming “Hold Your Head Up” by Argent just to piss me off. It doesn’t sound anything like that.
EVH

And that keyboard riff before the solo belongs in a Rocky movie, especially in the training montages.

Girl Gone Bad
This song is basically Rush merged with “Achilles Last Stand” from Led Zep.

I always carried a microcassette recorder with me. I recorded my idea for “Girl Gone Bad” by humming and whistling into it in the closet of a hotel room while Valerie was sleeping.
EVH

The beauty of Van Halen was their unhinged jams and this song sounds exactly like that.

House of Pain
“House of Pain” originally dates back to the demos Van Halen recorded for Warner Bros.

The only thing that’s the same is the main riff. The intro and verses are different, I guess because nobody really liked it the way that it originally was.
EVH

Always taking what came before and tweaking it for something better. It’s the way we create art. EVH is a master at it.

Twisted Sister – Stay Hungry
The film clips hooked me in and I became a fan. While those film clips sold the album, my first TS purchase was “Come Out And Play” on LP and man, I played that album to death. This album was purchased on cassette tape at the start of 1986.

I remember as a kid it struck me as unusual that all songs are written by Dee Snider, because he’s only listed as vocals. I was like, how come Jay Jay and Eddie don’t have no credits as the music is dominated by guitars. We’ll it’s been explained in great detail in Dee’s bio how the song writing process worked for him.

Stay Hungry
A nod to Arnold Schwarzenegger.

If your fire has faded and you can’t feel it no more
If your tired and overrated, let me show you to the door
Expect no sympathy, There’s none to be had

In other words, you never quit.

We’re Not Gonna Take It
The film clip was into every TV screen around the world at that point in time. And we all resonated with the “right to choose our own paths and fight the powers that be” message of the song. Hell, my little guy learned how to talk by saying “Twishhted Shishter,  Vere Not Gonna Hake It” into the YouTube microphone.

Eventually he started to pronounce the words perfectly.

Burn in Hell
This is the Twisted Sister I became a fan off. Cuts like this, “S.M.F”,  “Run For Your Life”, “Under The Blade”, “The Fire Still Burns”, “Come Out And Play”, “Wake Up (The Sleeping Giant)” and “You Can’t Stop Rock and Roll”.

The doomy start is a perfect welcoming for all the listeners coming into the abandoned hand. And from 1.17, the song really shifts gear.

Take a good look in your heart, tell me what do you see
It’s black and its dark, now is that how you want it be
It’s up to you what you do will decide your own fate
Make your choice now for tomorrow will be way too late

Great lyrics. Our fates are tied to the choices we make. If we hate, we walk the path to hate. If we love and help others, we walk a different path.

Horror-Teria (The Beginning):
a) Captain Howdy
b) Street Justice
I didn’t appreciate these songs back in the 80’s. After “Burn In Hell” I would press the fast forward button on the cassette deck and wait until the reel went to the end. I would open the tape deck and change the side of the cassette from side 1 to side 2. Oh, how my kids have no idea what the hell I’m talking about.

But these songs are a concept story within a song. Progressive rock bands do this a lot. Hell even Greenday did it.

I Wanna Rock
And I was greeted with this. The opener on Side 2. Another song with a film clip to match and with a message of don’t tell us to turn it down and cut our hair. We are the youth of rock and we wanna rock.

The Price
The intro lead break hooked me in. I loved it. It wasn’t highly technical, it wasn’t a thousand notes, but it was emotive.

And the lyrics showcase the emotions involved for a person to have a career in music.

Don’t Let Me Down
A relationship song on an album which is littered with songs about standing up for your rights was confusing. Nevertheless, it’s still a cool song and it rocks along at a cool speed as well.

The Beast
It’s “Destroyer” part 2. I never associated this song with some natural force moving in like a predator to take someone’s life. I always associated “The Beast” as the “Hard Rock and Heavy Metal” movement happening at the time and how it was so natural.

So when Dee sings “You are his only target, you’re his only goal”, it’s like an analogy for how Rock and Roll has set its sights on a person and it will not leave that person alone until it converts them into a fan.

S.M.F.
The massive closer for all of the SMF’s and one of my favourites. The real TS anthem, the hit that never was about the black sheep of the family being a metal machine and when they went to the rock and roll show, they saw thousands of others just like them.

The album was released as “Still Hungry” in the 2000’s with all of the above songs re-recorded along with a couple of new ones.

“Never Say Never” is more or less a speed metal punk song. “Blasting Fast and Loud” is a groovy 12 bar blues punk song however if both songs were actually written for “Stay Hungry” they didn’t cut it.

“Come Back” is a good listen but not worthy of album inclusion while “Plastic Money” is a miss. “You Know I Cry” I always enjoyed from the Club Daze live performances. Actually you can hear the embryo of “Stay Hungry” on this track in the riffing and drumming.

“Rock N Roll Saviors” starts of like “Children Of The Grave” from Sabbath. Even in the verses, it’s got that feel.

“Heroes Are Hard To Find” is a classic Twisted Sister song. It made its appearance on the “Strangeland” soundtrack in the late 90’s, however I don’t know if it was written during the “Stay Hungry” period.

The album was then re-issued as a deluxe edition with the demos of the album appearing on the second side.

“Death from Above” has a decent riff and “Prime Motivator” has a decent bass groove. Both songs have good melodies but the lyrics don’t do em justice. “Death Run” was re-written and it became “Kill Or Be Killed”. “This One’s for You” has a sleazy riff but you can hear why it never made the album. “We’re Coming On” is an interesting one. I reckon it could have worked on the album. It has all the ingredients of a classic Twisted Sister song. And when you have a chorus that screams “We’re Coming On like a mf”, you can’t go wrong.

“Call My Name” and “Our Voice Will Be Heard” got a remake for Dee’s solo album, “Never Let The Bastards Wear You Down” and to be honest, both songs are favourites of mine. “Pay the Price” is a song from their “Club Daze” which is probably why it never made a Twisted album. It just wasn’t good enough as Dee became a better songwriter as he got older. “What’s Love Without You” is also a miss.

“You Got to Fight” has all of the classic elements of the “youth of the world” fighting for their futures and their voices against the institutions and our leaders and maybe they should have taken it to the studio to finish off.

“30” is a cool AC/DC style track released with this edition, however it wasn’t written for the “Stay Hungry”. It was written as a 30 year anniversary track and it was released as a stand-alone single. It’s a cool song to have in the Twisted Sister catalogue.

There is always the argument between quality and quantity. I believe if you write 30 songs for an album, you will be able to get 10 quality tracks. And once upon a time, this kind of thing happened. I know some bands wrote 10 songs for the album and all 10 appeared on the album.  So it’s no surprise that Twisted Sister’s most successful album had a lot of different songs considered for it before the final nine got selected.

RATT – Out of the Cellar
I had “Out Of The Cellar” dubbed on a cassette. Before I got the album dubbed, Ratt was purely a video band for me. The video clip for “Round and Round” was played on every TV station. I always had blank VHS cassettes and my finger on the record button.

And revisiting this album, it’s no surprise that Ratt’s biggest album has a lot of song writing contributions from Robbin Crosby, the real Ratt’N’Roller.

Wanted Man
Side 1 opens up with this track. The credits show Robbin Crosby and Stephen Pearcy as songwriters, however bassist Joey Cristofanilli, who had briefly substituted for Juan Croucier is also a co-writer, however it’s never been properly clarified.

What a shredalicious lead break?

Round and Round
The other good song on Side 1. This one is written by Robbin Crosby, Stephen Pearcy and Warren DeMartini.

What a riff to kick it off?

It’s big, hooky and melodic. It’s also good enough to please the metal audience and the rock audience. And when Stephen Pearcy starts singing about meeting out on the streets, our simple brains resonated. Those lyrics today would be something like, “Out on these cyber streets, its where we meet”.

And when that harmony lead break comes in, it’s just a perfect end to the solo section.

Lack of Communication
Side two opens up with this track written by Pearcy and Juan Croucier. The riff is that good, Pearcy and co mimicked the vocal chorus line off it.

And for a Ratt song, it’s got some good lyrics.

Too many problems, the world can’t solve
Too many people, no one wants to be involved

People want to be involved but no one listens to them. School children are demonstrating for gun-reform and the adults in power are failing to listen. People are demonstrating against the FCC changing net neutrality laws to benefit corporations and no one in power is listening. In Cape Town, South Africa, they are going to run out of water and no one in power is doing anything. In Nigeria, 100 plus schoolgirls get kidnapped from a school and no one does anything. 5 years ago, the same number also got kidnapped and they still haven’t returned.

Put up our boundaries, we build our walls
It’s alright, no-ones gonna change us at all

In the past, kings and queens had their castles fortified behind walls and walls, to keep undesirable people and invaders out.

How did that work out as a long term policy?

Back for More
It’s a Crosby and Pearcy cut, under pinned by a fantastic melodic riff. From memory, I think the song was in the key of A minor.

The Morning After
One of my favourite cuts because of the riff and it’s also written by the same song writing committee that produced “Round and Round”.

The lead break is also structured like “Round and Round”, where it starts off with some shredding and then it goes into a harmony break, which by the way is all killer.

I’m Insane
It’s a cut Robbin Crosby wrote in his pre-Ratt band. It’s basically a speed metal song straight from the NWOBHM scene.

While side 1 had the hits, side 2 was stronger.

And every good song on this album was underpinned by a memorable riff.

Iron Maiden – Powerslave
I had this on cassette. I actually had “Live After Death” on cassette first and after “Somewhere In Time” came out, I purchased this album on cassette.

Seriously, how good is the cover. Remember when you used to purchase an album based on the cover alone.

And the 13 month world tour had Maiden visiting 28 countries and in the process, they kick started South and Central America’s devotion to the band.

Aces High
Side one opens up with this. But I enjoy the Live version with Churchill’s Speech before it.

Written by Steve Harris, this song is relentless. It’s got key changes and what not. The intro starts in the key of A minor, the verse riff is in E minor with a key change to G minor. The Chorus also has a Em to Gm key change.

Run, live to fly, fly to live, do or die
Run, live to fly, fly to live, Aces high

When Maiden reformed, this chorus become a sing along arena rock chorus. Who would have thought? Credit the fanatical South American fan base and the “Rock In Rio” DVD.

Minutes to Midnight
It’s basically a killer one/two knockout punch and like the “Live After Death” release, these two songs go hand in hand.

Adrian Smith’s addition to Maiden made them a lot better. This song is written by Smith and Bruce Dickinson and the One Riff to Rule Em All is also the main riff for this song.

Go to war again, blood is freedom’s stain
Don’t you pray for our soul anymore

The borders that we know exist because of the blood our ancestors spilt for freedom.

2 minutes to midnight,
The hands that threaten doom.

Nuclear war was once a reality. Maybe it is again between the US and North Korea.

The body bags and little rags of children torn in two
And the jellied brains of those who remain to put the finger right on you
As the madmen play on words and make us all dance to their song
To the tune of starving millions to make a better kind of gun.

More like starving billions.

Losfer Words (Big ‘Orra)
It’s listed as written by Harris, so if you believe his haters, it means he copied it from someone or stole their intellectual property. I seriously can’t believe our world has come to this.  The section from 2.34 to about 3.20 is why this song is on this list. If it doesn’t lift you up and inspire you, then I have no words.

Flash of the Blade
Written by Dickinson about a young boy chasing dragons. Did he write the cool open string intro riff?

Who knows, but it’s a pretty cool riff.

The Duellists
Another Harris track about a swordfight to the death.

Back in the Village
Side 2 opens up with this cool track, written by Smith and Dickinson.

Turn the spotlights on the people
Switch the dial and eat the worm
Take your chances, kill the engine
Drop your bombs and let it burn

Is it about Vietnam and the Napalm bombing of villages?

Powerslave
It’s up there as one of Maiden’s best songs and it’s written by Dickinson.

Tell me why I had to be a Powerslave
I don’t wanna die, I’m a God,
Why can’t I live on?
When the Life Giver dies,
All around is laid waste,
And in my last hour,
I’m a Slave to the Power of Death

For all the wealth and power people have, they cannot buy or negotiate their way out of death. It’s the only certainty in life, for every human who is born, will eventually die.

When I was living this lie – Fear was my Game
People would worship and fall –
Drop to their knees.
So bring me the blood and
Red wine for the one to succeed me,
For he is a man and a God –
And He will die too.

And the circle of life keeps on repeating. A person dies, a successor is made and in time they will die as well.

Rime of the Ancient Mariner
Another Harris track to close the album and what about the music. It’s got everything, great riffs for both bass and guitar, a cool drum groove and vocal melodies to match.

That section from about 8.30 that starts building up from the bass interlude into the lead feels like it’s desk breaking time.

And that harmony lead break from about the 10 minute mark. It’s perfect.

To teach God’s word by his own example
That we must love all things that God made.

So many evils are unleashed due to the killing of the albatross. Don’t disrespect the old wives tales. There is truth there.

Bruce Springsteen – Born In The USA
I got this on LP as a gift and spun it to death.

It’s rock and roll music for the bars and the pubs and in my opinion it’s a pretty good reason why the album is so successful. Everyone in those venues played the album on the jukebox and every band that played covers in those venues played songs from the album.

It was my first Springsteen album and I was blown away at how solid and catchy each song is. Seven Top 10 singles and 15 million plus sold in the U.S alone. Not bad for a rock and roll album and not bad for a guy from Jersey. Hell, even John Cougar Mellencamp’s career got a boost from Springsteen. With every genre defining album, the labels are quick to jump on genres. American Heartland music was the term and suddenly “Scarecrow” has a budget to be recorded and a year later it’s everywhere. Same deal with Tom Petty and “Southern Accents”.

Born in the U.S.A
The album opens up with the snare and keyboard riff and the iconic lines of “Born down in a dead man’s town, the first kick I took was when I hit the ground, end up like a dog that’s been beat too much, till you spend half your life just covering up now”.

So many of us are born in these towns which boomed while the factories boomed after the wars. But all towns have their rogue element and kids get into trouble and adults get into trouble. And those factories experience hard times and suddenly, the great town is losing its soul.

And that chorus. Man, even people not born in the U.S.A were screaming it in their bedrooms and at the gig. And there’s no lead break, just a band jamming on a riff and Springsteen coming up with once in a lifetime generational lyrics.

Cover Me
The times are tough now, just getting tougher
This old world is rough, it’s just getting rougher

Springsteen sums up it all up with these two opening lines. And as much as we smile and put our happiest faces on social media, the reality is different. Times are tough. Try living without using your credit card and just your wages. Try buying a house with your savings and no loan from the bank. It’s tough, I know.

This whole world is out there just trying to score
I’ve seen enough, I don’t want to see any more

The other epidemic in civilization is narcotics.

I get up in the morning and do a cleaning job close to home from 5am to 7am. I come home, have a shower, put on my office suit and then do my normal job from 8am to 4pm. After work, I coach kids in soccer. U7’s from 4.30pm to 5.30pm and U14s from 5.30pm and 7pm. I come home and the cycle repeats the next day. I wouldn’t have it any other way.

Meanwhile, the drug dealers poison other people’s children, while they get to be around their children, provided they haven’t been arrested.

Darlington County
It’s a cool tune about two dudes called Bruce and Wayne from NY City, whose Dad’s own each of the World Trade Towers (remember them – actually who can forget them and how they came down), driving down to Darlington County on the fourth of July for a little fun and it ends up with Wayne handcuffed to the bumper of a State Trooper’s Ford.

Working on the Highway
Springsteen is showing his 60’s influences on this one.

Friday night’s pay night, guys fresh out of work
Talking ’bout the weekend, scrubbing off the dirt
Some heading home to their families, some are looking to get hurt
Some going down to Stovell wearing trouble on their shirts

There was a working factory class once upon a time. Now the kids of that class are bankers or techies, while the factories moved to Bangladesh, Taiwan and China.

I work for the county out on 95
All day I hold a red flag and watch the traffic pass me by

Working on the highway, laying down the blacktop
Working on the highway, all day long I don’t stop
Working on the highway, blasting through the bedrock
Working on the highway, working on the highway

And the working factory class is replaced by a new class called infrastructure building. Our governments are constantly zoning land for new developments, which means more roads, bigger roads and more motorway’s connecting these areas. If they can’t build the motorways on land, they will tunnel it.

Downbound Train
This song is my favourite. I think it’s because I always caught the train into the city, so it was a memory of walking to the train station, the 90 minute ride, the laugh with friends and just the pure innocence of it all.

For the song, the guitar groove and the lyrics just connect from the outset.

I had a job, I had a girl
I had something going, mister, in this world
I got laid off down at the lumber yard
Our love went bad, times got hard

And people wonder why Springsteen was called “The Boss”. So much truth in the lyrics. He’s reflecting society back at us.

Now I work down at the car wash
Where all it ever does is rain
Don’t you feel like you’re a rider
On a downbound train?

When it goes bad, it really goes bad. And sometimes, the only way out of a bad situation is to have the guts and move to a different city because if you stay in your hometown, there is a good chance you will be screaming, “We Gotta Get Out Of This Place”.

I’m on Fire
Again, everyone was singing, “Hey little girl is your daddy home” from the top of their lungs. And not bad for a song that was demoed and good enough to keep as is.

No Surrender
And side two kicks off with another favourite.

Well, we busted out of class
Had to get away from those fools
We learned more from a three minute record, baby
Than we ever learned in school

It’s how I learned about life. Drop the needle on an album, kick back and digest the lyrics. Any word I didn’t know the meaning, I would look it up. Any reference to something as an analogy, I would find it in the library. But in the end, the records told me that love is great when it’s good and pretty sad when it goes bad. The records told me that everyone who is born, will have an end. The records told me about social problems, history and fantasy.

Bobby Jean
Now, you hung with me when all the others
Turned away, turned up their nose
We liked the same music, we liked the same bands
We liked the same clothes

Friendships or relationships with mutual tastes are killers when they end.

I’m Goin’ Down
I wonder what kind of “going down” Springsteen was singing about.

Glory Days
Another cool story about catching up with two friends and talking about glory days. One was a big baseball player in high school and the other was a girl who turned the boys heads back.

Dancing in the Dark
Springsteen at his catchiest and cheekiest, basically saying, he’s home after a night out, he has a loaded gun and he needs a little help to make it fire. So in other words, Dancing In The Dark is a clean way to say “let’s have sex”.

My Hometown
Everyone could relate to this.

In ’65, tension was running high at my high school
There was a lot of fights between the black and white, there was nothing you could do
Two cars at a light on a Saturday night, in the backseat there was a gun
Words were passed, in a shotgun blast troubled times had come

In my hometown
My hometown

I never grew up with these kind of tensions, but on some days in the 80’s, I swear it could have exploded. Because there are still people aggrieved with what happens. There are black people who feel the push to equality is not enough or too late. There are white people who still believe they should enslave black people. And year after year, the eggshells which people walk on, start to break. Until it explodes.

Now Main Street’s whitewashed windows and vacant stores
Seems like there ain’t nobody wants to come down here no more
They’re closing down the textile mill across the railroad tracks
Foreman says, these jobs are going, boys, and they ain’t coming back

To your hometown

I grew up in a steel city. The factories employed over 30,000 people. European migrants came to Australia to work in these factories. But then, it started to change. By the mid 90’s my hometown was vacant stores. We had three banks on the Main Street and suddenly we had none. All the fruit and veg shops and convenience shops shut up shop, as a large shopping centre was built 5 minutes away. But we still had three Pubs, a RSL club and a Leagues Club. All with pokie machines and a lot of alcohol.

Last night me and Kate, we laid in bed, talking about getting out, Packing up our bags, maybe heading south

I actually did get out and go south, about 30 minutes’ drive from my hometown, while my parents still live in the same house they purchased when they arrived from Europe. And suddenly a house which sold for $80K in 1998 across the road from my parents now sold for $600K. You see, my hometown is right on the beach. It has views of the Pacific Ocean. My parent’s house is on top of the hill. And when I moved out, I knew it was only a matter a time before my hometown became great again. The shutting of the steel factories and cooper smelters did hurt it. But in time, new businesses have come about. And Main Street has been getting a revitalisation over the last 10 years, with café’s, restaurants, hairdressers and a lot of other businesses popping up. And we still have two Pubs out of three left and a Leagues club.

Stryper – The Yellow and Black Attack
I got this album from a Saturday market on the same day I purchased the “To Hell With The Devil” album.

Loud ‘N’ Clear
I dig the guitar riff written by Michael Sweet. And yeah, I know in the verses he sings about wearing his hair long and looking like a freak, but he will always praise His name. Well, I always took His name to be Rock and Roll.

Loud, clear, let the people hear
Scream, shout, show what it’s all about

Like so many other songs from the 80’s. It was all about a statement, about accepting people for who they are.

C’mon Rock
Another Michael Sweet composition.

We’re here to rock for you an rock is what we’ll do
Until your body feels the sound
So don’t be afraid to shout cause that’s what it’s all about
We’ve got to spread it all around

C’mon rock, rock, rock
C’mon never stop

Like Keel, there is a lot of rock in this song. But it was a sign of the times. As the 60’s had Presley, The Beatles and The Rolling Stones and Woodstock, we had a whole metal and rock movement sweeping across the globe courtesy of MTV.

Manowar – Sign Of The Hammer
I wasn’t sure if I should laugh at this band or take them seriously when my cousin Mega played me their albums. Their manly Viking look and their battle charged lyrics just didn’t really connect, however a few songs did. “Fighting The World” is my favourite, and “All Me Play On Ten” is not far behind.

All Men Play on Ten
The album opener and the best track on the album. Written by bassist Joey DeMaio, but it’s Ross The Boss on guitar and Eric Adams on vocals that steal the thunder, while Scott Columbus lays down a great groove.

I made a Rock’N’Roll sin when I tried givin’ in to
Make money had to turn down low
They said, “Why be proud, don’t play so loud
Be like us and get a sound that’s real thin
Wear a polyester suit, act happy look cute
Get a haircut and buy small gear”
That’s when I turned to them and said
“Hold it, right there!”

You could just imagine a confrontation between the Club owner and Manowar over “turning it down”. I played a gig once were I got told to turn it down, so I just walked over to my amp, touched the nob and pretended to turn it down.

Nobody tells a man how to play
It just ain’t that way hey, hey, hey
Can you hear me say…
All men play on ten
Never gonna turn down again

LOL. Nobody tells a man how to play. But Spinal Tap went to eleven.

Kick Axe – Vices
I picked it up from a second hand shop on vinyl. Spencer Proffer from Quiet Riot’s “Metal Health” album is on board to produce so it convinced me to buy.

I didn’t like side 1 and after a few tracks on side 2, I was about to give up and then “Cause For Alarm” started. Yep, it wasn’t until track 8, that I heard what I liked.

Cause for Alarm
It’s got that “Neon Knights” Sabbath vibe in the verses merged with a little bit of Priest, a catchy chorus and a good finger tapped lead break.

What more does a song need?

All the Right Moves
It’s a cross between “Ten Seconds To Love” and AC/DC which suits the lyrics about a woman with all the right moves.

Just Passing Through
And this one has got this ZZ Top vibe that hooks me in. Three songs and three different musical styles. Hence the reason why I hated genre labels like metal and rock. To me, it’s all rock.

The personnel in the band never had the stardom that other artists had, but they could play. Larry Gillstrom and Raymond Harvey formed a wicked twin guitar team while vocalist George Criston can be a rock god or metal god, depending on the song. And under pinning it all is bassist Victor Langen and drummer Brian Gillstrom.

Well that’s the first part of 1984 Done.

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

Then (1984) and Now (2014)

Then
A large marketing budget broke bands.

Now
Fans break bands.

Then
Musicians and bands were picked out of a pool of people by record label representatives based on the strength of the songs and the buzz around them.

Now
Musicians and bands are still picked out of a pool of people by record label representatives based on how they look and dress.

Then
Radio fed us streams of crafted products created by the record label machine.

Now
Radio hasn’t really changed however people can stream songs on playlists that they have created.

Then
You HAD to go into a big expensive studio to record.

Now
Musicians at home can record, mix and master their own work with little money.

Then
Bands/Artists wrote what they wanted and then the record label told them what they wanted and then the bands would go back and re-write songs to what the record label wanted.

Now
Bands/Artists can create whatever they want and in the version they want.

Then
A record label was needed to release music.

Now
Bands and artists can release their music in the way they want. No label is needed.

Then
It was hard being a musician. There was no guarantee that a band or an artist would make money from music.

Now
It’s still hard being a musician. There was no guarantee that a band or an artist would make money from music.

Then
Unknowns had no way of reaching millions.

Now
Unknowns can reach hundreds of millions of people with their music.

Then
Piracy was an issue however it still didn’t deter bands and artists from creating new music.

Now
Piracy is still an issue and it still doesn’t deter bands and artists from creating new music.

Then
Musicians rarely banked on making cash from recordings

Now
Musicians feel entitled that they should be making cash from recordings because they poured their heart and soul into it.

Then
Musicians focused on creating, recording and playing live.

Now
Musicians have their fingers in a lot of pies to make a living.

Then
Musicians obsessed about booking shows. That is where people went to find new music.

Now
Musicians hardly play shows. They are more selective. And people don’t go to watch unknown bands anymore, as they have so many different avenues to find new music.

Then
Music was the event.

Now
TV Shows are the events with music being relegated to a sideshow.

Then
Musicians made a living by putting the hours in.

Now
Those same musicians are still making a living by putting the hours in.

Then
Musicians did the hard work of building up a local fan base.

Now
Musicians want to take over the world in an instant.

Then
There was a monopoly on the distribution. There was a monopoly on the price.

Now
That monopoly has been replaced by the internet.

Then
The cream of the crop always rises to the top.

Now
The cream of the crop still rises to the top. It just takes a little bit longer.

Then
The record labels killed off genres by pushing acts they signed to copy other acts.

Now
99 percent of artists and musicians still copy other acts. That 1 percent that do it differently are the ones that have a career.

Then
The Record label set up was basically a lot of non-creative people living off the backs of those who create content

Now
The record label set up is still the same, however it is starting to diminish.

Then
Artists believed that once they got signed by a record deal, fame and riches would follow.

Now
Artists know that there is no single solution and they are aware that record labels rip off the artists.

Then
Artists and Bands had two paths of getting our music out. The record label path or the do it yourself path.

Now
Artists and bands have hundreds of paths for pushing our music out. They just need to work harder at it.

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The Great “Bark At The Moon” Song Writing Controversy

Coming into the “Bark At The Moon” sessions, the Blizzard of Ozz band was in disarray. Bob Daisley and Lee Kerslake got fired before “Diary of A Madman” was released and in the process they had their credits removed from the album. The other driving force, Randy Rhoads died tragically when the plane he was on crashed into a mansion and burst into flames on March 19th, 1982.

Ozzy Osbourne as usual was at his drunken best and after delivering the “Speak/Talk Of The Devil” album, he was free from his Jet Records contract, ready to sign a major label deal with CBS.

Jake E Lee joined Ozzy’s band during the “Speak of the Devil” tour. The band at the time consisted of Tommy Aldridge on drums, Don Costa on bass and Lindsay Bridgewater on keyboards. Once that tour ended, the song writing process began for the next album.

This is what Jake E. Lee had to say on the song writing process in a recent interview with the Ultimate Classic Rock website;

Well, most of that was really me and Bob Daisley. Because Ozzy would show up and kind of play around with songs. I remember that I had the riff for ‘Bark at the Moon’ and I played that, and he said, “Oh, I love it — we’ll call that one ‘Bark at the Moon,’” because he already had the album title in mind. So he said, “That’s the one that’s going to be ‘Bark at the Moon.’” He’d come in with things like that and then he’d drink, and he’d either pass out or leave, which left just me and Bob. We’d stay in the studio and flesh out the songs. It was fun working with Bob. He wrote all of the lyrics, [and he’s] a great lyricist. So yeah, me and Bob, we had a good working relationship. It was fun doing that record.

Bob Daisley told his story to the Bravewords website in the following way;

“You see Ozzy and Sharon were trying to get me to agree to get rid of Lee (Kerslake) and get Tommy Aldridge in the band. I kept on saying no, it’s not broken, so let’s not fix it. Lee (Kerslake) was working fine. So they got rid of both of us. But a few months later, Sharon phoned me and asked me to meet her in London for a chat. She said that Randy wanted me to come back and that they wanted to do a third album. So I was supposed to do an album with Randy, Ozzy and Tommy Aldridge. It was all planned that I was supposed to do the third album, which I did but not until 1983 but was supposed to be in 1982. Obviously Randy was not a part of it and it ended up being Jake E Lee. Everything was postponed when Randy left us.”

That postponement meant that Dan Costa was playing bass on the 1982, Winter/Spring European tour. Eventually, Ozzy got fed up with him, punched him in the face, breaking his nose and firing him all in one swoop. The call went out to Bob Daisley again to do the US Festival gig and then the third album.

The US Festival attendance figure varies however it is safe to say that the attendance was somewhere between 350,000 to 450,000 people. The US Festival was the Metal’s world “Woodstock”.

From May 29, 1983 up until 1992, metal and rock ruled. Coming into the US Festival, Bob Daisley had a week to get himself re-acquainted with the songs. In typical rock star fashion, Daisley flew in to L.A, went straight to rehearsal from the airport with some series jet lag. After another rehearsal the next day, he walked out on stage to play to a sea of people on the third day. The bands that performed on the Heavy Metal day included;

Quiet Riot
Mötley Crüe
Triumph
Ozzy Osbourne
Judas Priest
Scorpions
Van Halen

The US Festival (sponsored and orchestrated by Apple’s Steve Wozniack) was a pivotal moment for all of the metal bands involved.

Quiet Riot’s “Metal Health” was released on March 11, 1983 however it didn’t really do anything. The album then started to take off after the US Festival in May 1983 and after the release of “Cum On Feel The Noize” as a single in August 1983, it exploded.

Motley Crue already had some momentum going with “Too Fast For Love”. The U.S Festival helped cement their status as Sunset Strip favourites and when “Shout At The Devil” hit the streets in September 1983, the momentum became a tidal wave to platinum glory. Motley Crue played the perfect set, including a few of the new songs that would appear on “Shout At The Devil”, so as a concert goer, if you heard those songs and liked them, you more or less would go out and purchase the album that has them them.

Triumph, Scorpions and Judas Priest already had some serious momentum going.

1981’s “Allied Forces” for Triumph was a success and the follow-up “Never Surrender” released in January 1983 was no slouch either and it was certified Gold on September 30, 1983 by the RIAA. Isn’t it funny what a festival in May of that same year did to boosting sales.

Judas Priest had their 1982 “Screaming For Vengeance” album doing the rounds and in April 1983 it was certified Platinum in the U.S.

Scorpions had their 1982 album “Blackout” out in the market and their visibility at the US Festival in May 1983, assisted in “Blackout” reaching Platinum status in March 1984. Also in March 1984, “Love At First Sting” hit the streets with the worldwide smash “Rock You Like A Hurricane” further cementing the band’s status as superstars. This success didn’t come instantly either, as the Scorpions had been working since the start of the Seventies.

Van Halen at the time were kings of LA however their last album “Diver Down” didn’t do them any favours. The visibility from the May 1983 festival along with Eddie Van Halen featuring in Michael Jackson’s “Beat It” song would help their “1984” album released in January 1984 reach the lofty Diamond certification.

Ozzy Osbourne on the other hand was a very different place in his career. He had the momentum with the Blizzard Of Ozz band and then started losing that momentum when Sharon and Ozzy fired Bob Daisley and Lee Kerslake. With the death of Randy Rhoads, all of that momentum was totally lost. So the US Festival was an important moment for Ozzy Osbourne’s career.

For Daisley, coming back into the fold after he played the U.S Festival meant that he came with conditions this time around. Two of the conditions he stipulated was to be paid for writing the songs and to be paid to play on the album. Other conditions that he stipulated was to get bonuses when the sales reached a half a million and then a million and so on. However, as usual, he got screwed again and no bonuses came. Of course when the album was released in November 1983, by January of 1984 it was certified Gold in the US.

So after the US Festival in May 1983, Bob Daisley, along with Jake E. Lee, Tommy Aldridge and Ozzy Osbourne went to New York and started writing. Writing continued in London and recording started at Ridge Farms with Max Norman Engineering and producing again. The rest of the album was finished at The Power Station back in New York in 1983. The reason for the change was that Ridge Farm Studio was losing money at that point. In typical Osbourne fashion, the favourite Tommy Aldridge struggled in the studio, with Sharon Osbourne constantly on his case as to why the drum parts were taking so long. So after Aldridge recorded the album and just before the tour, he got fired.

That is when Carmine Appice entered the fold. Appice appeared in the “Bark At The Moon” video and had a contract to do the tour. Eventually he got fired from the tour as well due to him sneaking off and doing drum clinics, which infuriated Sharon Osbourne, especially when he would come back late for sound checks.

This is what Bob Daisley had to say on the matter in an interview on the Classic Rock Revisited website;

“Sometimes he (Appice) would throw extra things into the songs that shouldn’t be there just to show his pupils that he gave free tickets to after doing the clinics. He got a little carried away with himself but it was wrong for Ozzy and Sharon to get rid of him because he had a contract to do that tour. They should have ironed out the problems but what do they do? They get rid of him and bring Tommy Aldridge back and I think it was a mistake. Carmine sued them and he won.”

How many law suits would the Osbourne’s face that all could have been avoided if they were fair to the musicians that really made Ozzy Osbourne’s solo career. Let’s get one thing out-of-the-way. The mix is horrible. Thank Tony Bongiovi for that.

“Bark At the Moon” was a title that Ozzy came up with. Ozzy mentions it and both Jake and Bob agree with it. Jake E. Lee came up with the riffs and Bob Daisley wrote the lyrics about a beast that comes out in a full moon.

I love the lyrics in “You’re No Different.” Bob Daisley has stated that it was Ozzy’s title and that Ozzy wanted the song to be about people judging and criticizing him.

Look at yourself instead of looking at me
With accusation in your eyes
Do you want me crucified
For my profanity

Concealing your crimes behind a grandeur of lies
Tell me where do I begin
If you think you’re without sin
Be the first to cast the stone

Living my life in a way that I choose
You say I should apologize
Is that envy in your eyes
Reflecting jealousy

Tell me the truth and I’ll admit to my guilt
If you’ll try to understand
But is that blood that’s on your hand
From your democracy

The lyrics to the song “Now You See It (Now You Don’t)” were composed by Daisley and were aimed at Osbourne’s wife and manager Sharon Osbourne. However Ozzy and the rest assumed the song was about sex. Even Bob Daisley stated once that the song is about hiding a sausage.

For the song “Rock N Roll Rebel” this is what Bob Daisley had to say about it on his website;

Ozzy’s title and another one about him being accused of being a devil worshiper. Some of the lyrics were his too but about 90% were mine.

“Centre of Eternity” or “Forever” was Bob Daisley’s title and lyrics. As Bob stated, it is a “tongue-in-cheek philosophical look at ‘time’ and our existence in eternity.”

“So Tired” to me was a great song. Jake E Lee hated the orchestra in the song. Bob Daisley has stated that it was his title and lyrics. On his website, this is what he had to say about the song;

Something quite unusual for me to write – a love song. The idea came from a Kinks’ song I heard on the radio one night driving back home from Ridge Farm. Their song was called ‘Tired of Waiting’ but that’s where the similarities end.

“Slow Down” is a Bob Daisley title and all lyrics are by Daisley. This is what Bob Daisley had to say about the song;

Inspired by The Beatles’ song of the same name but again, that’s where the similarities end, the lyrics are very different. I remember Jake E. Lee particularly liked this one.

“Waiting for Darkness” to me is a favourite. It is Ozzy’s title however Bob Daisley wrote all the lyrics.

This is what Bob Daisley had to say about the song;

I wrote it about the hypocrisy within organized religion, the brainwashing, mind control, paedophilia and manipulation through guilt, and that if that’s what equates to the ‘light’ then I’ll wait for the ‘darkness’. When Ozzy was asked what the song was about during his interview with ‘International Musician’ magazine, mentioned earlier, his answer was, “A witch.” It seems he didn’t understand the lyrics I’d written and he’d sung, although he took credit for writing it.

“Spiders” was a Bob Daisley title and lyrics.

This is what Bob Daisley had to say about the song;

When we were recording ‘Bark’ at Ridge Farm, there were hundreds of little spiders everywhere. They were harmless but the glut of them inspired the song idea. I turned it around at the end with ‘the spider’s in your head’…

“One Up the B-side” is Bob Daisley’s ode to anal sex and the title and lyrics are all his.

In relation to the music, Jake E. Lee has said that he would come up with riffs and the ones that got the nod of approval ended up into songs.

On the Ultimate Classic Rock website, Jake E . Lee is asked the question if he went into the making of the “Bark At The Moon” record knowing that he would not be getting any writing credits. He answered that question with a simply “No”.

This is what he had to say on the matter;

“I was promised that I would get [credit]. Because I was young and I was in the middle of Scotland recording, I didn’t have a manager or a lawyer — it was just me. From the beginning, every musician, it’s always hammered into them, “Keep your publishing” and “Keep your writing.” So those were the only conditions that I had was “OK, I’m getting song writing credit, right?” I was always assured that “Yes, I’m getting publishing — of course you are!” When I didn’t on the first record, it was upsetting. But I figured OK, what am I going to do? I got freaked — what am I going to quit? We’re about to tour on a record that I finally got to make. There’s no problem for Ozzy to find another guitar player — am I just going to be that guy that played on that record, didn’t even get credit on the record and then refused to tour because I had a problem with Ozzy? No. I had to go out and tour. It would have been stupid not to. So I was only able to put my foot down at the end of the tour. “Let’s make another record” and I was like, “OK, but this time, you know what? I want the contract first before we start recording. I don’t want to be a dick, but I don’t want to get freaked again either.”

A lot of people think that Ozzy wrote a lot of the lyrics. Ozzy has led people to believe that. In interviews Ozzy has always stated, “when I wrote that”. It is all lies.

This is what Bob Daisley had to say on the matter, in an interview on the Classic Rock Revisited website;

“The Osbournes won’t recognize or admit it’s true. They dislike the fact that, through my lyrics, I had a big hand in creating the magic and image that is Ozzy Osbourne. They’ve always tried to hide that. I remember at the time of Bark At The Moon, Jake E. Lee’s song publishing and mine had some complications. So we opted for a buyout and that’s why it says – ‘All songs written by Ozzy Osbourne.’ This of course, is not true. Ozzy did an interview with International Musician magazine, back in ’83 or ’84, they asked him how he wrote those songs and he said ‘with one finger on a piano.’ What a joke. The whole thing was ridiculous. Most people take it for granted that if someone is singing lyrics, that they wrote them.”

Now Bob Daisley got a buy out for “Bark At The Moon”, however it looks like Jake E.Lee got really screwed over for this release. There are no royalty checks for the songwriting and no publishing monies either. Let’s hope the Osbourne’s can sleep well each night, considering that a couple of million from the hundreds of millions that Ozzy is worth could right their wrongs.

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Metallica: Hot Metal – June 1992, the “Through The Never” Stage Idea Goes Back To This Period and Staying Power

I have been re-reading a lot of the magazines I have accumulated during the Eighties and the Nineties. I just finished reading a story about Metallica from the Australian magazine “Hot Metal”. It is the June 1992 issue.

The article is written by Robyn Doreian, who was the editor once however when this story hit the press, she had moved on to Metal Hammer. The story was a combination of two days she spent with the band, plus separate interviews with James Hetfield and Lars Ulrich.

The first part that got me interested was the following answers from James Hetfield;

RD – First up, I ask him about the new stage design, which not only challenges conventional rock shows but also has consider-able advantages for the fans.

JH – “We sat down and talked about what we wanted to do. For instance, Lars has his travelling drum kit that was all his thing. I have to make that clear,” he scoffs, “because I find it a little silly. As much as he wants to be in the spotlight, he also gets to travel. He’s basically a front man on drums. We should have thought of it earlier in our careers, I guess.”

“The snake-pit was a combination of ideas from band members and management. Initially that hole in the middle of the stage was meant to be a special effects area, with things like little crosses rising up, or a blow-up ‘Justice’ lady or something.” sniggers Hetfield.

“We said no’ Why not put some kids in there, some fans. That would be cool. We usually put between 40 and 90 kids in there, depending on each city’s fire regulations and stuff.”

RD – What about the area set aside for taping?

JH – “Fans have to buy a special ticket for the tape section. It’s like five bucks more, and there are like 20 or 30 kids who can get in there and video, audio or whatever they want to do. It’s a cool thing to do, to flood the market with bootlegs. And it makes it a little more personal.”

The above got my interest for two reasons;

1. The stage design.
2. Bootlegs.

First, the stage design. The grand stage design that is seen in the movie “Through the Never” was conceived back in 1991 for the tour in support of the Black album. Of course, an idea is just an idea until it is executed and with the exponential rise of technologies, that idea finally came to fruition in 2012.

The point of this is that no one should ever give up on an idea. If it doesn’t work at a particular given point in time, keep it filed away as it could work at a later time.

Second, the bootlegs. The Black tour did something great for the hard core fans that no other band had really done up until then.

Metallica in 1992, wanted to flood the market with bootlegs. Metallica in 2013 has the following disclaimer on their Live Metallica website “Terms of Use”;

Any violation of copyright laws may result in severe civil and criminal penalties. Violators will be prosecuted to the maximum extent possible.

Compare the above to the comments from Hetfield. What a difference between Metallica and the Metallicorporation? This is why Metallica messed up big time with Napster by handing over names of fans at the Senate Hearings.

Next up in the interview was Lars Ulrich. Knowing what we know now, words from the past is always interesting.

RD – Seizing the opportunity I ask him whether, seeing as Metallica have now been so firmly embraced by the mainstream, it’s possible that they are becoming what they once rebelled against.

LU – “I don’t disagree with that, but we were always more into doing our own thing, never about being shocking for its own sake or pissing people off. You should always be yourself.”

Lars admits that he and Metallica are becoming the entity that they rebelled against. Is there anything wrong with that? Of course not. Can a band remain the same after they accumulate millions? No chance.

RD – Do you ever think that in years to come there is a danger of Metallica being viewed as a dinosaur band, some sort of corporate rock giant similar to what happened to bands like Zeppelin in the 70s?

LU – “I think there are a lot of people in the States right now who, simply because we have gained confidence in what we’re doing, are saying that we are doing the same arena rock clichés that these other bands were doing. My attitude is basically that if people come and see us and think its arena rock crap then that’s fine. It doesn’t affect me; because I know what we’re doing is distinctly different from what everyone else is doing.”

RD – With Grammy awards, cumulative record sales in the millions and adulation the whole world over, what is there left for the band to achieve?

LU – “Staying power. In terms of numbers, it’s not going to get much bigger but its important not to burn out. A lot of bands don’t have the confidence for a long term career, so they try and milk everything while they can. We plan to be around for quite a while, so when this tour is over we’re going to have a long period of inactivity.”

The above is interesting to me for the following two reasons;

1. Be Yourself / Stay true to yourself
2. Staying Power

I was a fan of Metallica coming before the Black album came out. It was “Ride the Lightning” that did it for me. I cannot recall how many arguments I got into over what is the better album between “Master Of Puppets” and “Ride The Lightning”.

Then the Black album comes out and I really liked it. I thought it was perfect. The songs hammered the ear drums from start to finish and the groove was undeniable. Metallica wrote and recorded an album that they wanted to write. It was never designed to have a hit single whereas “Load” and “Reload” to me, feels like Metallica had that single idea in the backs of their mind.

The comments about staying power ring true. As Lars said, in terms of numbers, it wouldn’t get any bigger than the Black album. However reaching the top is not the end of the journey. That is when a new journey begins.

Twisted Sister failed after “Stay Hungry” exploded.

Motley Crue fired Vince Neil after “Dr Feelgood”.

Guns N Roses became Adler-less after “Appetite for Destruction” and after “Use Your Illusion,” Guns N Roses became an Axl Rose solo project.

Motorhead had Fast Eddie Clarke play on one more album (“Iron Fist”) after “Ace of Spades.”

Skid Row got one more album out in “Subhuman Race” after the massive “Slave To The Grind” and disappeared.

Van Halen released “1984” and then fired David Lee Roth. They are one of the rare bands that changed lead singers and went on to bigger success, with the Van Hager era.

Poison got “Flesh and Blood” out after the mega successful “Open and Say Ahh” and it was curtains, even though “Native Tongue” with Richie Kotzen was a great album.

White Lion never recovered from the mega success of “Pride”.

Warrant released the excellent and heavy “Dog Eat Dog”, however it was no “Cherry Pie” and they got dropped after Jani Lane left.

Also when a band reaches the top, it opens up the opportunity for some time off. Metallica had been on an album and tour cycle since “Kill Em All” was released in 1983. After 11 constant years, by 1994, they had some time off, before they regrouped for the “Load” albums.

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Cog – Are You Interested? (Classic Song Waiting To Be Discovered)

I just finished reading an article from TorrentFreak about databases that store everything we do online. In light of the N.S.A surveillance scandal in the U.S, it is a timely reminder of issues that should matter to everyone.

On the one hand we have the entertainment companies moaning and complaining about piracy and the need for everyone else to do something for them in order to prop up their dated business models.

On the other hand, we have other IT companies taking up government contracts to COLLECT and STORE data on its own citizens. The observations range from web browsing habits, emails, Facebook activity, phone activities and text messages. All of this totalitarian overheads in the name of democracy and protection.

As I was finishing reading this article, a song from the super excellent Australian band COG came on. The song is called Are You Interested? and it more or less tells the listener that personal privacy in today’s society doesn’t exist. It was released on the excellent Sharing Space album from 2008. I loved this album back in 2008 and five years later I still love it. That to me equals a GREAT album.

I still can’t believe it has been 5 years. I remember watching them at Waves in Wollongong, on the Sharing Space tour.

Cog had their own groove going and a massive big sound for a three-piece. Lucius Borich was on drums, Flynn Gower on guitar and his brother Luke Gower on bass. It is a dead set shame that they never got a higher level of international recognition. I am sure they still had some of their best work to come.

On the album Sharing Space, Cog really went to town on the politics, especially around governments that do the bidding for the Corporations.

Yes they’re making lists of people interested in this
And they’re scanning all their databases
Hunting terrorists
Yes they’re making lists of people interested in this
And anyone who speaks their mind is labelled anarchist

So we know that the NSA collects and stores information from U.S. internet and telephone companies. All of the data goes to different data centres. As mentioned in Wired Magazine, these data centres will “intercept, decipher, analyse, and store vast swaths of the world’s communications as they zap down from satellites and zip through the underground and undersea cables of international, foreign, and domestic networks.”

Sure sounds like a big list to me. I am just curious as to how many bad people the NSA/Prism scheme actually captured or prevented from doing anything nasty.

Barcodes and fingerprints
Obedience identikit

It’s like the book 1984. Actually one of my favourite movies, Equilibrium, is influenced by the concepts in 1984. Who is to say that the Government will not expand their data collection to medical data.

Yes, they’re making lists are you interested?
Yes, they’re making lists but maybe they’re the terrorists

It looks like the terrorists have won. America and other “democratic” nations have done a great job of destroying themselves in the aftermath of 9/11. Democracy is now a Police State.

The vocal style of Flynn is so unique, it makes the song remain in my head space for a long time after it is finished.

A bit of back story in relation to Cog. The band I was in during the time period between 2000 and 2004, opened up for Cog. This was the period of the Just Visiting Part 1 and Part 2 EP releases. As a live band, they killed it.

They knew which songs to open a set with so that they could pump everyone up. For the Just Visiting EP’s it was Moshiach, for the New Normal it was Doors and for Sharing Space it was No Other Way.

Another thing they did really well was their light show. For an independent band, they put a lot of effort into their live show. It changed for all three albums;
· Just Visiting had the Chinese lanterns
· The New Normal had the lasers and the spotlights
· Sharing Space had the strobes, traffic light and heater like lights

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