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

1996 – Part 3.5: Victor

If you search for Alex Lifeson in Spotify, this album would not come up, because even though “Victor” is a solo album by Rush guitarist Alex Lifeson, its released under the name of “Victor” and filed away under V.

Released in January 1996 on Anthem Records and recorded between the Rush albums “Counterparts” and “Test for Echo”, two of my favourite Rush records of the 90’s.

The musicians behind “Victor” are Alex Lifeson on guitars, bass and keyboards, plus spoken vocals on a few songs. Les Claypool makes an appearance on bass for “The Big Dance” while other bass tracks are handled by Peter Cardinali. Bill Bell is a Canadian guitarist who has toured and recorded with Jason Mraz, Tom Cochrane, Alex Lifeson and Danko Jones to name a few, also appears on guitar and Blake Manning is on drums.

For vocalists, Lifeson speaks on a few tracks, and a singer called Edwin (who I found out later is from a Canadian Rock band called “I Mother Earth”) does vocals on “Don’t Care”, “Promise”, “Sending Out a Warning”, “The Big Dance” and “I Am the Spirit”.

Another Canadian singer called Dalbello (otherwise also known as Lisa Dal Bello) appears on “Start Today”

“Don’t Care”

The track is written by Alex Lifeson.

The sound is grungy. But take away the studio sounds of the day and play the riffs through a 5150 amp, you’ll hear how heavy metal they are.

Some of the open string riffs do bring back memories of 70’s Rush.

Lyrically it’s so different from what Peart would write for a RUSH album. Its crude, full of fuck words and it’s basically about sex. The Rush elitists crucified him on the Rush boards back in the day for the lyrics. But Lifeson didn’t care.

“Promise”

Written by Lifeson and Bill Bell, it’s got this REM/Tragically Hip feel in the verses with a bit of “Limelight” in the Chorus.

I like the solo section. It has a riff which keeps repeating, while Lifeson does ambient like guitar noises and various note bends. It’s not technical, but its more abstract and it fits the vibe of the song. Then again it could be Bell on the solo. I don’t know.

“Start Today”

Written by Lifeson, check out the intro riff on this. Its huge, simple and yet progressive.

And Dalbello sounds a lot of like Geddy Lee when she hits her highs. A young Geddy Lee.

“Mr. X”

An Instrumental written by Lifeson. It sounds like a King Crimson cut, very Avant-garde, but the lead breaks are like blues jazz fusion.

“At the End”

Written by Lifeson and his son Adrian Zivojinovich. Adrian actually provides most of the computer programming which gives the songs he’s involved in, that Industrial tone.

Check out the riff at 2.24. I went straight for the guitar.

“Sending Out a Warning”

Another track written by Lifeson and Bell. And the riffs are interesting enough to get me to try and jam along.

The main riff by the way is excellent.

“Shut Up Shuttin’ Up”

Written by Lifeson and Bell, along with Lifeson’s wife Charlene and a person credited as Esther who basically provide the talking voices complaining about their husbands.

Musically, its funky, a bit bluesy and full of soul and every time the female voice overs say “Shut Up And Play The Guitar”, Lifeson begins to wail.

By the end of it, Lifeson is screaming back at em to “SHUUUT UUUP!”

For some reason, “The Audience Is Listening” from Steve Vai comes to mind.

“Strip and Go Naked”

Another Instrumental written by Lifeson and Bell.

The intro riff is one of this “Copperhead Road” riffs. Even Maiden used a similar riff on “Writings On The Wall”. Aerosmith on “Hangman Jury”.

But a Lifeson song moves within different musical pieces and this song is no other.

Check out the bluesy licks from the 2 minute mark over an ascending like bass riff and a strummed acoustic riff. And at 2.48 it goes back to the “Earle/Maiden” like riff.

But from 3.28 to the end, Lifeson takes that simple riff and makes it sound progressive. Listen to it.

“The Big Dance”

Written by Lifeson and Adrian Zivojinovich.

Man, that intro riff, so heavy.

And Les Claypool is on this, so the bass is prominent, syncopated with the kick drum.

“Victor”

Written by Lifeson and W.H Auden as the song is based on a poem written by Auden.

Its more experimental, with programmed drums and synths being prominent throughout while Lifeson recites the poem to us. It does nothing for me.

“I Am the Spirit”

My favourite song on the album and a perfect closer.

Written by Lifeson and Bell, it’s the most Rush sounding song on the album but the heavy rock sounding Rush.

“Tragically Hip” comes to mind here for the Verses with the vocal delivery, but musically, its Rush through and through.

The Chorus shows “The Spirit Of Radio”.

At 2.40, it quietens down and you hear some synth chords being played. Then Lifeson comes in with a clean tone guitar riff and man, what a riff it is. Different variations of it are heard throughout the song, but the way its delivered in this section, really brings it to life. One of his best riffs for the 90’s.

Then he goes into a guitar lead, which is emotive and perfect. But too short.

A great way to close the album.

Overall it’s not a perfect album and the spoken work melodies don’t really do much for me, but it’s that outside the box thinking which also draws me in, plus Lifeson always includes a riff or two in a song which makes me want to pick up the guitar and play along.

Check out this eclectic mix of blues rock, soul, funk, progressive, grunge, hard, industrial and alternative rock.

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

1996 – Part 2.2: Rush – Test For Echo

“Test for Echo” was released on 10 September 1996 on Anthem Records. Rush was one of the earlier leaders in forming their own label to release and distribute their music.

Anthem was formed in 1977 and Geddy Lee, Neil Peart and Alex Lifeson became associate directors of Anthem. Apart from Rush, they also releases other Canadian acts like Max Webster.

I’ve already written about the tracks “Test For Echo” here and “Driven” here but I still haven’t done a review on it.

After taking a well earned break after “Counterparts”, Lee focused on starting a family, Lifeson went to work on a solo album and Peart studied with Freddie Gruber, the guru of swing drumming. Peart’s constant reinvention of his style is a huge component to Rush not sounding the same on each record.

“Test For Echo”

Here we go in slow mo

To me, it’s the best Rush song from the 90’s.

The guitar riffs from Alex Lifeson are so easy to digest, powerful, heavy and groovy, even when they are down tuned a whole step.

Lifeson begins the song with interesting arpeggios. He achieves the unique sounds by combining root five power chords and leaving the 1st and 2nd strings open.

Geddy Lee and Neil Peart lay down a solid foundation, especially in the Chorus, when Lifeson just plays those arpeggios and Lee and Lifeson, set the groove.

Also check out how Peart plays a subdued half time beat in the verses and then starts to pick it up double time. A good drummer could make a simple riff sound fresh by doing just that.

And of course, no Rush song is complete without the lyrics of Peart, a critique of the American justice system which turns criminals into media stars.

Some kind of trouble on the sensory screen
Camera curves over caved-in cop cars

As technology progressed so did the coverage of real time situations. It’s one of the big reasons people watched the news to begin with, to see what was breaking.

Don’t touch that dial,
We’re in denial

We didn’t touch the dial at all, we just kept upgrading our TVs, giving the TV makers billions of dollars in revenue. Because we loved having all of this entertainment in our houses. Live news was the first form of reality TV.

Now crime’s in syndication on TV

Crime and sex always got eyeballs. It didn’t matter the medium. And now with the internet, where everything is available, it feels like we are all so desensitized to it.

“Driven”

It was one of the first tracks finished for the “Test For Echo” album, featuring three separate bass tracks; the main part, the harmony part and the sub bass bottom end, and they sound as one massive bass track.

Neil Peart also plays a little bit behind the beat which gives the riffs a heavier character.

Driven up and down in circles
Skidding down a road of black ice

You know the saying of “going round in circles” well in this case, the feeling is that we are not achieving anything because someone else is controlling the wheel and we keep coming back to the same point or problem.

But it’s my turn to drive

We need to take the wheel and be in control of our choices and decisions. We need to learn from them, grow with them and take ownership of our choices and actions. There is no one to blame when it’s our turn to drive.

The change from distortion to acoustic is soothing before the fuzz kicks in. And the simple chord progression of F, G and Am makes it so accessible.

Driven to the margin of error
Driven to the edge of control
Driven to the margin of terror
Driven to the edge of a deep, dark hole

How driven or ambitious can we be, that we find ourselves driven to the edge of control, or a deep dark hole?

Driven on
By the road to somewhere I’ve never been

A simple meaning of what it means to drive. It offers us the freedom to leave our city limits and go to another city and another.

The road unwinds before me
And I go riding on

It’s what we always do, we get up and live and go riding on. And we sacrifice or give up control, a little bit of our freedom each time which brings us back to the first verse and the words of being driven up and down in circles.

And the cycle repeats.

“Half The World”

The mix of acoustics and electric is a Lifeson thing. This song along with “Totem” and “Resist” feature the 10-string Mandola that Lifeson first utilized on “Victor”.

“‘Half the World’ is one of our finest moments as songwriters as far as writing a concise song without being wimpy or syrupy.

It’s got a little bit of everything: nice melody, and yet it’s still aggressive. It’s hard for us to write that kind of song, really. You’d have to go back to ‘Closer to the Heart’ to find an example of that.Geddy Lee in “Merely Players

The Color Of Right

It’s almost a pop song with its major key Intro and Boston like riff after it.

Make it easy on yourself
There’s nothing more you can do
You’re so full of what is right
You can’t see what is true

So relevant over the last 15 years, especially in our democratically elected governments who tried to pass laws that totalitarian governments have.

Time And Motion

This is the Rush I like. Heavy enough to give all of the 90s acts a run for their money and a bit proggy.

The Intro alone is worth the price of the CD. It wouldn’t be out of place on a Dream Theater CD.

“Totem”

It’s very Celtic like.

The “angels and demons inside my head,” line is visual and sums up the song about what people should believe in.

I believe in what I see
I believe in what I hear

Religion is a very divisive subject when it comes up, depending on which side of the discussion you sit on.

“Dog Years”

At the start it’s like a punk song. Only Rush can get away with this kind of goofy subject matter.

“Virtuality”

How good is the Intro riff?

The blues swagger and jazz like swing beat.

And that line “net boy, net girl, send your signal around the world”.

I was singing it for years afterwards and whenever anyone mentioned “internet”, I would start singing it. And I would cop weird looks I’m the process.

“Resist”

Such an underrated album cut. It’s my favourite.

Geddy Lee mentioned it’s one of his favorites in the book “Merely Players”. Wikipedia tells me that Alex Lifeson states the same.

I like the Celtic like sounds that the Dulcimer brings.

“Limbo”

An instrumental, pieced together from different bits of ideas that the group had sketched out but remained unused, but it’s not “La Vila Strangiato”.

“Carve Away The Stone”

And the album is complete with a song about the Sisyphean myth. I don’t what it is and I’ve never researched it, but I’m sure it will send me down the rabbit hole if I do.

Crank it loud and don’t forget to check out “Resist”.

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

Working Man

Alex Lifeson really gets to work on this song in the riffs and the guitar solos.

The opening riff could easily be used on a Metallica or Pantera album, it’s that heavy.

I get up at seven, yeah
And I go to work at nine
I got no time for livin’
Yes, I’m workin’ all the time

And when you add overtime to the mix which everyone would say yes to, as it added that little bit of extra in the pay, then there is zero time for living because you are working all the time.

But hey, you are thinking that the holidays are coming soon and you will have time for living then and you will go away with your family, but suddenly, you and your partner are disconnected because of all the time you spent away and your kids just don’t have that connection with you either.

It seems to me
I could live my life
A lot better than I think I am
I guess that’s why they call me
They call me the working man

Live to work or work to live. Jobs in the past provided security. It was the norm that someone would start and retire in the same job. My Dad did. These days it’s very different. There is a gig economy, part time work, casual work, full time work and most people have been in more than one job. Sometimes a lot of jobs.

The thing I like about music is when artists are creative.

From the 2 minute mark “Working Man” changes. That whole lead section and that riff from 3.10 is basically a song within a song. And it keeps going, so far removed from the pop formula of verse, chorus and bridge.

Then at the 5.20 mark the song comes back to the original music. After 7 plus minutes, the only option left is to press repeat.

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

Test For Echo

Here we go in slow mo

To me, it’s the best Rush song from the 90’s.

The guitar riffs from Alex Lifeson are so easy to digest, powerful, heavy and groovy, even when they are down tuned a whole step.

 “There’s a lot of different stuff on there. I tuned the guitar down a whole step to a D standard tuning. I got a new Les Paul Custom with beautiful sustain, a heavy tone and a compact, but not too small, sound. In the choruses I used a Godin Acousti-Caster, which has a really interesting sound that is at the same time almost acoustic but definitely electric.
Alex Lifeson In Guitar World

Lifeson begins the song with interesting arpeggios. He achieves the unique sounds by combining root five power chords and leaving the 1st and 2nd strings open.

The song works in any style and it could have fitted on any of their earlier albums from “Fly By Night” to “Signals” and it would not have been out of place.

Geddy Lee and Neil Peart lay down a solid foundation, especially in the Chorus, when Lifeson just plays those arpeggios and Lee and Lifeson, set the groove.

Also check out how Peart plays a subdued half time beat in the verses and then starts to pick it up double time. A good drummer could make a simple riff sound fresh by doing just that.

 “I feel like we arrived with this record. There’s a particular feel that I don’t think we had before—a nice groove and a lot of really good Rush songs. I feel like we were all really together on this album. Although we strive for that all the time, it’s not always achievable. The mood was so good in the studio, and we were so unified in direction.”
Alex Lifeson In Guitar World

And of course, no Rush song is complete without the lyrics of Peart, a critique of the American justice system which turns criminals into media stars.

“It’s about the numbing process that happens when we are exposed to great tragedies and then were exposed to moments of hilarity. I feel that that’s the condition of contemporary man now – when we read the paper or when we watch TV, were not sure if were supposed to laugh.”
Geddy Lee

Some kind of trouble on the sensory screen
Camera curves over caved-in cop cars

As technology progressed so did the coverage of real time situations. It’s one of the big reasons people watched the news to begin with, to see what was breaking.

Don’t touch that dial,
We’re in denial

We didn’t touch the dial at all, we just kept upgrading our TVs, giving the TV makers billions of dollars in revenue. Because we loved having all of this entertainment in our houses.

Now crime’s in syndication on TV

Crime and sex always got eyeballs. It didn’t matter the medium. And now with the internet, where everything is available, it feels like we are all so desensitized to it.

Here we go, vertigo
Video vertigo
Test for echo

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Copyright, Music, My Stories, Piracy, Stupidity, Unsung Heroes

Rock/Metal Quotes

“Our first deal, for example, was for five records, so there was development there. They looked at it as: ‘Let’s invest in these first two records, and if nothing happens, no big deal. Maybe the third record will be the turning point, and then four and five we’re on the gravy train.’ I think that was the record company’s perspective.”
Alex Lifeson. RUSH

It was always the fan that had the power. Fans invest in the artist. It never mattered what the record company thought or believed as it was the fan who decided if the piece of vinyl was worth their money. The labels had the gatekeeping power to decide who got to a recording studio or who didn’t. And they used that power wisely to accumulate artists’ copyrights.

“If we were to release those same three records now: Fly By Night – the record company would’ve gone, ‘Okay, let’s hang on.’ With Caress of Steel, they would’ve dropped us right away, because it was a commercially unsuccessful record, but we needed to make that record to make 2112. So there would be no 2112 for Rush in 2015. I’d go back to plumbing or some other job. That just doesn’t exist now, whereas back then, as nervous as they were, they still were there to support us.”
Alex Lifeson. RUSH

The labels did not support the artist. They supported a copyright monopoly. Their accountants knew very early on that holding the copyrights for songs would be a big financial winner for them in the future. The labels have used their accumulated copyrights as leverage to negotiate licence fees with Apple Music, Pandora, Spotify, Deezer and all of the other streaming services.

To prove my point, let’s look at an Italian hard rock/metal label called Frontiers Records. Look at the albums they have released, especially in the last five years. You will see a trend of certain artists, re-recording their best songs from the Eighties and Seventies and putting these recorded versions under a new Copyright. Frontiers will pay the artist for their work, and they keep the copyrights of these forgeries for a very long time.

Who is the winner here?

The artist or the record label.

“For new bands, everybody makes CDs. Years ago, nobody had CDs. You had to have a record deal. Everybody’s got it [now]. And there’s so much competition. The Internet is good in a way to get your stuff out there, but the whole music industry is wrecked.”
Vinny Appice. DIO, BLACK SABBATH, HEAVEN AND HELL,

“For me, it’s an interesting dichotomy. Because, on one hand, you’ve got people who are streaming, but then they use that to decide whether or not they wanna buy the album, as opposed to illegal downloading. But then there’s the other side of it where people are kind of using it as, basically, satellite radio, where it’s, like, ‘I’m just gonna listen to this.’ But people still pay a subscription for it. So, in one way or another, the economy is still working. It’s just that… We can’t catch up with the technology; that’s the problem. There’s so many innovations that the powers that be can’t figure out… they can’t get ahead of it.”
Corey Taylor. SLIPKNOT/STONE SOUR

The gatekeepers are no more. It’s an open market and simple economics rule. Supply vs Demand. Music at the moment is in huge supply and the demand from the fans is spread thin.

For example, in the next three months there are about 40 albums that I am interested in listening too.

For August, I am looking forward to Soulfly’s “Archangel”, Bon Jovi’s “Burning Bridges”, Disturbed’s “Immortalized”, Pop Evil’s “Up”, Five Finger Death Punch’s “Got Your Six”, Fear Factory’s “Genexus”, Bullet for My Valentine’s “Venom”, Act of Defiance’s “Birth and the Burial”, P.O.D.’s “The Awakening”, Motörhead’s “Bad Magic” and Soilwork’s “The Ride Majestic”.

For September, I am looking forward to Shinedown’s new one, Iron Maiden’s “The Book of Souls”, Slayer’s “Repentless” and Atreyu’s “Long Live”.

For October, I am looking forward to Children of Bodom’s “I Worship Chaos”, Collective Soul’s “See What You Started by Continuing”, Coheed and Cambria’s “The Color Before the Sun”, Deftones new one, Queensrÿche’s “Condition Hüman”, Sevendust’s “Kill the Flaw”, Trivium’s “Silence in the Snow”, W.A.S.P.’s “Golgotha” and Stryper’s “Fallen”.

Some I would buy and a lot I would just stream WHEN I HAVE THE TIME.

“All due respect to Mr. Simmons, I think when he talks about rock being dead, I think he talks about the old-school way of album-tour-album-tour-album-tour. That’s just not the way you do it anymore. There’s so many other things and ways to continue the history of this industry, and to continue to be on top. I mean, I’m looking out at headlining Download [festival] in the U.K. [Sarcastically] Yeah, rock is dead. That’s why there’s 85,000 people here at 11:30 at night in a downpour, and nobody left. Yeah, rock’s dead. Yeah.”

Corey Taylor. SLIPKNOT/STONE SOUR

Spot on. Fans of music haven’t disappeared and they haven’t resorted to freemium as the labels or the RIAA would like us to think. Fans still support music and artists in their own way. I purchase CD’s, I stream music, I download music and I go to concerts. The old model of album sales and then a tour is broken. So a new model is required.

“Well, we have such an incredible reaction to [JUDAS PRIEST’s latest album] ‘Redeemer Of Souls’ that really motivated us to crack the whip and get on with making the next record pretty quickly. The clock is ticking, you know. We can’t afford to wait three years, or five years now, to make the record. And especially while we’re having this great, kind of, vibe with the fans and just this massive PRIEST family love fest type of deal. You know, who wants to go home and sit down for a year?”
Rob Halford. JUDAS PRIEST

“Fewer records get sold or streamed, less money is there,” he continued. “You used to sell enough records to not go on tour. In the 90s, you used to make as much money on tour as you would selling records. Now you make one-tenth of that money on records sales or streaming. The biggest problem with the new record business is that I don’t know who the fans are. Fans are the people who will actually pay for something.”
Peter Mensch. MANAGER

They (the recording industry) have to. But probably the best route they should take, I think they’ve been playing catch-up for a long time — they’re constantly trying to readjust and adapt. I think that probably the truth of the matter, the answer is to start from scratch and create a whole new playbook. Build a whole new business plan off of that. I don’t think anybody, at least that I’m aware of, has done that, started with just a blank slate and just started over. I think that’s really what needs to be done. Just level the building and build something brand new.”
Dee Snider. TWISTED SISTER

Fans are people who will actually pay for something when they want to pay. Growing up the Eighties, I had a circle of friends who would wait with blank cassettes for the latest music I purchased. We had a running joke to say “the leeches are in the house”. These fans copied Motley Crue, Iron Maiden, Metallica, Megadeth, Whitesnake, Night Ranger and so many other bands from me. Their whole music collection was dubbed music.

So time goes on, they get older, they get jobs, the internet comes, Napster rises and suddenly they have money to spend. They didn’t start to purchase recorded music, they just downloaded that for free. What they did start to purchase was concert tickets for the bands they liked. When Maiden toured Australia for the “Caught Somewhere Back In Time” tour, they went to the shows in Sydney and Melbourne. I only went to the Sydney shows. When Motley Crue came for the Carnival Of Sins tour they went to the shows around Australia. I only went to the Sydney show. When Metallica came, they went to the shows around Australia, plus the Soundwave shows and so on. When Megadeth came, they went to their shows.

“Because, at the end of the day, it’s about people knowing the music, not owning it.”
Corey Taylor. SLIPKNOT/STONE SOUR

Perfectly said.

“The only thing that’s really been affected is albums sales. Because there’s still just as many rock fans out there as there were, and there’s a whole new generation coming up. I mean, the contracts that you signed back then — even today — you’d have to sell five, six million at a pop to be able to turn a profit. So, for people like me, it wasn’t about making money off the album sales. I mean, it’s be nice, but it wasn’t the essential.”
Corey Taylor. SLIPKNOT/STONE SOUR

“I’m talking about the cost to buy a CD. You can get a brand new record from your favourite band for ten dollars, basically. And even that’s high, ’cause most bands will sell ’em cheaper, especially the first or two the records are out. So, for ten bucks you can get a new record. I mean, it wasn’t that long ago that CDs cost $18.99 at the Virgin Megastore. Records cost half what they used to cost, and people aren’t buying them as much, which is crazy to me. It’s never been cheaper. What more do the people want?”
Scott Ian. ANTHRAX

No one wanted to buy an album. WE WANTED TO LISTEN TO MUSIC. It was unfortunate that the music we wanted to listen to was put on a piece of vinyl or a CD or a cassette and sold at a very high price.

“For me, the album is the calling card. You hope people are hearing the music, but it’s not essential to sell the music, and that’s the thing you kind of have to balance today.”
Corey Taylor. SLIPKNOT/STONE SOUR

“Right now I don’t even know what the music business is. I have no idea. There’s no record stores. We live in Los Angeles, and the radio sucks. It’s better elsewhere. The bands put an album out, and they don’t play it. Then everybody downloads it for free. And it’s a mess. ‘Cause people need to earn money when they play music, just like you go earn money when you go to work. It costs money to make an album. You can’t just give it away for free.”
Vinny Appice. DIO, BLACK SABBATH, HEAVEN AND HELL,

But it’s not for free. The album that you recorded has been put up on a streaming site. The label that put it up was paid a fee to license the music they have on that streaming site. Speak to your label and re-negotiate. When people listen to your album, 70% of the monies go to your label. Again, speak to your label and re-negotiate.

What is better?

A million streams or a 1000 units in sales. A million streams shows a large audience supporting your product that is waiting to be monetized in other ways.

1000 units in sales shows a 1000 people who purchased your music and then maybe listened to it once or twice or a lot. The problem is the artists don’t know either way if those 1000 units in sales are fans or not.

“Cause people are still buying CDs, but they’re also buying music on iTunes, they’re paying for accounts on Spotify. So it’s not like they’re not hearing the music. So when they come and see the show, and you play a song that is brand new and you get that huge pop, that’s what it’s all about. It’s all about that live show”
Corey Taylor. SLIPKNOT/STONE SOUR

“I understand there’s a thing called the Internet and people have the ability to steal music. So I understand why it’s happening, but you would think that people would just have the attitude, ‘I’m gonna support music, I’m gonna support the bands I love, because if I don’t support this, well, the bands I love aren’t gonna be able to make records anymore and they’re not gonna be able to tour as much anymore.”
Scott Ian. ANTHRAX

Scott Ian is unfortunately stuck in the sales equals success mentality. As Corey Taylor has stated, fans of music support the bands they like in different ways. A typical fan could fit into any of the following combinations;

– Stream for free only
– Stream for free and purchase tickets to a show
– Stream on a paid subscription only
– Stream on a paid subscription only and purchase tickets to a show
– Stream for free and purchase a CD/mp3 only
– Stream for free and purchase a CD/mp3 and purchase tickets to a show
– Stream on a paid subscription and purchase a CD/mp3 only
– Stream on a paid subscription, purchase a CD/mp3 and purchase tickets to a show
– Purchase a CD/mp3 only
– Purchase a CD/mp3 and purchase tickets to a show
– Illegally download for free only
– Illegally download for free and then purchase a CD
– Illegally download for free, purchase a CD and purchase tickets to a show
– Illegally download for free and purchase tickets to a show

“Look, if I was a kid, and it was 1977 and I had a way to get KISS albums for free, I’m pretty sure I probably would have jumped on that bandwagon. But for me to get a free KISS album in 1977 would have meant having the balls to walk into a record store, take a vinyl album, stick it under my shirt and walk out without getting caught. There was a consequence to that. So it’s a completely different thing [today]. There’s no consequence to stealing music online … or anything: movies, or books, or anything.”
Scott Ian. ANTHRAX

Look Scott, when you were a kid, I am sure that you copied an album onto a cassette tape. That is called Copyright Infringement. This is the problem that you face with the internet. People have copied your music and are spreading your music via the Internet. No one has stolen anything. The iTunes mp3 is still available for purchase, the Anthrax albums are still available for streaming and so forth.

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

Where are the new Classic Rock heroes?

The main classic rock bands were all about individuality. The Eagles, Boston, Styx, Deep Purple, Black Sabbath, Led Zeppelin, Kiss, Rush, Bad Company, Foreigner, Aerosmith and Cheap Trick all had a unique sound. 

The Eighties gave us Metallica, Motley Crue, Guns N Roses, Bon Jovi, Def Leppard, U2, Duran Duran, AC/DC, Journey, Whitesnake, Van Halen (and yes i know that some of these bands formed in the seventies), Aerosmith again and Foreigner.

Look at the list, Metallica played fast speed metal that was labelled thrash, Motley Crue played a hybrid version of pop, punk, rock and metal. Van Halen wrote the book on the nuclear band, Guns N Roses rewrote the seventies classic rock period with a dash of punk and Def Leppard merged Queen, with Bowie with Mott The Hoople with their NWOBM leanings into a pop rock format. Each band spawned thousands of imitators.

Today, all the young bands want to be a member of the same club. Metalcore is one club that is completing suicide on itself. Each year, thousands of bands come out that sound the same as the original bands that came before it.

Modern Rock is another genre that is suffering from over saturation. Where is the uniqueness. The reason why Imagine Dragons are at the top of the food chain is that they had that uniqueness that separated them from the pack.

What is the difference between Pop Evil, Young Guns, You Me At Six, The New Black, The Maine, Tango Down, Smile Empty Soul, Red Line Chemistry, Redlight King, Pillar, Plan Three, Projected, Nonpoint, Three Doors Down, My Darkest Days, Rev Theory, Three Days Grace, Eye Empire, Egypt Central, Emphatic and so on? Absolutely nothing is the answer.

All the young uns want is to be a member of the club however individuality is the key to creating everlasting art. Don’t shun your individuality. Dream Theater stayed true to themselves at a time when grunge, industrial and nu metal ruled the mainstream. Tool came through on their terms and in the words of Frank Sinatra, they did it their way.

Today’s world has everybody Tweeting and Facebooking just to be liked. Where is the edge of the Classic Rock era?

Dave Mustaine and Ted Nugent have an opinion and everyone has a knee-jerk reaction to it.

Rolling Stone is coping a lot of flak for their cover of the Boston Bomber. What did the outburst of David Draiman or Nikki Sixx or any other celebrity that wanted to join the anti-Rolling Stone club do to change the matter? Nothing.

If anything they brought more attention to the Rolling Stone article. It’s the Streisand Effect all over again. However at least they are going out there and stating an opinion. Did anyone come out and say that the Rolling Stone cover was cool?

Magazines like artists live in the culture of being paid right now. Do the people that work for Rolling Stone magazine care if the magazine is still around in 12 months’ time? Of course not. They will dust themselves off and get another job.

Everybody’s got their own agenda. When I read a tweet or a post from a celebrity, I evaluate where they are coming from as opposed to accepting it as truth. Has anyone seen a news story that says piracy doesn’t hurt sales?

A lot of research has come out from various Universities that support this argument. Instead we get the RIAA/MPAA piracy stats banded about on major television, with no information as to where those numbers come from. Why? The major televisions are owned by the giant copyright monopoly organisations.

Another important distinction from today’s artists and the Classic Rock era artists is that no one can say no to the money. Rush could have recorded a mainstream radio friendly album in 1976 just to please the record label. Instead they recorded 2112, an album that set up a very lucrative future for Rush and an album that made the record label very nervous when they heard it. As guitarist Alex Lifeson has stated in numerous interviews, 2112 set up a career for Rush.

Egypt Central wanted to be a member of the Modern Rock club and have disbanded. Three Days Grace were a member of the Modern Rock club and lost their vocalist with the parting words that the recording industry just want hits and push artists to write songs in that vein. My Darkest Days and Rev Theory are all modern rockers and they have lost their lead guitarists, which are normally significant songwriters.

Remember, individuality is the key. How good is Machine Head, since they broke away from following the trends that the label used to push on them. Since 2003, they have gone from strength to strength. 

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