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

1982 – Volume 7: Everything Dies, That’s A Fact

The Alan Parsons Project – Eye In The Sky
Alan Parsons is one of those unsung heroes that a lot of people don’t really know about.

In 1968, a then 18-year-old Alan Parsons had his first engineering credit on “Abbey Road” from The Beatles. Proper sound engineers are responsible for the sound capture and there was no better at it, than Alan Parsons.

From there, he went on to work with Paul McCartney, The Hollies and his piece d’resitance was Pink Floyd’s “The Dark Side of the Moon”. He was the engineer on “The Dark Side Of The Moon”. So the sounds you hear on that album, the sounds that went into 30 million houses around their world, owe a lot to Alan Parsons.

After the success of “The Dark Side Of The Moon”, Parson’s was offered the chance to work on “Wish You Were Here”, however he declined it because he wanted to get his own project going.

How many people today would decline an offer like that to follow a path that financially could be worse off, but creatively satisfying.

So The Alan Parsons Project was born with producer Eric Woolfson (RIP). Both of the guys met at Abbey Roads studio.

The studio sounds Parsons captured with the bands he engineered would end up on his project.

Which brings me to “Eye In The Sky”, his 1982 release. For a studio band, “Eye In The Sky” is their sixth album, which goes to show that there was a demand for their music. All up 10 Alan Parsons Project albums were released and achieved combined sales of more than 40m copies.

Eric Woolfson was also a successful rock musician, but no one knew of him. He wasn’t in the magazines or on MTV, but he had a very successful career compared to the MTV heroes of the 80’s. And for him, it all started off by doing session piano work in the 60’s which led to a song writing publishing contract which led to a production gig at Abbey Road Studios and so forth.

How cool is the Eye of Horus cover, which instantly brings back memories of “Powerslave” from Iron Maiden.

“Sirius” (Instrumental) leads into “Eye In The Sky”
If “Sirius” sounds familiar to sporting fans, well it should. It was used by the Chicago Bulls to introduce their team during the Michael Jordan era. Wikipedia also tells me that “Sirius” was used by the New Orleans Saints as their entrance music for Super Bowl XLIV. The Kansas City Chiefs also used it during kick-offs.

It then leads into “Eye In The Sky” which is the most well-known song from the album. Maybe you could call it a “hit” song without it being a hit on the charts, but a hit with listeners of the band. Eric Woolfson is doing lead vocals on it.

I am the eye in the sky
Looking at you
I can read your mind

“You’re Gonna Get Your Fingers Burned”
It has funk/soul/R&B singer Lenny Zakatek doing lead vocals. Zakatek was the lead singer with Gonzalez who had the worldwide disco hit, “I Haven’t Stopped Dancing Yet”. From 1974, he started to work with The Alan Parsons Project, a collaboration that would span 8 albums and 24 songs.

If I’m wrong and you are right
Then I will light your darkness with confusion

“Psychobabble”
It has Elmer Gantry on vocals or otherwise known as Dave Terry. I remember reading a story about a group of musicians who got hired by Fleetwood Mac’s manager to impersonate Fleetwood Mac for a U.S. tour in the Seventies. Well, Dave Terry was one of the members. When the ruse failed, front man Dave Terry and guitarist Graham “Kirby” Gregory formed Stretch and had a hit song with the Kirby penned, “Why Did You Do That Thing?”

But I don’t care, it’s all psychobabble rap to me

“Mammagamma (Instrumental)”
Is typical of the Pink Floyd like instrumentals Parsons and Woolfson create. I love it.

“Old and Wise”
It has Colin Bunstone on vocals. Remember the song “She’s Not There” from the Sixties by the rock band The Zombies. If you do, that’s Colin Bunstone on vocals. One of many singles and projects he was involved in.

And, oh, when I’m old and wise
Bitter words mean little to me

Damn right. As you get older, you realise that you are not immortal and suddenly “the end” means more than all of those other wrongs you have suffered. You get a different perspective.

Bruce Springsteen – Nebraska
It’s a pretty bleak folk record. Springsteen recorded it at his home in Colts Neck, New Jersey. There was no E-Street Band. It was him and a four-track PortaStudio tape recorder.

“Everything dies, baby, that’s a fact,”
That lyric from “Atlantic City,” defines the tone of the album. The character in the song went from having a job and trying to save, to withdrawing everything he had, hitting the road to Atlantic City and then when he was low on cash he agreed to do a little favour for a friend.

Well, I got a job and tried to put my money away
But I got debts that no honest man can pay
So I drew what I had from the Central Trust
And I bought us two tickets on that Coast City bus

Now I been looking for a job but it’s hard to find
Down here, it’s just winners and losers and don’t get caught on the wrong side of that line
Well, I’m tired of coming out on this losing end
So, honey, last night I met this guy and I’m gonna do a little favour for him

And the whole album is littered with characters that did what they needed to do to survive and take care of their families. Like “Johnny 99” and the “Highway Patrolman”.

“Johnny 99”
Now judge, judge, I got debts no honest man could pay
The bank was holding’ my mortgage and taking’ my house away
Now I ain’t saying’ that make me an innocent man
But it was more’n all this that put that gun in my hand

There it is again, “I got debts no honest mane could pay line”. It was Johnny 99’s answer back to the judge as to why he did what he did.

“Highway Patrolman”
“I always done an honest job as honest as I could
But when it’s your brother, sometimes you look the other way”

“Mansion On The Hill” is the same as “Nebraska”.
There’s a place out on the edge of town, sir
Rising above the factories and the fields
Now, ever since I was a child I can remember
That mansion on the hill

There are winners and losers in life and then there are people just content with life. But the ones not content with life, want to be like those people living in the mansion on the hill.

“Used Cars”
Now, the neighbours come from near and far
As we pull up in our brand new used car

It’s a brilliant lyric of the times and how that used car was cherished like it was brand new. You had to have lived that time to understand it.

“Reason To Believe”.

Still at the end of every hard-earned day people find some reason to believe

There it is, the glimmer of hope on a bleak album. Because regardless of the situation, we still find some reason to believe in the next day and in the future.

The next two entries in my 1982 list are songs.

Joe Cocker and Jennifer Warnes – “Up Where We Belong”
It’s 1982 and Joe Cocker re-enters the public conversation. No one could escape “Up Where We Belong” a duet with Jennifer Warnes and the theme song to the Richard Gere/Debra Winger movie “An Officer And A Gentleman.”

As with all things Joe, it was a song written by a who’s who of writers, Jack Nitzsche, Buffy Sainte-Marie and Will Jennings. An original this time around, instead of a cover.

Some hang on to “used to be”
Live their lives looking behind
All we have is here and now
All our life, out there to find

Brilliant lyrics in the second verse. Even rock heads and metal heads couldn’t escape the song. I am also pretty sure that some power metal band covered it in the Nineties. It was one of those songs.

Moving Pictures – What About Me
The “Days of Innocence” was released in 1981 in Australia and 1982 in the U.S. I still haven’t heard the album it was on but I know the song well. It was released as a single in January 1982 in Australia and September 1982 in the U.S. Talk about windowing releases.

It was the second biggest single in Australia behind Survivors “Eye Of The Tiger”. It’s written by guitarist Garry Frost and Frances Swan Frost and like all hit songs from the past, it wasn’t even planned for the album.

I guess I’m lucky, I smile a lot
But sometimes I wish for more, than I’ve got…

There it is again, the wish for more. Stay tuned for Part 8. I never envisaged that my homage to 1982 would take so many iterations.

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A to Z of Making It, Music, My Stories

What Happened to The Guitar Riff?

The mighty Guitar is still in the forefront of all the main hard rock and metal music. Regardless of what music style came and regardless what technological new medium came to kill it off, (like the Eighties midi craze), the mighty guitar has fought its way back time and time again.

Like a true champion it rises up from the canvas. That sound through glass tubes and cones made from paper. What can beat it?

To quote Dark Helmet, “Absolutely Nothing”.

Try as the trend setters might to eliminate distortion, the power chord and it’s many different versions remain unique. The human feel of a guitar is the essential element that makes a song unique and intimate enough to form a connection with a listener. You don’t see people growing up wanting to be clarinet and flute players.

It is an integral part of culture, both past and present. Think of Jimi Hendrix burning one or Pete Townsend smashing one or Randy Rhoads playing that immortal polka dot guitar or Eddie Van Halen’s Frankenstein guitar.

Think of all of the album covers that featured a guitar;

Dire Straits – “Brothers In Arms”
Stryper – “To Hell With The Devil”
Def Leppard – “On Through The Night”
AC/DC – Take your pick of the many classic album covers that involve Angus and his trusty Gibson SG.
The Cult – “Sonic Temple”
Van Halen – “Women And Children First”
Bruce Springsteen – “Born To Run”
Jeff Beck – “Guitar Shop”
MSG – “Built To Destroy”
Boston – The self titled debut and “Dont Look Back” covers are iconic.

At the moment, the number 1 hits around the world are “The Monster” by Eminem/Rihanna, “Timber” by Pitbull/Keisha and Happy by Pharrell Williams. Not a lot of guitar in those songs and if there is guitar, it is in the background, relegated to a support act.

It is not the main instrument in popular culture anymore.

The guitar is disappearing from popular culture.

So what happened.

So what happened to that riff that connects. The one that we can play air guitar to.

Commercial sensibilities are trumping artistic sensibilities.

Rock and Metal bands are churning out songs. Good songs. Great choruses. But no definitive riff. We hum the melodies, we tap the groove, but we don’t do the der, der, derr on the riff. For those who don’t know what the “der, der der” is, it is “Smoke On The Water” from Deep Purple.

Avenged Sevenfold came close with the “Hail To The King” album. Pissed off a lot of people in the process. They called them copycats. But they had the balls to create a classic rock album. And Classic Rock albums are created from influences.

Machine Head nailed it with “Be Still and Know” and “Unto The Locust”. But because of their niche, popular culture would never even know about it. Too ignorant to care.

Maybe it is the downtuning. Maybe it is the speed. Maybe it is the focus on the melody to be catchy.

One thing is certain, there are no riff driven songs, with a great hook doing 100,000,000 streams on Spotify. All of those numbers belong to Imagine Dragons, Avici, Daft Punk and a whole host of EDM artist and pop artists that have songs written by Max Martin.

And one last thing, for all the doubters that Spotify is hurting artists.

Check out this story.

Yep an independent artist that uses Tunecore as its digital distributor has earned from September 2010 to November 2013, $334,636 for over 57 million plays. It’s easy money earned by people listening to his music on a consistent basis. It’s that simple. It’s that pure. We create music so people can listen to it. First and foremost. And Spotify along with YouTube are here, telling the creators which songs are being listened too.

Isn’t that a great thing.

But hey, Spotify doesn’t pay artists said the old guard. Bullshit I say.

Spotify pays. It pays well. It is the record labels that don’t filter it down to the artists. It is the same old argument like before of Record labels not paying artists.

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Music

Randy Jackson from Zebra

No, not the American Idol judge. Randy Jackson from the band Zebra. He does Robert Plant better than Robert Plant!

It was Dream Theater’s cover of their song “Take Your Fingers From My Hair” in 2009 that re-awakened my interest in Zebra. Isn’t it funny how a cover song brings back the original song and the band into the psyche. Something that Jon Bon Jovi doesn’t have the foresight for, as he thought tooth and nail to stop Shinedown covering “Wanted Dead or Alive”, believing that Shinedown’s cover song would take away income from the Bon Jovi original.

In an interview with The Great Southern Brainfart Randy Jackson was asked how did he feel about Dream Theater’s version and has Zebra seen a new horde of young fans because of it.

“Certainly. A lot of people who were unaware of Zebra were definitely made aware of us by Dream Theater doing that cover. We were really flattered that they did it. They stuck to the original version but added their own touch to it so I thought they did a great job with the song. I really liked it.”

Jackson founded Zebra in 1975. They had a very large following before their first record ever came out in 1983 on Atlantic Records. Like most bands in the later part of the Seventies and the early part of their Eighties, most of their fan base had been developed from their live shows.

In addition, the majority of the bands had been slugging it out for a decent time in the clubs before getting their recording contract. Look at Twisted Sister. How many artists today are prepared to put in 8 years of hard work before they actually get a chance to record. The answer is NONE. Artists today record straight away, release it and expect something to happen. They might do it that for a few years and when nothing happens 90% of those artists would walk away. The 10% that continue are the ones that become lifers.

The follow-up album “No Tellin Lies” in 1984 stalled in the U.S and by 1986, their 3.V album wasn’t even noticed and Atlantic dropped them.

Zebra should have toured Europe after the second record got released, instead they stayed in the U.S and as Randy has said in a few interviews, it was probably their worst decision ever made. Maybe they never should have released the second album. As with all things in the music business, once a band has an unexpected hit, they are put under serious pressure to release a follow-up.

Zebra fell into this category, pressured and rushed to get album number 2 out. The label also didn’t ball in the promotion game. The fan base of Zebra was still in New York and Louisiana and that is where the promotion efforts should have been focused on. A lot of Zebra’s hard core fans didn’t even know that they had album number 2 out. .

As history would have it, they put out their second album and went on tour with “REO Speedwagon” and “Sammy Hagar” during 1984. Air play for the new album was not a lot compared to the self-titled album, so after the US tours, the band had to go back in and record album number 3.

This was February 1985. As Randy Jackson was writing the third album they also looked for a producer. The band couldn’t come up with anybody. For five months the band was in limbo. It wasn’t until December 1985 that the band hit the studio for album number 3. That was a false start and the band went back into pre-production to work on the material. Finally in February 1986 they went into the studio and stayed there until August of the same year. By then it was all over.

If Atlantic was hanging out Twisted Sister to dry, what did that mean for a band like Zebra?

The album “3.V” just died. Radio ignored it. The week that it was released was the same week that Bruce Springsteen released his live box set. Three months earlier, Bon Jovi released “Slippery When Wet” and that album was picking up some serious momentum by November 1986, Europe’s “The Final Countdown” had broken world-wide as well. Radio put them in constant circulation.

The press didn’t want to give Zebra the time of day as “The Boss”, Bon Jovi and Europe became the darlings at that time. At this time as well, a lot of the radio program directors weren’t in charge of the play lists anymore and this really Zebra because back in 1986, bands really need airplay in order to get record sales. In addition, another program called MTV also ignored the band.

While most people would know Zebra by the songs “Tell Me What You Want” which Randy wrote it 1978 at 6:30 am after a gig at “Speaks” (New York) and “Who’s Behind the Door” that deal with the big questions about life there are other songs to sink your teeth into. There is the “Yes” inspired “The La-La Song”, “Take Your Fingers From My Hair”, “Lullaby”, “Time”, “Hard Living Without You”, “But No More” and “One More Chance”.

Then it was over. China Rain never got a fair shake. Randy Jackson finished the China Rain record in 1990 and Atlantic Records decided not to release it. Sound familiar. Gatekeepers controlling the fate of musicians. Dee Snider suffered the same fate with his “Desperado” project.

From 1992 to 1996, Randy was involved in the development of an interactive musical instrument called “The Key”. The instrument allowed anyone to play a guitar-like instrument (The Key) along with videos or CDs.

“Zebra IV” started recording in 1996. The drums were done in a week in 1996 and the rest of the album was done sporadically after that. In a MelodicRock.com interview, Randy said it was “a good 9 months of actual studio time but spread over a period of 7 years”.

The album didn’t see the light of day until 2003.

Throughout the Nineties, Randy built up his acoustic shows. Nobody wanted to book him in the beginning, even his trusted agents in New Orleans who had booked Zebra for 20 years rejected him. Now he is playing places like Japan and criss crossing the US and he hasn’t even put out a recording of the acoustic project. Yep, while labels and artist still believe it is about the album, here is Randy Jackson delivering a show that is spreading via word of mouth.

The same major labels who have been scared to search out and develop new music and bands. The rock that kids listen to today is the rock that we listened to growing up. Record execs are so afraid of losing their jobs that they wouldn’t think of trying something new. All they want is for their profits to sustain or get better, because in the corporate world that we live in today, everyone is replaceable.

In between Randy did “The Sign”, a melodic rock supergroup. He also handles the vocals for the wildly successful Symphonic Music shows of Led Zeppelin, Pink Floyd and Eagles performing to packed houses across the country (from 1996).

He is a lifer in the music business. Prepared to do what he needs to do to get. He is 38 years deep in his music career. He didn’t get the fame that other bands did, however it didn’t mean he didn’t have success.

http://www.famousinterview.ca/interviews/randy_jackson.htm
http://thegreatsouthernbrainfart.com/?p=7752

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

Semi Obscure Bon Jovi Songs – Part 3

Bon Jovi are consistent ticket sellers, because the Generation X’s want to go. Some want to remember their youth, while others want to contemplate who they once were and who they have come to be and what a long twisted journey it has been to today. Along the way, music has been the soundtrack to many lives. Continuing on from the Semi-Obscure theme, here is the third list of songs from Bon Jovi that fail to get the attention they deserve.

DAMNED

It has a soul like funky blues groove very similar to what Lenny Kravitz was putting out. It is a Richie Sambora and Jon Bon Jovi composition. The theme of the song didn’t resonate with the audience. Jon Bon Jovi was a married man, with children, so when he sings a song about having a secret love for someone, it just didn’t sit right. However, the vocal melody is strong and the music is great, he just needed better words.

“These Days” from 1995 is a very misunderstood album, released in a very confusing time. Hard/Glam rock as we knew it was dead, Grunge was fading and alternative rock was rising, along with a form of industrial rock/metal. Death Metal was at its peak, black metal was rising and thrash as we knew it was more or less non-existent with all the thrash bands delivering commercial sounding albums.

So while a lot of Bon Jovi’s counterparts (the ones that were not broken up) released heavier sounding albums, Bon Jovi went the opposite and released a slower and reflective album, furnished with a few rockers and a lot of ballads. Two things are evident throughout “These Days”.

One is the blues and the other is the Americana style of music made famous by Tom Petty, Bruce Springsteen, Hank Williams and so on.

LOVE IS WAR

It is written by Jon Bon Jovi and Richie Sambora. Of course it sounds like “You Give Love A Bad Name” because Jon tried really hard to create the same vibe and the same kind of hit. Is that a bad thing? Maybe. Maybe Not. Even “Bad Medicine” sounds like “You Give Love A Bad Name”.

“Love Is War” deserved to be officially released. If you haven’t heard it, go to YouTube, the unofficial streaming service. You will find it there. It has just over 29,000 views. The numbers are nothing compared to the “hits”.

Coming into the “New Jersey” writing phase (which at one stage was the “Sons Of Beaches” writing phase), 9 million copies of “Slippery When Wet” were sold, between 1986 and 1988 in the U.S. The pressure was on to repeat “Slippery When Wet”.

I know my silence tears you up inside
You built a fortress for your hurt to hide
You think you’ve won, but it’s a tie
’cause nobody wins a war of pride

It is the stand-off, where it is better to agree than disagree and both sides believe they have come out on top.

I’D DIE FOR YOU

“Slippery When Wet” was a monster of an album. Carrying three dead set classics, it was easy for the other songs to get missed. “I’d Die For You” is written by the Jon Bon Jovi, Richie Sambora and Desmond Child song writing team.

While, “Livin On A Prayer” and “You Give Love A Bad Name” took all the glory from this song writing team, the deeper cuts on side 2 are not to be ignored, especially the fan favourite “I’d Die For You”.

It’s got that Judas Priest “Breaking The Law” guitar line. Did anyone pick up on that? Remember my catch cry, progress is derivative.

Today, people are always telling me to lower my expectations and accept albums that are nowhere near as good as what came before. When something connects with me, it rekindles my faith in music.

The Night Flight Orchestra did that in 2012, with “Internal Affairs”. Protest The Hero did that in 2013 with “Volition”. Evergrey did that in 2011 with “Glorious Collision”. Machine Head did that in 2007 with “The Blackening”. Motley Crue did that in 2008 with “Saints Of Los Angeles”. Dream Theater did that in 2009 with “Black Clouds and Silver Linings” and One Less Reason did that in 2010 with “Faces and Four Letter Words”. Great music that makes you want to live forever, just to see what comes next.

That’s the power of a hit record and there was no bigger hit than “Slippery When Wet” in the Eighties for rock and metal music. Also a “hit” is not something that an a record label rep markets to death so that it can chart for a month or two and is then forgotten. No, a hit record infects the soul, like a virus that can never be treated. It lives with us forever.

As Robb Flynn sang in “Darkness Within”, “Pray to music, build a shrine, worship in these desperate times, fill your heart with every note, cherish it and cast a float.”

That is the power of music and that is the power of “Slippery When Wet”. On YouTube, “I’d Die For You” is a cult hit. The fan’s have taken the song and made their own film clips, lyric videos and so on. Add all the views together and you get close to 2 million views.

Jon Bon Jovi wasn’t married in 1986, when “Slippery When Wet” was released.

I’d die for you
I’d cry for you
I’d do anything
I’d lie for you
You know it’s true
Baby I’d die for you

Is he singing “I’d Die For You” to his future wife?

MY GUITAR LIES BLEEDING IN MY ARMS

Do you wanna know what is the difference between Bon Jovi and the wannabes? The delivery. We had no doubt that Jon Bon Jovi had lived his stories. This is the power of rock and roll. It doesn’t have to be heavy, or fast or bluesy. It can be a slow-moving ballad. It can be a sound. The title is a take on the George Harrison classic, “While My Guitar Gently Weeps”.

You see, when done right, music brings us together. It touches something that can’t be described and that is the essence of life. And others are out there also feeling that same connection. That is why we become fans.

I can’t write a love song the way I feel today
I can’t sing no song of hope, I got nothing to say
Life is feeling kind of strange, since you went away
I sing this song to you wherever you are
As my guitar lies bleeding in my arms

It is a depressing song dealing with a conflicted front man.

“Keep The Faith” was classified as a failure by the critics and the press as it “only” moved 2 million copies. In 1992, thousands of other bands would have moved heaven and earth to have sales of 2 million.

He tried out his “Jambco” record label that also released records from Billy Falcon and Aldo Nova. That venture was also classed a failure. The records from both Billy Falcon and Aldo Nova didn’t really click up the sales either and Jon Bon Jovi played important roles in both of them, as a song writer and as a producer. So hearing this song come out of him in 1995, it resonates.

ONLY LONELY

It is written by Jon Bon Jovi and David Bryan.

This is back to an innocent time when musicians were not so much wannabe fame and money mongers, but musical fanatics. You can hear the New Jersey synth sounds in this. The Bon Jovi VEVO channel has this song at 1,251,542 views. Other channels have lyric videos and their own fan clips, plus live performances.

The bottom line is this; it is a fan favourite. Like “I’d Die For You”, could it be about someone in particular.

“Only lonely — I can’t stop hurting you
Only lonely — but I can’t stop loving you
Only lonely — how much pain does it take”

THE PRICE OF LOVE

It is written by Jon Bon Jovi.

The Jon Bon Jovi of today portrays himself as a winner, whereas in the Eighties and early Nineties era he revealed his inner turmoil and demons and we loved him for it because we identified!

“We live, we learn, we lie
For the price of love
We kiss then say goodbye
For the price of love”

Aint that the truth. It’s like the movie “Groundhog Day”. We relive what love is until we get it right.

WITHOUT LOVE

“Without Love” is written by the Jon Bon Jovi, Richie Sambora and Desmond Child song writing team.

When a person is singing about finding a person that loves them and not being able to keep it, then they would rather be without love.

“I see my life
There’s some things I took for granted
Love’s passed me by
So many second chances
I was afraid
But I won’t be afraid no more”

Fear is the biggest killer of dreams and hopes.

BURNING FOR LOVE

It is written by Jon Bon Jovi and Richie Sambora. When I hear this song, it reminds me of Muse as the progression is very similar to the progressions that Muse employs.

As with all of the earlier stuff, Sambora goes to town during the lead breaks, showcasing his abilities as a melodic shredder. He never went too over the top, always focusing on enhancing the song, instead of enhancing his ego.

RIVER RUNS DRY

It is a Jon Bon Jovi and Desmond Child composition that begins as a derivative version of Led Zeppelin’s “Stairway To Heaven” which was also copied from a certain French band called Tarkus that opened up for Led Zeppelin at one point in time. Remember, progress is derivative.

SAVE A PRAYER

No one knows this song even exist, but they should. It deals with the theme of saving a prayer for when a person needs it. To save a prayer for when a person has gone through some bad moments.

Did you ever feel like you were drowning,
did you ever feel betrayed by a kiss?
Did you ever feel like you needed somebody,
would you feel alone in a world like this?
Did you ever feel like you needed shelter,
did you ever laugh when you wanted to cry?
Did you ever dream about evolution,
don’t you ever feel like your living a lie?

Jon gets the words right and nails it. Who hasn’t felt any of the above emotions and feelings?

Oh, Whoa, too many children grow up blind to the truth.
I say, Oh Oh, Oh, Oh,
say a prayer for me,
I’ll save a prayer for you.

We live in an age where everything is at our fingertips. Don’t take everything that you read as the truth. Investigate and research it. Come up with your own conclusions.

After re-reading all of the above, I noticed that i have subconsciously sequenced the songs into an album format. So I set up a playlist, put on the headphones, kicked back and enjoyed this special Bon Jovi album.

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

The Legend of Vito Bratta

When it comes to the Eighties and the so-called “Hair” bands, many people saw the image and failed to dig deep into the album and listen to the music. White Lion was such band that was labeled a hair band. Did they have hair? Of course they did and it was teased to the hilt. Did they wear tight clothes that looked dorky? Of course they did. They did all of that and they rocked hard.

The lifeblood of the band without a doubt was Vito Bratta. He is a dead set superstar. Even today, if you look on YouTube and you come across any White Lion clips, the majority of the comments are about Vito Bratta. Mike Tramp gets a passing mention as an average talent, however Vito Bratta is held in such high regard.

It is a shame that Vito Bratta walked away from it all and it is a shame that there is no control around their music in the digital world. On YouTube, all of the White Lion clips are by users. The clip for “When The Children Cry” is by a user called “Louvers” and it has 8,627,861 views in the four years that it has been up.

10.All The Fallen Men

Go on YouTube and the song is more or less forgotten. Mike Tramp brings it out for his acoustic performances, however the few channels that have this song, all have views less than 10,000. The song is a metal masterpiece and a perfect product of the time. Musically, you can’t get any better. The vocal melody is top-notch, however in 1984, people didn’t want to listen about “All The Fallen Men” and “El Salvador”. The lyrical themes needed to be better and that is what Mike Tramp struggled with. In 1984, only Dio could have gotten away with these kind of themes, along with the bands from the thrash movement like Metallica.

“All The Fallen Men” is written by Vito Bratta and Mike Tramp and it was released on the 1984 “Fight To Survive” album.

The intro reminds me of Dokken’s”Breaking The Chains” from 1983 and Dio’s “Evil Eyes” from 1984. It’s got a verse riff that Neil Young would make famous in “Rockin In The Free World”. Of course, Neil Young’s song was released 5 years later in 1989. Progress is derivative.

Listen to the interlude riff before the solo section. The Thrash movement would have been proud.

9. Wait

“Wait” as a song didn’t connect with me right away however the Vito Bratta lead break made me want to smash my guitar in pieces. It was my first introduction to White Lion and back in 1988, it would be a while before I heard the full “Pride” album.

You see, once upon a time there was MTV (when it used to play music clips only) and man that show had some serious traction. We were addicted to it. Once MTV put a video clip in rotation, the band associated with the video clip would be brought to the masses. If we liked the band/act, we could purchase their music. It was exciting and it got people talking.

This is what “Wait” did for White Lion, and the lead break cemented Vito Bratta as a Guitar Hero. The path that “Wait” travelled was a product of the Gatekeeper controlled music business.

“Wait” was released on June 1, 1987, however it took another seven months before MTV picked it up and started airing it. With the internet, after the initial publicity burst is over, most people are ready for the next thing. And if the songs are not of blockbuster quality, the act will not last seven months on the same 10 tracks. Look at Dream Theater, all the marketing dollars and corporate deals in the lead up for an album that had a six-week sales life.

On YouTube, “Wait” is available on two channels, with a combined view count of 335,387. On Spotify it has 615,593 streams. Isn’t that bizarre, how the song that broke White Lion in the Eighties doesn’t have the same traction today. Songs like “You’re All I Need” has 1,039,523 views on one channel and “Till Death Do Us Part” has 1,393,139 views on another. This is what fan power brings to the table.

8. Love Dont Come Easy

“Love Dont Come Easy” is the natural progression from “Wait”. The chord inversions sum up Vito’s style. He starts off with a D5 power chord, then that moves to the 2nd inversion which is D5/F#, then D5/G and finishing it off with an Asus4 chord.

And did anyone pick up the Journey – Don’t Stop Believin’ vibe in the intro. Neal Schon does pull offs, Vito does tapping with hammer – ons and pull offs. That idea would have to have come from Zito as he was working with Bad English and Neal Schon in 1989.

It is a great pop song however the audience outside of the hard rock circle don’t know about it. On YouTube, it has 595,733 views on one channel and on Spotify it doesn’t rate in the Top 10.

7. Fight To Survive

Fight To Survive – musically brilliant. It’s got that Randy Rhoads “Believer” merged with “Suicide Solution” vibe in the intro. That is the connection for me.

Who isn’t a sucker for a verse that has volume swells over a driving bass and drum groove. It is a very underrated song that got lost in all the noise.

The song is written by Vito Bratta, Mike Tramp and Nicky Capozzi. One of those rare songs that breaks away from the Tramp/Bratta team.

If you go on YouTube and search for the song you will see that it has been forgotten. However it should be remembered. This is Vito in a metal mood. The solo section as usual is unbelievable. You need to hear it to understand it. The biggest Achilles Heel for White Lion was the lyrical message. With a song like “Fight To Survive”, the message that Mike Tramp tried to get across didn’t really resonate. Which is a shame due to the fact that the vocal melody is really strong.

6. Hungry

After purchasing the “Pride” album, breaking the shrink-wrap and dropping the needle, my ears got assaulted with that riff. That intro riff. I love it. It is heavy and melodic.

“Hungry” was perfect for 1987. It fit the time and the vibe. Bratta really goes to town on this song. On YouTube, six user channels have it up for a combined view count of 274,679. The version that has the most views is the White Lion 2005 version without Vito, performing it live.

Listening to this song again I have come to the conclusion that Vito is the star in all of the songs. The guitar takes centre stage on everything.

5. When The Children Cry

I love acoustic guitar and Vito showed himself to be a true master of it. It was very reminiscent of Randy Rhoads. Of course, Malmsteen was no slouch either when it came to playing the acoustic.

A song that can have multiple meanings and my interpretation of the song is that it from the viewpoint of an older person looking at the state of the world and saying to themselves, how did we mess this up for the next generation coming through in this world.

This is the star of the show in relation to YouTube and Spotify. White Lion’s biggest hit based on fan power alone.

4. Cry For Freedom

White Lion had the balls to tackle the subject of apartheid when all the other bands in 1989 didn’t. It is unfortunate that the Eighties degenerated into a state of generic and clichéd derivative lyrical themes and subjects involving sex, partying and drugs. When bands branched away from that subject matter, it was very hit and miss.

White Lion fell into that crowd of misses as the label “Atlantic” would still push the pop metal or pop rock edge of the band. Music culture was built by artists taking a stand on a subject. The history of rock and metal is littered with bands that made big statements. White Lion made that big statement however it got missed.

It’s the guitar sound. The way it swells and hallucinates with each shifting chord change. You cant help but be drawn in.

“Cry For Freedom” is the kind of track that can be played when any uprising to oppression happens. It could have been played during the Arab Spring, the fall of the Berlin Wall or the Syrian Civil War. It never loses its power.

The “Cry For Freedom” video has 738,582 views on the 80s Classic Metal YouTube channel.

3. Lady Of The Valley

“Lady Of The Valley” is an epic song. What a classic intro riff. It is the sleeper hit of the “Pride” album. For some insane reason, Spotify will not play the “Pride” version and it plays a really bad version from some Greatest Hits package. Then you go on YouTube and one version is really sped up, however there is a version that is from the “Pride” album and at the right speed.

It was the perfect closer to Side A on the album.

The solo section that begins after the lyric “Yes, I’ve laid him at your feet” can make the hairs rise on your neck is that good. It’s a full blow metal song, even progressive at some stages. So many shifts and the guitar work is just amazing.

2. Little Fighter

My kids love this song. They associate themselves as “the little fighters” trying to rise up and get the world’s attention.

This is a great song because even though the song is about the Rainbow Warrior Greenpeace ship, anyone can relate to it. Any person that has been down trodden, abused and down and out for the count can relate to it.

You were one of a kind
One who’d never give it up

Any musician out there trying to make it you need to be the one that never gives up.

Rise again little fighter and let the world know the reason why

That’s all we are in life, fighters. Even Bon Jovi released a song called “Fighter” on the “What About Now” album. We fight from the day we are born to breathe, to grow, to learn and to be somebody.

1. Warsong

This is the band writing for the band and not listening to their label about writing ‘hit songs’. This song has many different styles into one 6 minute plus song. It gets the number one spot for its melodic brutality.

What are we fighting for?
When the price we pay is endless war
What are we fighting for?
When all we need is peace

As Axl Rose sang in Civil War, “I don’t need your “Civil War”, “it feeds the rich while it buries the poor”. As Bruce Springsteen sang in his cover version of the song “War”, “War, what is good for, absolutely nothing”. As Metallica sang in “Disposable Heroe’s”, “Back to the front, You will die when I say, you must die.”

We can all see the cost of war these days however we still go to war.

In the end I had a hard time picking 10 songs for this post as each song that Vito has played on all have unbelievable sections.

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A to Z of Making It, Alternate Reality, Music, My Stories, Piracy

Did Piracy assist the come back of Twisted Sister?

Young people today do not realise the impact that Twisted Sister had on the music business around 1984 and 1985. Sure, other bands had greater sales and bigger tours, however no one did MTV like Twisted Sister. They ushered in a whole new promotions medium for metal and rock bands.

Twisted Sister came into stardom and then disappeared. In order to understand what happened and then why the resurgence, we need to go back to 1984.

“Stay Hungry” is released, followed by three singles. Two of those singles, “We’re Not Gonna Take It” and “I Wanna Rock” made MTV a giant in the rock and metal world. Prior to that MTV didn’t really have any traction with the rock and metal communities. People tuned in to MTV to watch these clips.

The “Stay Hungry” album goes multi-platinum in the U.S. Dee ends up before the Senate and “Come Out And Play” comes out in 1985. It doesn’t meet the sales target set by the label and the tour is losing money in the U.S.

Europe, on the other hand is a whole different story and they had sold out shows across the continent. How can this be when the actual sales of the album are low in Europe? Europe is renowned for it’s black market and sharing culture.

By 1987 it was game over for Twisted Sister.

How can a band that was riding high by the end of 1984, disappear by 1987, especially when lesser bands continued to have a career during this period;

The Michael Jackson business model from the labels

The music market collapsed in the late Seventies. In order to stay viable, the major labels decided on a strategy to make more money with fewer acts. Michael Jackson became the first artist to whom this new strategy for success was to be applied. By 1982, Michael Jackson released “Thriller” and by 1984, the album was certified 20x Platinum.

He wasn’t alone either. Artists like Billy Joel, Bruce Springsteen, Elton John and Madonna, also benefited enormously from the new majors’ strategy to create superstars. When Bon Jovi and U2 exploded, they also joined this new superstar strategy. This is the way it worked; Large advances and marketing budgets, expensive music videos and fronting large amounts of money for large tours. Repeat if band/artist is successful or don’t repeat if band/artist is not successful.

Artist & Repertoire was unofficially outsourced to the independent labels and if they found an artist that had success, the artist would be transferred over into the major label network by default.

So a band like Twisted Sister comes on the scene and they don’t fit the new major label strategy. Anyway, the band persists and they end up breaking through. So the label is now thinking, maybe we should throw some money at this band and see what they can deliver. When “Come Out And Play” didn’t outsell “Stay Hungry” the label decided to move on, as it was clear that Twisted Sister didn’t fit the new model.

 

 

The Rise of the Thrash Scene

Twisted Sister to me are a heavy metal band. Yep they had that crossover appeal with “We’re Not Gonna Take It” and “I Wanna Rock” however in the end, songs like “Burn In Hell”, “Stay Hungry”, “You Can’t Stop Rock N Roll”, “Come Out And Play”, “Kill or Be Killed”, “Destroyer”, “Run For Your Life”, “Under The Blade” and “The Fire Still Burn”s are heavy metal to a tee.

Twisted Sister appealed to the kids who were alienated and subjected to ridicule for their choice of music. They appealed to the kids who had a stiff middle finger attitude at the establishments. In 1983, an album called “Kill Em All” was released, who took on the same themes that Twisted Sister started. Instead the word ROCK was replaced with METAL. The metal fans of Twisted Sister jumped ship to the new “Metal Militia” started by Metallica. With songs like “Whiplash”, “Seek And Destroy”, “Fight Fire With Fire”, “Hit The Lights”, “Battery”, “Damage Inc.” and “Leper Messiah”, Metallica and other thrash bands ushered in a new era for the youth that Twisted Sister had connected with.

If you have any thrash fans, check out their collection and I guarantee you that they will have a Twisted Sister album in there.

The Bon Jovi and U2 Effect

So what happens when your core metal audience abandons you. For Twisted Sister, they needed to reinvent themselves. By 1986, Bon Jovi and U2, exploded all over the world. The record labels are flush with cash and they want more superstar acts. So what do the record labels do? They persuade their bands to record similar sounding albums. They tell the independent’s to sign hundreds of other similar bands on bad contracts. It is all about the profits.

The Senate Hearings

In 1985, fans of metal music just didn’t understand what the hoopla was about. They had no idea why metal music would even need to be at the hearings. Metal music was always on the fringes. Big deal if they add a parental advisory sticker to the album.

Abandoned By MTV

MTV used Twisted Sister and Dee Snider to promote their channel. Once the channel had traction in the metal and rock community, MTV abandoned the band.

The Past Finally Takes Its Toll with the Ten Year Itch

By the time 1987, rolled around, the band Twisted Sister with Dee Snider fronting it, had been at it for over 10 years. Jay Jay French even more. The band almost called it quits by 1983 when their Secret record deal fell apart. If you look at the 10 year trend of other bands you will see that what happened to Twisted Sister is nothing new.

Aerosmith more or less broke up by 1981, ten years after the main line up was formed. It wasn’t until 1984 that they got back together and by 1987 they became a multi-platinum band again.

Motley Crue replaced Vince Neil in 1992, almost eleven years after the band formed.

Van Halen had a new singer almost 12 years after they formed in 1986. By 1998, they had another singer.

Iron Maiden by 1989 had a few line-up changes in a new guitarist, a new drummer and most importantly a new singer.

Alice Cooper was at a low by 1980 after 12 years of hard work. It wouldn’t be until 1989 that he found major success again with the “Trash” album. His first break in the Eighties came with Twisted Sister in the “Be Cruel To Your Skuel” song in 1985 and a song called “He’s Back” from the Friday The 13th soundtrack.

So what happened to get Twisted Sister back into the public imagination:

The Beavis and Butt-head and Green Day Connection

It all started in 1993 and 1994. It was Beavis And Butt-head and Green Day that re-ignited the public’s imagination with Twisted Sister.

In the Beavis and Butt-head episode, “Stewart’s House (Too Dumb For TV)”, “I Wanna Rock” is featured, as well as “You Might Think” by The Cars, “Kiss” by Art Of Noise and “The Majesty Of Rock” by Spinal Tap. After Beavis almost loses it acting out the teacher’s opening speech, they move on to complain about the lack of explosions and that Twisted Sister are “fat guys in clown makeup.” In the end it got people talking about Twisted Sister again.

Then came 1994. That is when Billie Joe Armstrong the singer/vocalist from Green Day sang the start of the song “We’re Not Gonna Take It” during Green Day’s infamous Woodstock ’94 performance. Yes, that is the same performance were Billie Joe Armstrong started a mud fight with the crowd. In the end Woodstock 94, was referred to as Mudstock ’94. Apart from the people at the event, the event was also viewed by millions by pay-per-view television. In the end, the Woodstock 1994 performance from Green Day, gave the band further publicity and recognition and it helped push the “Dookie” album to eventual diamond status.

In the aftermath of Mudstock 94, the millions of people that saw the event via pay per view, as well as the people that attended, asked themselves two things about “We’re Not Gonna Take It”; Which band sang that song and where can I get my hands on it?

With a combination of fans re-purchasing their LP’s and Cassettes on CD, and the Mudstock performance of Green Day renewing interest in the band as well as Beavis and Butt-head, the “Stay Hungry” album was certified 3 x multi-platinum in November 1995 almost ten years since is double platinum certification from 1985. In addition, “You Can’t Stop Rock N Roll” was also certified “Gold” in November 1995.

A Radio Show and A Band called Sevendust

In 1997, Dee Snider began hosting the “House of Hair” radio show. With the catchphrase of “If It Aint Metal, its Crap”, the radio show focused on the 1980s hard rock/heavy metal period.

Also in 1997, a band called Sevendust released their self-titled debut album. It was produced by Mark Mendoza and Jay Jay French. By May 1999, the album was certified gold. Of course, Sevendust also had Jay Jay French as manager. Fans started asking how can that be? How can a person that dressed up like a chick in the Eighties, manage a band as brutal and heavy and COOL as Sevendust? If people are talking about you, that is a good thing. I remember when I purchased the Sevendust album and saw the Twisted Sister connection, I couldn’t stop telling people about it.

Heroes Are Hard To Find in a Strangeland of Napster, A Band Called Lit, Tribute albums and Spitfire Re-Issues.

In 1999, Napster exploded. I remember going on to Napster and seeing all the Desperado material, the Widowmaker material, the Twisted Sister material, as well as live concerts from Twisted Sister (from soundboard recordings and fan bootlegs). Thousands of people were uploading and downloading this content. While this would have hurt the RECORD LABEL, it didn’t hurt Twisted Sister at all in the years to come. I have always said that if you create great music now, expect to be paid well later. From Napster I got my hands on the Desperado era songs.

Also in 1999, the rock band Lit paid homage to the opening of Twisted Sister’s “We’re Not Gonna Take It” video clip. Dee Snider actually plays the role of the angry father (originally portrayed by Mark Metcalf) who verbally abuses his son for his lack of authority and uncleanliness. This was big from a Twisted Sister point of view for two reasons. Interest in the platinum selling band Lit was huge, after their number one rock hit “My Own Worst Enemy” remained at number one for 11 weeks on the Billboard Rock Charts. “Zip Lock” was the follow up single and what a video clip to lead with. Again, this got Twisted Sister and Dee Snider back into people’s imagination.

The movie Strangeland was also released in 1999, with a new song called “Heroes Are Hard To Find.” This was the first new piece of music from Twisted Sister and it was significant, along with the Spitfire re-issues of the “You Can’t Stop Rock N Roll”, “Come Out and Play” and “Love Is For Suckers” album with additional tracks.

A Road Trip and That Bastard Solo Album

In 2000, a small budget movie came out called Road Trip. For a movie that cost about $17 million, Road Trip was a hit and what a perfect song they had for it. As the characters sing along to “I Wanna Rock” as it was playing on the radio of the bus, it was very reminiscent of “Bohemian Rhapsody” in Wayne’s World. A perfect touch and what a promotion for the band

Dee Snider also released a solo album called “Never Let the Bastards Wear You Down” in 2000. Now this album was a “Best off” from songs that didn’t make it on any Twisted Sister albums, plus selections from the ill-fated Desperado project that Elektra boss Bob Krasnow destroyed two weeks before its release. It was a great album and the back stories provided with the CD, re-ignited the imagination.

A Culturally Significant Film

In 2001, the United States Library of Congress deemed Animal House a culturally significant film and selected it for preservation in the National Film Registry. This was significant for Twisted Sister. Since their video clips of “We’re Not Gonna Take It” and “I Wanna Rock” borrowed from Animal House, their name was out there again with the renewed interest in this movie.

Any person that grew up the Seventies and the Eighties cannot watch the Animal House movie and not think of Twisted Sister, especially when Nedermeyer has screen time.

Congressional Hearings are Finally Understood

Dee Snider is now seen as the hero and playing himself in a 2002 TV-movie called “Warning: Parental Advisory” got him back in our faces again.

 

Piracy and The Pirate Bay

The Pirate Bay debuts in 2003 in Sweden. Twisted Sister is one band that is shared a lot by the Europeans. A band with low record sales in Europe headlines Wacken.

Schwarznegger Is Not Gonna Take It

Dee sang, “We’re Not Gonna Take It,” which was adopted by the Schwarzenegger campaign. Of course, if you are a fan of the “Stay Hungry” album, you would know that the themes and the album title is from a book that Schwarzenegger wrote back in 1979.

A Film Called The Warriors and the Rise of Cyberlockers and Blogs

By 2005, blogs and cyber lockers are rising, especially in European countries. This is how it worked; A music fan creates a blog and they list all of the albums they have from bands. On each list they have a link that directs the person to a cyber locker site where they can download the album. If people kept on downloading the album, the link stayed up on the cyber locker website. If they didnt, the link would expire. Twisted Sister’s collection, plus live recordings did the rounds on these blogs and the links stayed up.

 

Also in 2005, Paramount Home Video released the “Ultimate Director’s Cut” DVD of The Warriors. As the movie came back into the public awareness so did “Come Out And Play” as people were reminded of Dee Snider clicking bottles together saying “Twisted Sister, come out and play” as a tribute to the movie.

The Wash Up

The fans of Twisted Sister in the Eighties had kids and those kids grew up. There is a study doing the rounds on the internet about how the musical tastes of kids are influenced by the musical tastes of their parents. 

In my opinion, the re-birth of Twisted Sister’s popularity in the 2000’s is due to piracy. In Europe, Twisted Sister’s music is pirated heavily. With this new distribution, Twisted Sister was given headlining slots at European festivals that still continues to this day. Being a killer live band, they always delivered and their legend grew even more.

It’s funny that the thing that the record labels try to stop is the same thing that gave Twisted Sister a new life.

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