Music, My Stories, Stupidity, Treating Fans Like Shit

Bon Jovi – The “Because We Can” Tour will be renamed to “Because I Can”

The “Because We Can” tour needs to be remained to “Because I Can”. Based on the drop off rate of musicians, it looks like Jon Bon Jovi will be the last man standing.

It began with controversy and the absence of lead guitarist Richie Sambora. In my opnion, Richie Sambora is the reason why a lot of the metal and rock community enjoy Bon Jovi’s music. He gave the band some street cred, while Jon Bon Jovi went and played all his little games like “I want to be an actor” or “I want to be a football franchise owner” or “I want to be a politician”.

Isn’t it a huge coincidence that when Richie Sambora pulled out on the eve of the show, Jon Bon Jovi had a replacement for Sambora on the same day. By connecting the dots, Jon Bon Jovi knew this was coming. In the weeks after the departure, Jon stated that the show must go on and that he is not beholden to anyone. Of course, the angle that Jon put out there was that he cares about the people that work on the show and how those same people need to know that they are being taken care off by their employer and that they can put food on the table and make house payments.

Let’s look at the departure of Richie Sambora a bit more. On September 18, 2012, Richie Sambora released his third solo album, “Aftermath Of The Lowdown.”

At that time of the albums release, Richie Sambora stated that “What About Now” album was recorded before his solo album “Aftermath of the Lowdown” was completed. From reading interviews between September 2012 and February 2013, one would get the impression that Richie Sambora is a bit upset that he had to go out and promote another Bon Jovi album, while he also had a new album out. In other words, Richie felt that Jon Bon Jovi was killing off his solo record.

In order to appease Richie Sambora, it was decided that the new Bon Jovi album, “What About Now” will include a track from “Aftermath Of The Lowdown” as a bonus track on the deluxe edition. It looks like it wasn’t enough.

Fans then started to vent their frustration at the lack of information from all involved. The Bon Jovi shows kept on selling out in new markets, and shows in the common markets of Europe and North America kept on selling well with the hope that by the time the “Because We Can” tour rolled into town, Richie Sambora would be in tow. This didn’t happen and it took everyone by surprise, including Richie Sambora, who believed that he would have returned to the band by September the latest. The issue about money was banded about on various websites and with Jon Bon Jovi trying to get rid of his New York penthouse for $40 million since April 2013, the money angle theoretically holds true.

Then on September 10, 2013 Tico Torres undergoes emergency appendectomy surgery and the band POSTPONES their Mexico concert. Based on Jon’s assertion when Richie departed, the show must go on and that he is not beholden to anyone. However in this case Jon Bon Jovi was caught by surprise. To be fair, Jon Bon Jovi would have seen the departure of Richie Sambora rising on the wind, so he did have a back-up plan for that, however when Tico fell ill, there was no back-up plan and he had to cancel. However, this would have gotten Jon thinking about having a back-up plan for Tico Torres and Dave Bryan, just in case they all pull out.

So when Tico fell ill again, New Jersey native and Kings Of Suburbia drummer Rich Scannella was called to fill in until Tico is cleared to play.

Again the show goes on. With super large merchandise deals signed, Jon Bon Jovi cannot stop the tour. He might not be beholden to his band mates however he is beholden to the contracts. Merchandise deals become very expensive to the artist if they are broken or if the sales do not meet targets or if the promised shows are not delivered.

I have tickets to see Jon Bon Jovi live in Sydney. I cannot call the band Bon Jovi anymore, as it is not a band. The tour wraps up after the Australia shows. It will be interesting to see what Jon Bon Jovi plans to do next. In my view, he will still try to get every penny out of the Bon Jovi name, regardless of who his backing band is.

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

So What Is It With Bands And Producers Not Liking Each Other After An Album Explodes?

What is it with artist’s dishing out hate on a producer that was involved in producing their greatest triumph?

A good producer is meant to be tough and opinionated. They are meant to challenge the artist, so that the artist delivers the goods. Look at what Bob Rock did to Kirk Hammet in Metallica, especially around “The Unforgiven” solo piece. If you look at Kirk’s legacy that will be the solo that he will be remembered by. I remember in the “Classic Albums” documentary of the “Black” album, as well as in the video, “A Year and A Half With Metallica”, Bob Rock said something similar like, “it is a great song and it needs a great lead. What Kirk is playing at the moment is not great. He has to live and breathe this solo.”

Bob Rock got the guys to slow down the tempo on “Sad But True” and detune everything down a whole step. He told Lars Ulrich to take drum lessons before he started to record his parts. Which producer does that? Lars Ulrich is coming off 4 definitive thrash albums and there is Bob Rock telling him to take drum lessons. He questioned James on his lyrics and his melodies, something that hasn’t been done before. He recommended vocal lessons as well to the formidable front man.

Lars even said that once the Black album was finished, he couldn’t talk or see Bob Rock for over 12 months. Bob Rock has even gone on record saying that it was a tough album to make. The end result is every bands dream coming true. The biggest selling album of the SOUNDSCAN era with a total of 16 million sales as at December 2012. The Black album still to this day moves 2,000 units per week in the U.S. A a lot of websites pointed out that it outsold, Megadeth’s new album “Supercollider”.

As much as Nikki Sixx dishes on Tom Werman, the facts are out there. With Tom Werman, Motley Crue had three multi-platinum albums in “Shout At The Devil”, “Theatre of Pain” and “Girls, Girls, Girls”. Each album has sold 4 million copies plus in the U.S. That is a total of 12 million plus sales in the U.S market. Furthermore, the bulk of the “Decade Of Decadence” album is made up of songs from these albums, and that album also sold over 2 million copies in the U.S. In addition, the “Music To Crash Your Car” box sets also had the three albums produced by Tom Werman on them.

If all the stories about the drug use from the Motley Crue members are to be believed, then Tom Werman deserves special recognition for getting anything musical onto tape.

Dee Snider also doesn’t have many kind words for Tom Werman. If anyone has read Dee’s bio, “Shut Up and Give Me The Mic,” you can connect the dots and come to a conclusion that Dee is also blaming Tom Werman for the failure of Twisted Sister’s next album even though Tom Werman never worked on it. The routine used to be that Dee Snider would be working on songs for the next album, while the current album is being mixed.

According to Dee, in his bio “Shut Up and Give Me The Mic” due to Werman being difficult to work with and Mark Mendoza doing his best to sabotage everything that Dee was working on, he couldn’t take the time out from the studio to work on songs for the next album. So when it came time to write the songs for Come Out And Play after the hugely successful “Stay Hungry” tour, Dee’s mindset was in a different place. He had money, he had fame, he had success and he didn’t have the same hunger, anger and motivation that he had during the Stay Hungry recording. If he wrote the songs during the “Stay Hungry” sessions, the output could have been very different. Super producer, Bob Ezrin even passed on working on “Come Out And Play”, because he didn’t hear any great songs.

However, the facts are there. The Tom Werman produced “Stay Hungry”, sold over 3 million copies in the U.S alone. The singles, “We’re Not Gonna Take It” and “I Wanna Rock” also sold by the truck load and they sounded great on radio, due to special radio mixes that Tom Werman did for them. It’s funny that the song “The Price”, didn’t get the same radio mix and it tanked as a single, even though it is the strongest of all three songs.

In relation to Nikki Sixx and Dee Snider, Werman said the following on Popdose.com;

“There were two individual musicians who had a problem with me in the studio out of about 200 musicians I produced. Nikki Sixx was a friend until he revised history in his book. Dee Snider was a friend, until the Twisted Sister album became a hit, and he couldn’t deal with sharing the credit for its success. Both of these guys were literally back-slapping glad-handers; years later, they soured badly. I had fine relationships with all the other members of those two bands.”

Kix was another band that was critical of Tom Werman. Bassist and band leader, Donnie Purnell hated and distrusted Werman.

George Lynch from Dokken also had a problem with Tom Werman, when Werman requested that he play a better lead break on a particular song. If you believe Don Dokken, George Lynch has an uncontrollable ego. If you believe George Lynch, Don Dokken has an uncontrollable ego. Regardless who you believe, when Lynch was asked to play a better lead break, he had a dummy spit.

And now here are the facts for Dokken’s “Tooth N Nail” and Kix’s “Blow My Fuse”. Both albums on release went to GOLD status within a year. “Tooth N Nai”l was released in 1984 and ended up reaching PLATINUM status in the U.S in 1989 (yep that’s right, four years after its release), after the mega successful “Back For The Attack” album, got people interested in Dokken’s back catalogue. “Back For The Attack” reached PLATINUM status within 2 months of its release date.

“Blow My Fuse” was released on September 12, 1988. By November 2, 1988, seven weeks later, the album was certified GOLD by the RIAA. In May 1989, the single “Don’t Close Your Eyes” was released. By February 5, 1990, eight months later, the single was certified GOLD by the RIAA. Finally, on August 28, 2000, the “Blow My Fuse” album was certified PLATINUM by the RIAA. Yep, that is almost 12 years from when it was released. This is what the artist of today need to take into account. Great music will live on and it will keep on selling for a long time.

However, so many artists and record label executives want the platinum sales with the first release. Dokken’s back catalogue sold well after the mega successful “Back For The Attack” album (their 4th album). Metallica’s back catalogue sold even more, after the mega successful “Black” album (their 5th album). Motley Crue’s back catalogue sold well again after the mega successful “Dr Feelgood” album (their 5th album). However in today’s mindset of profits before creativity, most bands will not get to the fourth or fifth album. Most bands will not have a comeback like Aerosmith or Alice Cooper did in the Eighties. I digress.

Dream Theater, especially Mike Portnoy blasted Dave Prater on the “Images and Words” sessions, however with Prater at the helm, Dream Theater had their biggest album to date. Read the book “Lifting Shadows”. The interviews with Prater are brilliant. The rebuttals of the band members are in some cases subdued but fiery at the same time. Somewhere in between all of the stories is the truth.

Of course, Dream Theater with Dave Prater at the helm have had their most success in relation to album sales. “Images And Words” is the album that Dream Theater is still doing victory laps with in 2013.

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Alternate Reality, Influenced, Music, My Stories, Stupidity

Is Nikki Sixx A Revisionist?

When I was studying a subject called Science and Technology at Uni, one of the topics dealt with a term called “Whig history.” For the uninitiated, this term in pop culture means, looking back at the past, with the mindset and views that you have now, and rewriting the history to suit your view points at this point in time. Of course the meaning of Whig history is more detailed, however unpacking the full history behind it, in this blog, is for another day.

Anyway here is an example of a Whig history (especially made up by me for this blog post);
“Motley Crue changed the way bands would record music videos with the release of Smokin In the Boys Room in 1985. Their fearless leader, Nikki Sixx turned the clichéd video clip into a mini movie format. The rest of the music world needed to follow suit or they would be left behind. Video clips by Twisted Sister, Van Halen, Michael Jackson would all follow the new mini movie format made popular by Nikki Sixx.”

The above is factually incorrect. In addition, the time line of events are incorrect. Michael Jackson’s “Thriller” came first, in December 1983. Then in April 1984, Twisted Sister unleashed “We’re Not Gonna Take It” and not soon after “I Wanna Rock.” Also in the same year came “Hot For Teacher” from Van Halen. “Smokin In The Boys Room” didn’t come until 1985.

The above example is to illustrate a revisionist view on history, that takes the view point of a “super hero” and how that super hero changed the course of the music industry.

First, let me say that I am a fan of Motley Crue. Growing up in the Eighties, Motley Crue and the attitude they exhibited was something that I could relate too. I have read “The Heroin Diaries”, “This Is Gonna Hurt” and “The Dirt”. I have also read “Tommyland” and “Tattoos & Tequila: To Hell and Back with One of Rock’s Most Notorious Frontmen.”

Since Motley Crue was the top band in the Eighties for me, I devoured as much information as I could on the band. This included taping interviews from all the various music shows, buying the expensive U.S magazines and trading with other hard rock fans in my local area. For example, I would give them a Poison poster and they would give me stuff on Motley Crue that I didn’t have.

So after reading the books above, especially the solo books, I was confused with some of the information that was put out there. Vince Neil’s is the worst one and his book was a very painful one to read. For the casual fan they wouldn’t notice these changes to the mythology of Motley Crue, however for the hard core, some things just didn’t sit right.

Doing the rounds at the moment are comments by Sebastian Bach. To recap, Bach claims that he was asked to join Motley Crue, before they fired Vince Neil. Nikki Sixx said that was not true. Bach took offence to that, you know that whole “don’t call me a liar” argument. In his rebuttal, Bach makes a reference to Nikki Sixx’s “The Heroin Diaries” book as being inaccurate and he also mentions that a jam session took placed between Nikki, Tommy, Mick and Sebastian. Nikki Sixx has yet to respond to this. This isn’t the first time that Nikki Sixx’s version of events has been questioned.

John Corabi, the vocalist that ended up replacing Vince Neil has also disputed certain sections of “The Dirt.” In addition, Phil Lewis from L.A Guns has called “The Heroin Diaries” a fraud. The most famous of all rebuttals is Tom Werman’s which calls Nikki Sixx a “revisionist.” Even Dee Snider, in his opening forewarning of “Shut Up And Give Me The Mic” alludes to a book written by a junkie as not being factually correct.

So how much of the truth did Nikki Sixx tweak and re-envision for the sake of a story line?

At least the soundtrack to “The Heroin Diaries” was mind blowing.

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Complacency Kills – Music Is A Battlefield

I am listening to the Avenged Sevenfold discography again today. Yep that is five days in row. What can I say, the new album, “Hail To The King” connected with me. I admit that the connection comes from the similarities of the songs on the new album to the bands that I grew up on.

As I have said many times, progress is derivative. One of the rules on success, is that you need to know how to be a member of the club. This is what Avenged Sevenfold is reaching for here on “Hail To The King.” They want to be a member of the classic rock club.  With 200,000 in U.S sales in two weeks they are well on their way. Spotify streams for the song “Hail To The King” are at 1,884,995 and YouTube plays are at 3,904,022 for the same song. Other songs on the album on Spotify have the following numbers;

Shepherd Of Fire – 495,889 streams
Doing Time – 372,238 streams
This Means War – 394,868 streams
Requiem – 333,633 streams
Crimson Day – 310,412 streams
Heretic – 277,498 streams
Coming Home – 288,336 streams
Planets – no data as yet
Acid Raid – no data as yet 

If you’re not spending money, then you are not investing in your future. That is why a DIY independent band like Digital Summer is still ticking over. All the money they make from music is invested back into the band. To supplement themselves, they hold down normal day jobs.

Don’t focus on the money aspect. Desperation can been seen a mile away and it is a turn off. Just try to be friends. Remember that the system is rigged against you. The deck is stacked against you. There are so many people that want to be in the music business, they are willing to work for free. There is no safety net. There is no fat cat with a cigar as mentioned by Yngwie Malmsteen saying that they will fund the record, they will fund the video, they will fund the tour and that they will promote you. This is what Chris Clancy from Mutiny Within doesn’t get. Piracy is not his enemy. His enemy is the millions of other wannabes that are trying to make it and are doing everything for free. Look at Netflix, their policy is to sign up shows that are pirated heavily.

The only way to make money in the music business is to be in the game a very long time. That way, you will be in a position to renegotiate and make better deals. That is why Metallica are huge and getting bigger. Spotify wanted them on their service and they came knocking with a deal that Metallica couldn’t refuse. That is why Motley Crue are still around and making more money than ever. That is why the battle over Queensryche’s name is huge. Even though the band is more or less over and the new music that is created is below Queensryche quality, the name of the band, and the legacy that comes with it carries a lot of weight in dollars. It is a full blown corporate dispute. That is why Geoff Tate has asked for the trial date to be delayed until January 2014. He is hoping that something can be sorted privately, otherwise if it goes to court and he loses, he loses a lot.

Make sure your music is good enough. If you believe that your music is good enough and you are still stuck in the same situation, then the problem is you. You have to figure out what it is about you that is not working and change it. It could be your look, your personality, your interactions with people or your lack of building proper relationships. I like the band Mutiny Within, however I hate the viewpoints that their singer Chris Clancy puts forward. He has been totally misled by others and focused totally on the money side of things.

Take Hold of the Flame from Queensryche sums it up with the lyric, “We see the line of those who find the world has passed them by / Too late to save a dream that’s gone cold.” Don’t be the one with a chip on your shoulder because of missed opportunities. John Sykes is one such talent that didn’t really get the respect and recognition he deserved outside of the core metal/rock community.

Remember that marketing isn’t the 4P’s model of Product, Price, Place and Promotion anymore. Trying to extend the 4Ps model to a world of social media doesn’t cut it anymore. This is what Roadrunner is doing right now with Dream Theater. Here is the product, here is the price, we are placing it here for sale and we are cross promoting the streams of the new songs with the USA Today website and the Grammy Awards website.

Marketing is a one to many relationship. Spotify, Pandora and YouTube are three tools that fit this ideal of marketing. You see, record labels used to charge bands for marketing back in the Eighties and the bands didn’t complain about the marketing budget. In 2013, bands are now marketed on Spotify, YouTube and Pandora and they are complaining at the royalty rates and advertising rates these services pay. It doesn’t make sense to me. Dream Theater has not officially released the two new songs on Spotify. Avenged Sevenfold released the “Hail To The King” single on Spotify and it had 700,000 streams before the album even came out.

Sales is a one to one relationship. This is what iTunes, Amazon, Google Store, CDBaby and Brick and Mortar stores facilitate. Guess what, “Hail To The King” is out and it has moved 200,000 physical units in two weeks as well.

Notice a difference between the services that are used for marketing and services that are used for sales. Musicians fail to notice the difference, always linking marketing services to sales services and complaining about the lack of compensation from a marketing service, however when the Record Labels robbed them blind with $100,000 marketing bills, they didn’t complain.

You need to have skills, you need to know the rules, you need to know the game. You need to keep adjusting your game. On a battlefield, “Complacency Kills”. To stay on top of the music heap, you need to be on the leading edge. You need to remain motivated to succeed. Remember there is no safety net in music. You need to exceed the status quo in every way. You need to excel everyday 24/7. You need that outside perspective. If you surround yourself with enablers who have a vested interest in you making them as much money as possible, you will not get that perspective.

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Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Blabbermouth reports on another Blabbermouth – The Yngwie Malmsteen Streisand Effect

Wow. Where should I start with this. First of all, Blabbermouth does a poor job of conveying the tone of the whole interview that took place on the Classic Rock Revisited Website. By pulling out the questions that relate to piracy, Blabbermouth knew that they would get a reaction. All Blabbermouth cares about is the page views. As long as the page views are ticking over in the thousands, they can keep selling advertisements.

By 1992, Yngwie Malmsteen was riding high after five well received albums on the smaller Polydor label. He was ready to release his sixth studio album called “Fire and Ice”, which was his first release on a new major label deal with Elektra Records. The 1988 “Odyssey” album with Joe Lynn Turner on vocals is the album that got Elektra interested. However by 1989, Joe Lynn Turner was not the vocalist. Still Elektra took a punt on him after the album “Eclipse” did reasonably well in 1990, with a new band and a new singer.

The “Odyssey” album was a success because all the lyrics were written by Joe Lynn Turner, while all the music was written by Yngwie Malmsteen. Turner knew how to write in a pop format and that made Yngwie crossover. “Odyssey” was also produced by Yngwie Malmsteen, Jeff Glixman and Jim Lewis. On “Fire and Ice”, all the music and lyrics are written by Yngwie Malmsteen. The album is also produced by Yngwie Malmsteen. So when the album failed to make any impact, guess what happened to Yngwie?

By 1994, Malmsteen was releasing his seventh album “The Seventh Sign” on a British Independent label called Music For Nations. Music for Nations started signing all the Eighties bands that the major labels discarded. He had no distribution in the U.S., while Music for Nations distributed the album in Europe and Pony Canyon distributed the album in Japan. If any other Malmsteen fans wanted to buy the album in Australia or the US/Canada, they had to purchase it as an import, which meant double the price of what it would normally retail for. Nice way to treat the fans.

Fast forward to 2013. There are 12 questions asked before the piracy question that Blabbermouth leads off with. To sum up, the 12 questions relate to the release of Malmsteen’s autobiography, why Malmsteen wrote it himself instead of using a ghost writer and his love for his family, Paganini and guitar playing in general. So we come up to the question that Blabbermouth leads off with.

Classic Rock Revisited: Do you ever get caught up in thinking about commercial appeal of what you’re writing or composing?
Yngwie: I did at one point, when that actually existed. The radio format doesn’t exist, the singles don’t exist. The record label doesn’t exist. The record stores don’t exist. That whole entire thing is gone.

Everyone is entitled to an opinion. Malmsteen has put his out there. Malmsteen knew exactly that what he would say in relation to piracy would get a reaction. As an artist, he has products to promote that no one really cares about in 2013 except for his core audience. He is hoping that the “Streisand Effect” will work for him as well.

Look at what it has done for Lady Gaga. Seriously, if people reckon she got hacked and a snippet of her new song was the only thing that was taken, then those people need to get checked out for some sort of denial illness. It was all orchestrated to bring attention to the single. It was all orchestrated to engage her fan base in finding the offending snippets and to report the websites. It was all orchestrated so that all the media outlets can pick up the story and report on it. The same thing is happening with Yngwie Malmsteen’s comments. Blabbermouth has run with it, I am pretty sure, Noisecreep, Ultimate Guitar, Ultimate Classic Rock, Loudwire and a thousand other blogs like me will run with it.

In relation to Yngwie’s comments, the terrestrial radio format that Yngwie alludes to, ceased to be relevant for metal music when Yngwie was still at his peak in the Eighties. No radio station played Yngwie after the “Odyssey” album with Joe Lynn Turner on vocals. As soon as Radio stations became beholden to the advertisers and needed to make profits for shareholders, metal music was taken out of the playlist.

The single format comments are totally wrong. It is the “single” that is killing the album format. Fans are now able to pick and choose what songs they want to listen to. Even Nikki Sixx has asked fans to stop buying single songs and to invest in the whole album experience. In relation to the record label comments, the record label does exist, albeit in a much different way. The record labels have no one to blame except themselves for the state they are in.

The record stores don’t exist on a large scale because the days of selling plastic for almost thirty dollars are long gone. The public got burnt on this rip off. Fans of bands didn’t wake up in the morning thinking “I need to go to a record store to buy a record”. We woke up thinking, I want to hear this song. The only way to hear the song that we were thinking about was to buy a piece of plastic that had the song on it. So when the history of music is at your fingertips, why would you make the trip to a record store.

I stopped buying Malmsteen CD’s around 1994, when they started to become import CD’s. I wasn’t that keen on spending $50 plus. In 2003, all of his Nineties output came out on SPV in a remastered format, and the pricing was $30. Within 4 weeks, the prices dropped to $3 for $10 and I purchased the music then.

http://www.blabbermouth.net/news/yngwie-malmsteen-the-music-industry-died-because-of-the-piracy/

http://classicrockrevisited.com/show_interview.php?id=995

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Music, My Stories

The Three Amigos – Roadrunner, Dream Theater and Recouping The Advance

When Dream Theater broke through in 1992, it seemed that they just burgeoned overnight. Information and back stories of the band was scarce at that time. However Dream Theater didn’t just come out of nowhere. Dream Theater had been at it for nearly a decade prior to that. First as kids learning their instruments and from 1985 as a three piece outfit. In the end, the band has built a career of 20 plus years.

Breaking through for Dream Theater still meant “obscurity from the mainstream” however with a “cult audience” that appreciated them. Remember in 1992, the Seattle scene became the Mainstream darlings. So when the band broke through again on the back of the “Metropolis II” album in 1999 and again on the “Train of Thought” album in 2004, the hard core audience who’d been there from the beginning was now pissed that everybody else is now attached to the band. In the end no one could deny the greatness?

In this day and age, when the relevance of the record labels is being questioned, Dream Theater had a pile of money thrown at them by Roadrunner and they went and resigned a new deal. Each new deal means a larger advance paid up front by Roadrunner that needs to be recouped in some way.

That is why Dream Theater has partnered up with the US Today website and the Grammy Awards websites as the first point of call to stream the two new songs. It is actually the record label that is partnering up with these organisations. In the end, Dream Theater can veto any such partnering’s however no one has the balls to do so anymore because of this “money” problem.

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