Copyright, Music, My Stories, Stupidity

I Wanna Be Sedated

“Nothin’ to do and nowhere to go I wanna be sedated”

My youngest son had a big spew last Wednesday night. Then from Thursday to Monday he was running a temperature as a chronic barking cough was developing. Children’s Panadol was ineffective and on Sunday we reverted to children’s version of Nurofen. Finally by Monday afternoon we had his temperature under control.

By Sunday my middle son had also developed a cough that was nasty and by yesterday afternoon I too had an uncomfortable cough.

Now add to that mix the fact that my wife has been ill in some form or another for the last eight weeks. Furthermore I also have my wife’s parents living with us while they build their house and they have been ill much in the same way my wife has and it was no wonder that my eldest son said that our house is like a hospital ward.

So at the moment I have antibiotics for my youngest son, my middle son and for myself. My wife called and said that she will be going to the Doctors as well.

“They call us kings, then watch us fall down broken”

I can’t deal with illnesses that go on for this long. It stresses me to death. I already take three lots of tablets for hypertension. I feel broken and depressed. I just laid my youngest one to bed after a twenty minute cough attack. I feel exhausted. What kind of superhero king am I?

“Wine is fine, but whiskey’s quicker”

It’s easy to do but what about the morning after. I have to be there for my children. Actually the “Suicide Solution” lyric is from Bob Daisley but no one will remember that in the future as history is always written by the ones who have power. Sort of like how the current Bon Scott biopic was threatened with copyright infringement as AC/DC and the Bon Scott estate didn’t like the fact that they didn’t have control over it. Much in the same way as the Jimi Hendrix biopic. There is a saying that the ones that control the narrative are the ones that control people’s minds. And that is so true and evident in the times of today.

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Copyright, Music, Stupidity, Treating Fans Like Shit

Hendrix And The Madness Of Copyright

There is a new Jimi Hendrix Biopic called Jimi: All Is By My Side out and for anyone that has seen it, you will notice that the movie is missing Jimi Hendrix’s original music. So the story goes something like this. The Jimi Hendrix Estate denied all attempts to license the music unless they had control over the story line of the movie. The producers felt that this would not gel well with their vision  so what the public has is a movie where the actor who plays Hendrix is performing cover songs of other bands.

This is ridiculous because in case anyone has been living under a rock, Jimi Hendrix has been dead for 44 years. Based on retroactive copyright terms his music will never even enter the public domain in our lifetime.

It’s worth noting that when Jimi Hendrix created his original works in the Sixties he did it under the agreement that he will have a copyright on those songs for 55 years during his lifetime. However, the corporations have ensured that agreement got retroactively changed to be life plus 70/90 years (depending on which country you reside in). It is also worth noting that a lot of his original compositions were influenced heavily by blues compositions from 20 to 30 years prior to the 60’s who already had their copyrights expire. That is why Hendirx flourished and that is why the British Invasion flourished. They built of works that had entered the public domain. That is how culture thrives, by building on what came before.

Copyright was always meant to be a deal between the creator and the public. “We (the public) will give you (the creator) exclusive rights and related legal rights for a limited time to your works, so that you have an incentive to create more, but in exchange once that limited time has passed the rights to your creations go to the public so that people can build on what you’ve created”. Copyright was never designed to a welfare system for heirs and ‘estates’ like actual property or a product to be monopolised by greedy corporations.

Any copyright term lasting past death is excessive and at that point it’s time for the public to receive their half of the deal.

I have heard the argument that a lot of Hendrix’s fans, family and friends are not happy about the way he is portrayed in the movie. My answer is so what. If you look at the history of biopics based on musical heroes like Jim Morrison or Johnny Cash, I am sure that fans, family and friends of those people would not have been happy about how those artists have been portrayed in movies. But that’s not the point of copyright. It’s not a right to block or censor representations the creator doesn’t like. In this case the Hendrix Estate was trying to use copyright to block a version of events that the family did not approve of.

Of course, the Hendrix estate might be making their own biopic or documentary on Jimi’s life and I am sure that they will portray Jimi in the most favorable light possible. Sort of like re-writing history from a certain point of view. However that is why other stories like “All Is By My Side” should be told and that is why copyright should not be used to censor those stories.

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A to Z of Making It, Music, My Stories, Unsung Heroes

Credibility = Musical Differences

Music used to be about finding some Avant garde musical and lyrical edge and pushing yourself and that edge to the limits.

Want to be as big as Metallica. Forget about the Napster court case and remember that Metallica once was a band that had an edge. They were an outlier versus the LA Glam Rock movement.

When did it all change?

Now it’s about what maintains.

Now it is about what can an artist do to ensure that the nice income they got from the last recording and tour cycle remains the same?

So they go away and recreate the same album thinking that is what the fans want.

Now imagine thousands of artists doing the same thing and pretty soon, we, the public will be ploughed under by the plethora of product that all sounds very similar. And we do either two things. We switch off completely and go back to the classics that we know or we gravitate to a few current acts and decide that they will be the ones that we stick with.

Because we don’t have time to sit back and listen to every new album just to find that one song that could blow our mind.

Musicians didn’t want to make the same music everybody else did. It was all about finding your style.

Musicians didn’t care about how they looked. It was all about how they played.

Musicians didn’t want to sell out to the corporation because it took away their street cred.

And credibility is everything.

That is why Rock/Metal bands didn’t really last forever.

Credibility equals musical differences.

How long were The Beatles together? Eight or nine years.

What about the original line up of Kiss? Eight or nine years.

Twisted Sister (the version of Dee Snider, Jay Jay French, Eddie Ojeda, Mark Mendoza and AJ Pero) had a run of 7 years before AJ Pero was booted and another year after that the band itself was goneski for a long period of time.

Motley Crue had a run of 11 years before Vince Neil was outed.

Led Zeppelin had a run of 12 years before the tragic passing of John Bonham and even though they got together with Jason Bonham on a few occasions, you could honestly say that was the end.

The Doors had a run of 6 or so years before the tragic passing of Jim Morrison.

What about Jimi Hendrix? He had a three-year reign before he tragically died.

Dokken had a run of 7 years before they went down in flames just because George Lynch couldn’t get over the fact that the band he was in was called Dokken.

Credibility is the honesty and openness of our past heroes and the lyrics in their songs.

Motley Crue didn’t come out and pretend to live the destructive lifestyle they sang about. They actually lived it. Same goes for Guns N Roses.

Dee Snider wrote his career defining songs when he was poor and broke. He had the anger and the credibility of knowing what it was like to be poor and hungry for success.

With Desperado and especially Widowmaker Dee Snider was in the same position as he was before the “You Can’t Stop Rock N Roll” success and he wrote a lot of great songs for those projects that no one has really heard. Listen to “Reason To Kill” from the Widowmaker album, “Blood and Bullets”. Elektra boss Bob Krasnow at the time would have hired multiple body guards to protect his sorry ass.

This is what music was.

Truth.

The basic human connection to one another.

And now with music available 24/7 everyone is sacrificing that truth in desperation to chase a trend that makes money. But the ones that had longevity in music never chased trends. Like Frankie said, they did it their way.

That is why in most new acts, most people know the singles, the real stand out songs from the album.

That is the difference between the new breed and the old acts. The fans of the old acts know the material. Because when you have that one album for a six month period, it is all that you listen too.

I will let you in on a little secret. All of our heroes are “years in the making” success stories. They started something, failed, looked stupid doing it, dusted themselves off and started something again.

But everyone these days wants to parade themselves as a winner. Which is BS.

What we need are musicians pushing the limits of their art.

We forget the latest song we listened too in a matter of minutes but we are still talking about the latest Game Of Thrones episode.

It needs to be the other way around.

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A to Z of Making It, Music, My Stories, Unsung Heroes

Work Ethic Of Our Fallen Idols Is No Different From Generation to Generation

Music is forever.

Our heroes will die or already have died but their music lives on.

With the power of internet it should be every persons goal to continue to reach new generations of fans, so that they too can also benefit from hearing the work of musicians like Paul Kossoff, Dimebag Darrell, Randy Rhoads, Jimi Hendrix, Chuck Schuldiner and many more.

Paul Kossoff’s career was short at 25 years of age. As a guitarist he was always looking to “have a jam”.

Randy Rhoads just wanted to play guitar, evidenced by taking classical lessons while on tour with Ozzy and then receiving a punch in the face when he told Ozzy that he wanted out.

Jimi Hendrix was always booking studio time and running his different bands through jam sessions over and over again.

Chuck Schuldiner was a technical death metaller who just wanted to be a guitarist in a band and he finally achieved that dream with “Voodoocult” and the progressive “Control Denied”.

One thing that all of these musicians are renowned for regardless of what generation they come from is their prolific musical output, their jamming ethic, their hard work and devotion to the lifer lifestyle of the music business.

Paul Kossoff was involved in 10 studio albums and 2 live albums between 1969 to 1976. Talk about jamming up a storm.

Jimi Hendrix was prolific. Apart from the official releases (three within a year), Hendrix created a musical vault so deep, his family members are still making money from his legacy.

Dimebag Darrell had 4 independent releases and close to 10 years of experience under his belt before “Cowboys From Hell” opened the door for a bigger stage to play on.

Chuck Schuldiner was involved in 9 albums between 1987 and 1999.

It’s always been tough for new bands or artists to make it. From the sixties to now, that toughness hasn’t changed.

The difference between then and now is that there are so many more people making music which in turn makes the current state of the music business highly competitive.

Seen a shortage of ticket sales recently for bands that work hard.

Seen a shortage of ticket sales for the classic rock bands lately.

Of course not.

The music business is thriving. And it is also cram-packed with music that it’s hard for a lot of music to find an audience. There is a reason why Spotify has over 4 million songs that haven’t even been played.

And if any artist wants to be in the hard rock/metal game, then the bar is set very high.

You need to compare yourself to Led Zeppelin, Black Sabbath, Deep Purple, Bon Jovi, Judas Priest, Iron Maiden, AC/DC, Pantera, Megadeth, Free, Ozzy era bands, Motley Crue, Queensryche, Free, Jimi Hendrix.

In the end the importance and essence of great rock music will never fade away and that bar that is sitting very high, will just keep on going higher.

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Cover Song Is A Doorway Into Your Act

My first introduction into Trivium and Bullet For My Valentine was from the Kerrang “Master of Puppets” 20 Year Anniversary album. My initial interest to hear the album was because Machine Head was covering “Battery”. So after they blew me away with their downtuned cover, along came Trivium with their cover of the title track and man what an undeniable job they did with it. Bullet For My Valentine didn’t set the world on fire with their cover of “Welcome Home (Sanitarium) however they did enough to get me interested in it.

By hearing those two cover songs, I started to seek out the actual original music of Trivium and BFMV.

Another record was “Maiden Heaven: A Tribute to Iron Maiden.” That one had Black Tide covering “Prowler”, Fightstar covering “Fear Of The Dark” and Madina Lake covering “Caught Somewhere In Time”.

Upon hearing those cover versions, I had to go and seek out more music from those bands.

So you see, as an artist trying to make it, those original songs that you create and release might be great, but it doesn’t get you the connection with the audience just yet. Sometimes a cover song does the job.

There is a reason why Jimi Hendrix connected with “Hey Joe” and “All Along The Watchtower”. “Hey Joe” didn’t do much for “The Leaves” in 1965, however it was The Jimi Hendrix Experience’s first hit single in 1966. “All Along the Watchtower” these days is well-known as a Hendrix psychedelic groove rock song instead of a Dylan folk song.

There is a reason why Van Halen connected with “You Really Got Me”. As good as the debut album is, the needed an introduction and “You Really Got Me” was the introduction.

There is a reason why Joan Jett and The Blackhearts connected in 1981 with “I Love Rock N Roll” that was penned by Alan Merrill and Jake Hooker from the British rock band Arrows and released in 1975.

There is a reason why “When the Levee Breaks” became so enduringly influential. It’s origins go back to 1929 when husband and wife singer-songwriters Kansas Joe McCoy & Memphis Minnie originally recorded it as a blues song about the Great Mississippi Flood.

“Hard TO Handle” was the breakthrough hit single for “The Black Crowes” in 1990 and it is a cover song from 1968, originally written by Otis Redding.

Quiet Riot went platinum in 1983, with “Cum On Feel The Noize” and it was a cover song from 1973. The thing is, the Slade version went straight to #1 in the United Kingdom and Ireland and was a top 10 single throughout parts of Europe. The Quiet Riot version reached the #5 spot on the Billboard Hot 100 in the US.

“Black Magic Woman” is known as Carlos Santana’s flagship song, however it is also a cover from the Peter Green version of Fleetwood Mac. Actually, Carlos Santana’s Woodstock-era period made a career out of re-imagining other peoples’ songs.

Cover songs are not the enemy and on a lot of occasions, the cover song broke a band to the masses. It was the doorway to the other treasures that lay in waiting.

Recently bands like “Within Temptation” or the “Smith/Meyers” project have taken to re-interpreting cover songs.

Machine Head have always selected great cover songs from “Battery” to “Hallowed Be Thy Name” to “The Sentinel” to “Our Darkest Days/Bleeding.”

Find a great tune and get cranking on a kick-ass remake/re-imagining of it. You never know how it could connect as music has a way of making peculiar connections.

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A to Z of Making It, Classic Songs to Be Discovered, Influenced, Music, My Stories

John Sykes

How do you follow-up “Still Of The Night, Bad Boys, Give Me All Your Love and Is This Love”?

You don’t. You change tact and form a super group with musicians that have some real rock credentials.

Forming a new band or going solo (depending on how people see the Blue Murder project) after being fired from Whitesnake before the huge success of the 1987 self-titled album, John Sykes believed the world was his oyster. Surrounded by the expertise of John Kalodner and a big money offer from Geffen Records, he believed he would have instant success now that he could play by his own rules.

However that was not to be. The Blue Murder self-titled debut got stiffed from the outset, due to the Geffen label bosses doing everything to please David Coverdale. David Coverdale even threatened to withhold the next Whitesnake album if the label didn’t pull its marketing of the Blue Murder project.

The self-titled Blue Murder album is a classic album. It was an accumulation of who John Sykes was at the time. Can’t say much about the pirate swash buckling image, however the music was epic and majestic. The songs. First class.

It is a shame that it is not on Spotify, however the follow-up “Nothin But Trouble” is on Spotify along with a folk band called Blue Murder. If you don’t own or haven’t heard it before, go to YouTube and you can hear the full album in a high quality stream.

Released in 1989 it was produced by Bob Rock. It kicks off with “Riot”. There is so much intensity and drama in this song and I remember when I heard John Sykes’s vocals, I was like damn, this guy can sing. I couldn’t believe that John Sykes considered getting someone else to do vocals.

It contains the majestic “Valley Of The Kings” which ironically was co-written with Tony Martin. Of course, if you listen to the Black Sabbath album “The Headless Cross” with Martin singing, you will hear a lot of similar melodies to “Valley Of The Kings”.

“You’re workin’, slavin
Into death every day
Set us free”

Depending on how people view a 9 to 5 job, not much has changed since the time of the Pharoah kings.

How heavy is “Ptolemy”? What about that groove!

“Black Hearted Woman” is co-written by with Carmine Appice and Tony Franklin and it is a derivative version of “Children Of The Night” and “You’re Gonna Break My Heart Again” from Whitesnake.

“Out Of Love” is the result when John Sykes combined “Is This Love” and “Looking For Love”.

“Billy” is the Thin Lizzy influence coming through.

It’s nine songs and no filler, however this great album was still eclipsed by the work that John Sykes did with David Coverdale.

Look at the track list to the John Sykes “Bad Boy Live” CD, and you will see “Bad Boys”, “Crying In The Rain”, “Is This Love” and “Still Of The Night” on the track list. Those songs still get played live by Whitesnake and by John Sykes.

Listening to Blue Murder it doesn’t sound dated. The music has lost none of its power in the decades that have passed. That is the power of the riff and John Sykes was damn good at creating an awesome riff.

The album is heavy without being bleak. You can listen to it while driving and you can listen to it in the comfort of your home. It reminds me of a time when music ruled.

It is such a shame that the Blue Murder album got stiffed by David Coverdale playing record label politics and it’s follow up “Nothin But Trouble” got stiffed by the record label playing grunge politics. While “Nothing But Trouble” didn’t have the same impact has its predecessors, it is still a very satisfying album and it’s a John Sykes album I still listen to today.

“You promise heaven, but hell is all I see
(Mojo rising on the wind)
If there’s a lord above
Come rescue me
(Mojo rising on the wind)”

Any song that starts of with the above lyrics has my attention. “Cry For Love” is another derivative version of the “Valley Of The Kings”, “Crying In The Rain” and “Still Of The Night” style that John Sykes is renowned for, however it doesn’t sound like a forgery.

“We All Fall Down” is Thin Lizzy heaven and this track would have satisfied all fans of Thin Lizzy in John’s vocal delivery and lyrical style.

“I Need An Angel” is one of the best power ballads that John Sykes has composed.

“Runaway” is a clichéd lyrical theme however there is nothing clichéd about the song and it’s delivery.

“Dance”, “I’m On Fire” and “Love Child” are no different to “Sex Child” and “Jelly Roll” from the debut.

All of these songs can stand on their own. Anyone that listen’s today, cannot help but nod their head and tap their foot, because the music is so good!

It’s the guitar work, it’s hypnotic, it’s majestic, it’s all riff-a-delicious, it’s heavy, it’s melodic and it’s passionate. It’s like Sykes didn’t care who was paying attention, he was just going to go off and do his thing. If he wanted to chuck in a 2 minute guitar solo, he would.

So it is 1994 and John Sykes is without a record deal. What does he do next? He goes solo. In a gatekeeper controlled market, interest in John Sykes was still high in Japan and Europe. The U.S market got pushed onto the grunge and alternative band wagon. Hard Rock fans had to pay top dollar for imports to satisfy their musical needs. What can I say, the people who run the record labels are complete idiots.

In 1995, “Out Of My Tree” drops. I didn’t hear this album until Napster hit in 1999. I couldn’t justify paying the $80 for it in Australia, just because it was a Japanese import. So when Napster hit the Australian shoreline, John Sykes was the first name I searched out and to my delight, I found all the songs that made up the “Out Of My Tree”, “20th Century” and “Loveland” albums.

“Soul Stealer” opens the album with a very sleazy and groovy riff. Again it is derivative and it is perfect. There is a swing and it’s infectious. “I Don’t Want To Live My Life Like You” is next, with it’s very punky Sex Pistols vibe and super catchy chorus.

“Standing At The Crossroads” channels the spirit of Jimi Hendrix. Following that is the slow “I Don’t Believe In Anything”. It sounds psychedelic, very Beatles like and it sounds like it came from an era when everything on an album didn’t sound the same. It’s not a glam rock or pop metal power ballad. It is jazzy and the bass line is even funky. You believe that Sykes truly feels it. It’s structure is classic rock all the way, with a verse, chorus, lead break, back to the chorus and we are only half way through the song.

The piece de resistance is “Black Days”. It harkens back to the classic rock riffs that John Sykes creates. The groove behind the music is undeniable. It gets the foot tapping and the head tapping. It’s got a small drum solo, a classic Sykes solo and a slow, “Whole Lotta Love” style breakdown, before building up to that epic riff. Then we get a classic outro complete with Sykes soloing over a repeating vocal line and the drums building it up nicely until they are in a double time frenzy.

“Jesus and Mary” has an ascending riff like Led Zeppelin’s “Kashmir”. The lyrics let the song down in my opinion as the music is so good.

“Do Or Die” is a derivative version of “We All Fall Down” and “If You Ever Need Love” is a derivative version of “Is This Love”.

John Sykes even reformed Thin Lizzy as a tribute to Phil Lynott however some of his best work is on albums that have more or less been wiped from the map. Everyone should check those albums out.

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A to Z of Making It, Music

Blowsight

Nikki Sixx is a fan and he endorsed the band on his Sixx Sense Radio show. Celebrity endorsements in other genres would normally see the endorsed act get some serious traction. However the very divisive metal and rock communities fail to pay the same attention to celebrity endorsements like other genres.

Lorde broke through because of an endorsement. Credit Sean Fanning. I got into the band Avatar because Zoltan Bathory endorsed them during the “American Capitalist” tour. Endorsements from our heroes makes us pay attention. However in the end musicians endorse little. Google “musicians endorsing musicians” and you don’t really see any list that Google can recommend. However you see a lot of pages on musicians that HAVE endorsements with manufacturers.

Anyway, someone who is famous said that Blowsight are great. So the band gets a look. Now it is up to them to capitalise on it. Bands don’t get a lot of chances in the music business. They need to deliver when they do get the chance. And it is always about that one song. If the song is okay, kiss that chance goodbye. And that brings me to Blowsight.

First YouTube. The official video clip for “This Pain” is sitting at 28,651 views. The official video clip for “Hit On The Radio” is sitting at 16,874 views. The official video clip for “Days Of Rain” is sitting at 72,837 views. Hardly earth shattering numbers, especially since “Hit On The Radio” is talked up as “the song”.

However their cover version of Lady Gaga’s “Poker Face” is sitting at 120,231 views on one user channel and 55,918 on another user channel for a combined view of 176,149. Their cover of Britney Spears “Toxic” is sitting at 119,072 views on a different user channel. So for two cover songs, the view counts total 295,551. There is a fan base there for sure that can be monetized.

However the two most viewed YouTube videos are on user channels and not on the official Blowsight channel. Actually there is no Blowsight channel. The official videos mentioned previously are on the Fastball Music Label channel. This is a big mistake on their part.

Spotify has the following list as today;
1,272,112 streams for “Bandit For Life”
1,031,547 streams for “Poker Face”
430,068 streams for “The Simple Art (of Making You Mine)
357,917 streams for “Toxic”
266,551 streams for “I Wish You 666”
143,881 streams for “Invisible Ink”
60,108 streams for “Hit On The Radio”
50,681 streams for “It’s Me You’re Looking For”
49,634 streams for “Through These Eyes”
32,553 streams for “Back Where We Belong”

To put into context the million dollar stream figures for the songs “Bandit For Life” and “Poker Face”. Dream Theater is a world-renowned and Grammy nominated band and their song “On The Backs Of Angels” has 1,205,759 streams. Blowsight is more or less a small-scale Swedish based band.

Remember the best artists of the Sixties and Seventies became famous because of cover songs. Look at Jimi Hendrix. “Hey Joe” and “All Along The Watchtower” come to mind immediately. Linda Ronstadt’s fame came because she took other peoples forgotten songs and made them hers. Led Zeppelin even covered songs and called them their own.

Blowsight – Destination Terrorville

It was late in the afternoon at work, my head was fried and then “Destination Terrorville” filled my ears pace through my budget TDK ear pieces. What can I say, I stuck with TDK during the cassette wars, so their name still resonates with me.

For an album that was released in 2007 it sure sounds fresh and new. Of course, I wanted to know more, so I Googled them.

Of course they are from Sweden. Stockholm to be precise. Another Swedish act like Avatar, April Divine, Takida, Corroded and Days Of Jupiter trying to make a difference in the modern rock scene. The roots go back to 2001 and they released demos of their material on the internet and allowed listeners to freely “collect ‘em all!”. Hey what a great idea, competing with free to get some market share.

Back in 2007, front man Nik Red was known as Niklas Fagerstrom (of course a totally perfect rock star name and a scene from the movie “La Bamba” comes to mind right now. You know that scene where Richard Steven Valenzuela is told to shorten his name to Ritchie Valens, so that he has more mass appeal).

My first impression is that it is very reminiscent to two bands I dig. One is Evans Blue, the other is Breaking Benjamin.

They are a band that is able to take the best bits of the pop, rock, metal and punk worlds. In the end it still comes across as modern rock/metal. That is not a bad thing, however it is a very crowded marketplace and they need to be really great at what they do.

“All That Is Wrong” has got a sleazy middle eastern sounding bass line that is reminiscent to Tool “46 x 2” especially when the guitars crank in. The verses are punchy and syncopated and it makes up for the Chorus that falls flat.

“Over The Surface” has a very classical sounding arena rock chorus that is very reminiscent to the style of Finnish band “The Rasmus.”

“Red Eyes” is Alice In Chains/Soundgarden with a Euro Metal vibe. In the vocal delivery, you can hear the influence of Nick Hexum’s (311), Phil Anselmo (Pantera) and Layne Stayley/Jerry Cantrell (Alice In Chains)

“Bus Girl” has got this classical Beethoven vibe as well. It is a minor key song and you can feel the sadness fill the headspace. It is one of the best songs on the album and it was a bonus track.

“If You Were Me” is a great track, starting off with echoed natural harmonics but a ballad it is not. It has a lot of different genre hoping styles in it.

“How I Get What I Deserve” is canvassing Three Days Grace and any song off the “One-X” album.

“The Simple Art (Of Making You Mine)” sees Blowsight turning into Papa Roach.

All the songs are good, but not great.

Blowsight – Life And Death

This album was released in 2012 and it’s damn good. It has that anything goes attitude with some tasty shredding along the way.

“Sun Behind The Rain” has an unbelievable pop hook in the chorus and it comes from out of nowhere as the verses are syncopated head banging heavy rock.

“Through These Eyes” is a combination of all the Top 40 genres, ranging from pop rock merged with R&B and hip hop. Think Coldplay, Black Eye Peas, Red and Linkin Park.

“Surprise” has a tasty intro. It grabs you from the outset.

“Hit On A Radio” is a replacement for Good Charlotte since the band is on hiatus.

“This Pain” is melodic metal in a certain “In Flames” kind of way.

“Blackout Time” starts off like a Beyonce/Destiny Child song.

“Red Riding Blues” starts off with a cabaret swing feel.

“Dystopia Part II” starts off with a Muse feel and then it enters Avenged Sevenfold territory. The bio states that the song is “the off­spring of Queen’s “Bo­hemian Rhap­sody” mating with “November Rain” by Guns N Roses”.

“It’s Me You’re Looking For” is an energized cross between Avatar, Rammstein and Volbeat.

“Back Where We Belong” is System of A Down on adrenaline.

Singer Nick Red has stated that the band’s focus is “to break down the bar­riers by bringing dif­ferent genres to­gether whose fans would openly fight each other out in the streets”.

So can they break down the doors to the large U.S market?

Why am I talking about them when I am being critical?

Yes they can and I believe in them. I believe in what they are trying to do and that is important.

“Sun Behind The Rain” is the star of the show.

Blowsight needs to get out of the old school thinking, which is to release an ALBUM. The album ideology was built for a different time. This was a time when people waited for radio to play in a “new” single years after the album was released. That worked when albums had gated releases. These days the whole slab is available for free on the very day it comes out.

Do artists seriously believe that people will decide to purchase their albums 12 months later just because they liked a few songs when it came out?

That was the old gated system, where if the artists delivered enough singles, it would convert those who were unsure to financially commit. However the new game is to constantly release music so that the audience will be continually engaged and committed.

Black Sabbath released an album that got a bit of traction out of curiosity, then disappeared. It looks like all the people wanted was the tour.

Avenged Sevenfold had the album hit of the summer and are now following it up with an animated series and a mobile game.

Bon Jovi released an album, but all the people wanted was the tour. The album stiffed, however the tour was the highest grossing tour for 2013.

Dream Theater didn’t really have the material for a follow up album to “A Dramatic Turn Of Events” and the album disappeared from the conversation. They should be back in the studio right now, recording cover songs, some originals and some instrumentals. Kiss your solo albums goodbye and focus on Dream Theater.

Blowsight are going to lock themselves away to record another album. Then what.

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