Tag Archives: rock

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

The Force Is Strong In The Kashmir Effect

Led Zeppelin’s “Kashmir” is the type of song that is so good, that it has become part of pop culture. The song was released in 1975 on the “Physical Graffiti” album.

Even “Kashmir” is a result of Jimmy Page creating derivative versions of previous ideas and songs. The first thing is the CIA tuning that Jimmy Page first employed with “The Yardbirds”. CIA stands for Celtic-Indian-Arabic and the exact tuning is known as DADGAD, a tuning that Davy Graham used for his 1963 rendition of an old Irish folk song “She Moved Through The Fair” which in turn saw Jimmy Page come along and derive a new song called “White Summer”, and another derivative version called “Black Mountain Side”.

If you don’t know who Davy Graham is, go to YouTube right now and type in “Anji” and prepare to be mesmerized. For all the music geeks out there, check out one of the riffs from “Anji” (that comes in at about the 14 second mark) and then go and listen to Queens Of The Stone Age song “No One Knows”. Hear the riff. While “Anji” wallows in internet obscurity, “No One Knows” has 17,883,776 views on the Queens Of The Stone Age Vevo account.

“Black Mountain Side” was recorded in October 1968 and released in January 1969 on the first Led Zeppelin album. It is credited to Jimmy Page as a writer, however the guitar arrangement closely follows Bert Jansch’s version of “She Moved Through the Fair”, recorded on his 1966 album “Jack Orion” which more or less was a cover of Davy Graham’s 1963 version.

All of these songs are in the same DADGAD tuning that was used for “Kashmir”. I am not saying that these songs sound similar to “Kashmir” however these songs needed to be jammed on, so that Jimmy Page could get used to the DADGAD tuning. You see great songs don’t happen overnight or by a committee. They happen by derivative jamming and by derivative accidents.

If there was any doubt about the power of “Kashmir”, then look no further than the metal and rock movements during the Eighties.

Kingdom Come’s derivative version “Get it On” helped the self-titled Kingdom Come album released in 1988 move over a million units in the U.S. Whitesnake employed the same technique in “Judgement Day” from the “Slip Of The Tongue” album, which even though it didn’t reach the sale heights of the self-titled 1987 album, it still moved over a million copies in 1989.

As Yoda would say, the force is strong in “Kashmir”. Kashmir’s legacy in pop culture was solidified in the Nineties when the main riff was used by Puff Daddy in the song “Come with Me”.

The defining part of the song is the ascending chromatic riff over a pedal point which is made even greater by the drumming from John Bonham, playing slightly behind the beat.

Dave Mustaine is a great employer of this technique. “In My Darkest Hour” and “The Call Of Ktulu/Hanger 18” both employ this technique, however there are other Mustaine penned songs that also include this technique. Progress is derivative is the mantra that I employ.

“Mary Jane” from the “So Far, So Good, So What” album released in 1988 has that riff that comes in at 0.46 and continues throughout the song. If it sounds familiar, it should, it is a very close derivative version of “In My Darkest Hour”. Both songs are similar and both songs have the ascending bass line over a pedal point.

“This Was My Life” from the “Countdown To Extinction” album released in 1992 has the main verse riff.

“Public Enema Number 1” from the “Th1rte3n” album released in 2011 has the main verse riff.

“The Kingmaker” from the “Super Collider” album released in 2013 has the Chorus riff.

Billy Squier also employed “The Kashmir Effect” and “The Ramble On Effect” in his song, “Lonely Is the Night” from the album “Don’t Say No” released in 1981. The music is “Ramble On” and the beat is “Kashmir”.

Guess progress really is derivative.

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A to Z of Making It, Music, My Stories

The Unexpected Slow Metal Hit

We live in a world that is all about the NOW. Music quickly comes and it quickly goes. Look at all the Top 10 Lists or the Charts for each week and you will see that it is a different list each week. There is just so much new music coming out at the moment and people are just churning it up.

For example, I didn’t get a chance to get into the new Trivium album because a week later, I had the new Protest The Hero album and that has taken all of my attention.

However, there are always songs that sit on the outside. Songs that the artist or the band didn’t believe could be a “hit” (I use that term lightly) or a song that should be used as a promotion tool.

But they didn’t count on the fan choices. The fan that today has the power. The fan that could pick and choose what track they could listen too.

Killswitch Engage released “As Daylight Dies” in 2006 and it is there cover of “Holy Diver” that proved to be the sleeper hit. Don’t believe me, check out Spotify. it has 6,136,523 streams. Still don’t believe me, go on YouTube and you will see it has 9,013,222 views.

Alter Bridge released “One Day Remains” in 2004. “Open Your Eyes”, “Find the Real” and “Broken Wings” followed as promotional singles. However it was the metal heavy “Metalingus” and the moving ballad “In Loving Memory” that the fans selected as the hits. Don’t believe me, check out Spotify. “Metalingus” has 3,362,193 streams and “In Loving Memory” has 2,690,909 streams. Still don’t believe me, go on YouTube and you will see that “Metalingus” has over 5,500,000 views from all the combined channels and “In Loving Memory” has over 6,000,000 combined views.

In 2011 Trivium got blasted for the “In Waves” album, however the title track is their biggest so far. On Spotify “In Waves” the song has 3,038,061 streams. On YouTube, the Official Video on the Roadrunner Records channel has 3,423,215 views and a live version of the song on the Trivium Official channel has 2,767,455 views.

Volbeat broke through in the U.S on the back of “Still Counting”. The song was released in 2008 on the “Guitar Gangsters and Cadillac Blood” album and on 21 July 2012 “Still Counting” was the number-one song on the Billboard Hot Mainstream Rock Tracks US chart. Go on Spotify and it has been streamed 19,779,202 times. Go on YouTube and count the views from all the various channels. They add up.

Bullet For My Valentine led the promotional campaign for their “Temper Temper” album with the song “Riot”, however the fans didn’t care about that song as much as they cared about “Breaking Point” and “Tears Don’t Fall (Part 2)”.

As much as Dream Theater is trying to promote the current version of the band, they can’t escape their past. The Spotify Top 10 of Dream Theater has the 9 songs from the new self titled album (that proved to be a dud), plus “On The Backs Of Angels” from the previous album. However if you go on YouTube the fans don’t care about the new album currently. “Wither”, “Pull Me Under” and “Another Day” still get the attention.

This is very different to Avenged Sevenfold, who have people very interested in their new album. In addition, all the other media outlets and bands that are talking about the album, all they are doing is adding to the legend of it. Hail To The King I say. “Shepherd Of Fire” is doing the rounds on my iPod.

Protest The Hero have led the promotional campaign of their new album “Volition” with “Clarity”, “Drumhead Trail” and “Underbite” however, it is “Mist” and “Skies” that is getting the conversation.

The market place today isn’t about the hit song now. It is about new songs vs old songs. Metal and rock songs are always late bloomers. There is no formula as to why certain songs resonate more than others with fans.

I like the story about how Dave Mustaine assisted Stryper in selecting their lead off single from the “No More Hell To Pay” album. They had a different song choice for the lead single and changed their minds after they had a chat with the Megadeth front man. Dave told them that his favourite track is “Sympathy”. This made Michael Sweet change his mind for the lead off single. That track is listed as Number 11 on the album and to be honest it is a kick arse song.

Sure, back in the day when the record labels ruled, they would employ a scorched earth policy to market a band and the lead off single and naturally we would bite as we had the time to invest and there was nothing really else out there.

YouTube and Spotify play a big part today in transforming a song into a phenomenon. Television also plays it’s part. Look at all the hit shows and they all have a section where a certain song plays and it conveys the emotion of the scene that no other music can.

Sons Of Anarchy comes to mind here, especially at the end of Season 2, when the song “Hands In The Sky (Big Shot)” from Straylight Run played in the epic last 5 minutes of the final episode.

Look at what Breaking Bad did for “Baby Blue” by Badfinger.

My wife was a fan of Grey’s Anatomy and because of that show she got into Snow Patrol (“Chasing Cars”) and The Fray (“How to Save a Life”).

In the end all artists need to do is create great music. The fans will latch onto it eventually.

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

One Thing Cannot Be Disputed; Those Artists Who “Steal, Copy, Imitate” Are The Most Successful

So you are one of those artists that has a song or a few songs in the list of 4 million that haven’t been streamed yet on Spotify.

Then you hear a song that sounds very similar to your song.

Do you scream “theft” and lawyer up, preparing for a court case that you don’t have the funds for?
Do you just shrug your shoulders and move on?
Do you send the artist an email and ask him to acknowledge you as a songwriter to their song?
Do you use the fame of the current song to bring attention to your song?

I am sure in 90% of the cases, everyone will do the first part. Everyone will scream theft and then they will start a long and expensive court process. If the publisher controls the copyright, then this will happen 100% of the time.

Since the Copyright industries have grown into Corporate monoliths, it is suddenly uncool for an artist to use previous works as influences for further works. Even the audience of certain bands weigh in on the argument, calling certain bands rip offs and so forth.

However, one thing cannot be disputed, those artists who “steal” are the most successful. Those who “imitate” are the most successful. Those who “copy” are the most successful.

Led Zeppelin built a career on copying blues and folk standards.

Metallica built their career by copying their NWOBM influences and many others.

Oasis built a career on copying from “The Beatles”.

The Beatles built a career on copying from blues and rock standards.

Coldplay has built a career on the “progress is derivative” model.

Bon Jovi has built a career on re-writing their hits. Seriously, if you look at their catalogue, “Living On A Prayer” has been rewritten for every album that came after “Slippery When Wet.” New Jersey had “Born To Be My Baby”. Keep The Faith had the title track. Crush had “It’s My Life”.

In the rock and metal worlds let’s look at the songs burning up the rock charts.

Five Finger Death Punch – “Lift Me Up” has a vocal melody in the verses similar to “The Ultimate Sin” from Ozzy Osbourne. A lot of people call it theft, I call it influence. Imitation is a form of flattery. The song is getting the plays. People are paying attention and that is what artists want.

It is not about sales anymore, it is about listening. Are people listening to your music?

Avenged Sevenfold – the whole “Hail To The King” album copies from other artists who of course copied from other artists for their own music. Again, a lot of people call it theft, I call it influence. Imitation is a form of flattery.

Megadeth paid homage to Black Sabbath’s, “Children of the Grave” in their new song “Kingmaker”.

Alter Bridge also paid homage to Black Sabbath’s “Children Of The Grave” and Ozzy Osbourne’s “Revelation Mother Earth” in the solo section of their song “Fortress”.

Continuing on with Alter Bridge, the song “The Uninvited” has a strong resemblance to Tool’s “Schism”. Do these odes to their influences make them unoriginal? No chance. The “Fortress” album is a great showpiece in technical riffage and great melodies.

Airbourne is making a career referencing AC/DC.

Motley Crue borrowed from Mountain’s “Mississippi Queen” and Stevie Wright’s “Eve” for their song “Sex”.

Black Sabbath copied from their own past to create ’13’. “The End Of The Beginning” is basically the song “Black Sabbath” re-written again in 2012

Call it the Rick Rubin effect. He even convinced Metallica to rewrite their earlier albums for 2008’s “Death Magnetic.”

Dream Theater even borrowed from the Rick Rubin effect. They got some flack on “A Dramatic Turn Of Events”, as the songs followed a similar structure to songs from “Images and Words”. Dream Theater did do a great job at masking it, as the songs do come across as independent “stand on their own” compositions, however the hard core fans will pick up the references to their earlier material.

The next time a person is creating their little masterpiece and it sounds like something that is known before, don’t abandon it. Chances are it will connect with millions.

It is a shame that we have a generation of people that have grown up with a belief that music is created in a vacuum and they decide that legal threats is the best way forward. When Balance Sheets are affected, these industries will do anything to hold on or maintain their profits.

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Classic Songs to Be Discovered, Music, My Stories

Bullet For My Valentine

I have been cranking Bullet For My Valentine lately. I started off with the new “Temper Temper” album released this year. “The Poison” album was next. I then went back to the “Hand of Blood” EP. Then “Scream Aim Fire” and “Fever”. On top of all that I have also seen the band perform live.

The music that BFMV creates is very reminiscent to the hard rock / heavy metal music created between 1981 and 1986, before Bon Jovi released Slippery When Wet and then the majority of bands started chasing the pop metal / pop rock “pot of gold”. It is the same music that I grew up on.

Metallica – CHECK
Iron Maiden – CHECK
AC/DC – CHECK
Slayer – CHECK
Megadeth – CHECK
Judas Priest – CHECK

Modern influences like Machine Head, Pantera and Metallica “Black” album period are also found in the songs. That is why I probably connected with the band.

As I have mentioned previously, all artists are a sum of their influences. No one creates art in a vacuum, waiting for that spark of super originality to come. Sometimes, a band takes all of these influences and creates something original, however in most cases, bands fall into an evolutionary category.

Bullet For My Valentine as a band have an unbelievable chemistry. The drumming is sensational. Just listen to how the drums build the intro in “Waking The Demon”. The guitar leads are very Randy Rhoads like, the riffs are melodic and the bass playing is solid.

“The Last Fight” is a classic example of the band nailing it. Listen to the rock version and then listen to the acoustic version, with the piano and violin. Dealing with addictions is difficult and this song captures it. The lead break in the rock version is classical heaven to start off with and then harmonised in the vein of Iron Maiden.

“Breaking Point” from the new album is a dead set classic opener. I don’t know why they went with “Riot” and “Temper, Temper” as the lead off tracks to promote the album. It should have been “Breaking Point” all the way.

Who can forget the punch and groove of “Your Betrayal”? Another perfect song to get the body moving into high gear.

Then you have the speed metal style of Slayer and Machine Head in “Scream, Aim, Fire” and “Waking The Demon”?

The Iron Maiden influence is heard in “Alone” while the Judas Priest influence is heard in “Eye Of The Storm”.

Add to that the slower songs like “Hearts Burst Into Fire” and you have a band that is varied and influenced by a lot of great styles.

This band still hasn’t written their “Blackening” or “Dr Feelgood” or “Back In Black” or “Black” album. They are working towards it. Great albums come from experience. Great songs come from having lived. The band (provided that they stay together) is on its way to achieving this.

They have hooked in Terry Date for the upcoming album, so it is a step in the right direction for album number 5. Matt Tuck even mentioned that the music is no holds barred metal, unlike the previous two releases.

I didn’t think I liked BFMV to start off with. Then I heard their cover of “Sanitarium” from a Kerrang tribute album to celebrate the 20 year anniversary of “Master of Puppets” from Metallica. That tribute album was also my first introduction to Trivium and their unbelievable cover of “Master Of Puppets”.

The modern paradigm of success is to create great music and reap the benefits later. “The Poison” came out in 2005 and by 2009, it had a GOLD certification in the U.S. market.

So I purchased “Scream, Aim, Fire” when it came out without hearing a song and I suddenly realised that I liked the band.

Just like Pantera had to emerge from the shadows of the inferior hard rock / power metal scene in the late Eighties, Bullet For My Valentine had to do the same. The metalcore movement has committed the same sin as hard rock and glam rock committed. Too many derivative bands are doing the rounds and there is no substance. With the release of “Scream, Aim, Fire”, BFMV showed that they are a metal band in the true sense. With “Fever” and “Temper, Temper”, they have showed that they can rock with the best of them.

The Bullet For My Valentine VEVO account shows that “Tears Don’t Fall” has been viewed 55,738,093 times.

“Your Betrayal” has been viewed 17,391,181 times.

“Waking The Demon” has been viewed 23,947,044 times.

“Hearts Burst Into Fire” has been viewed 13,500,316 times.

“The Last Fight” has been viewed 3,232,789 times.

“Temper Temper” has been viewed 2,254,641 times.

“Breaking Point” has just been released and it has been viewed 686,885 times.

“Hand Of Blood” has been viewed 12,069,227 times.

The above figures are from the official BFMV account. Those same songs have been circulated on other user accounts with high view counts as well.

Spotify has the following top 10 songs for BFMV. For some insane reason, the “Scream Aim Fire” album is not on Spotify.

“Tears Don’t Fall” is at 18,297,766 streams.

“All These Things I Hate (Revolve Around Me)” is at 9,878,085 streams.

“Your Betrayal” is at 8,335,370 streams.

“The Last Fight” is at 5,337,727 streams.

“Fever” is at 3,696,842 streams.

“Bittersweet Memories” is at 2,673,920 streams.

“Temper, Temper” is at 1,187,795 streams.

“Tears Don’t Fall (Part 2)” is at 1,030,904 streams.

“Breaking Point” is at 884,423 streams.

“P.O.W.” is at 670,708 streams.

I am sure that if the songs from “Scream Aim Fire” could be streamed, the above list would be a touch different.

So what is this saying about the band.

They have a reach that a lot of other bands do not have in metal. Kirk Hammett said that there isn’t any new bands coming out on the scene because of the internet and social media. Tell that to BFMV and their fans. Michael Poulsen said that bands can’t live off record sales alone. He is right, they can’t, however a band can live off record sales, iTunes downloads, streaming fees, YouTube views, licensing, merchandise and live revenue. You just got to be prepared to put in the hard work.

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What Should An Artist Do When They Start Off?

Should they focus on the definitive track, polishing it up with re-write after re-write, maybe even call in a song writing committee, just to get it to radio and be part of a dying game.

Once upon a time, perfection was everything. Today it is history. Steve Jobs made his name by focusing on one core product at the start.

An artist should be focused on that one song. They shouldn’t try anything else until they have nailed the song. There is no point building your web presence if you don’t have that song.

Artists should realise that we live in a world that has YouTube dominating as the world’s number one music service. The kids these days, they don’t buy, they stream. While people complain about Spotify, YouTube slipped in the back door and won. It won because the record labels procrastinated and extended the negotiations with Spotify. Therefore, artists should not judge their reach based on sales figures alone. 

Artists should be leading and dominating. This is what tech start-ups do very well. The artists that are doing neither, are just focusing on maintaining their current profit margins or are relying on someone else to make something happen. In other words, if artists choose to stay where they are to maximize profits, they are then a day away from losing all relevance.

This is what is happening to Bon Jovi. They released a terrible album, both in terms of sales and reviews/perception, and are now on an endless tour, raking in all the dollars. Meanwhile, a new brigade of rockers is stealing their thunder like Shinedown, Halestorm, Skillet, Imagine Dragons, One Republic and Mumford & Sons.

Same for Metallica. While “Death Magnetic” was a return to form, I dare anyone to say that it is their best album. The album came out in 2008 and for the last five years, they have been on an endless tour, raking in all the dollars. While they are currently out promoting their “movie (that cost $18 million and financed from the pockets of Metallica)”, other metal acts are stealing their thunder like Five Finger Death Punch, Avenged Sevenfold, Stone Sour, Machine Head, Killswitch Engage, Bullet For My Valentine, Volbeat and Trivium.

Artists have the ability to connect directly with their audience. They don’t need the media to sell them or to keep them in the spotlight. It is up to the artist to do that. Of course there is still a lot of them complaining that the new way is not like the old way and that no one can get paid.

Look at the shifts on society. Once upon a time we got our mail once a day. Now we get our mail twenty-four seven. We need to be connected. Heaven forbid, if the internet goes down, or the broadband lines break. It will be chaos.

So many artists today are all in, trying to make it in the music business the old way. However that was never the case in the Seventies and the Eighties.

Brad Gillis had a side project cover band, while Night Ranger was trying to get a record deal. It kept the money coming in until his main gig got its shot. From this side project, he even managed to get an audition for Ozzy Osbourne and another gig. What are the chances of an artist doing the same today? Artists need to have a back up plan.

The back up plan also needs to be there, for the time when an artist has invested a lot of time and effort into an idea and they start to become attached emotionally to the project. So they keep at it and end up stuck in a position or a deal that they regret.

Why would an artist knuckle down and record an album when they are not connecting with anyone. I cannot count how many albums I have come across from bands, that have no social media presence or a couple of hundreds of likes on Facebook, however no one is talking about them. If artists aim to high and fail, where does an artist go afterwards compared to setting modest goals and succeeding.

If you are planning on spending money on your art, what plan do you have to profitably engage with your fan base? Check with any business that is investing in themselves. There is a plan to recoup.

What is the plan of a heavy metal musician? Get together with some friends, drink a lot of beer, smoke some green, record some songs and the whole world will bow down at the greatness before them. Yeah, right. If an artist wants to have a career in the music business, they need to have a monetization plan in place.

The metal and hard rock genres are still not fully in with the current way of doing things compared to other genres. Of course, some DIY bands are getting it, however a lot of them still don’t and if they do rely on getting a label deal they should realise that a lot of the labels are even worse at it getting it.

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A to Z of Making It, Copyright, Music, My Stories, Piracy, Treating Fans Like Shit

Create The Undeniable Song – It Will Sell

I am listening to “Are You Gonna Go My Way” today, the third studio album by American rock musician Lenny Kravitz, released in 1993.

It’s funny that after all this time I still like only 3 songs from the CD, which are “Believe”, “Sister” and “Are You Gonna Go My Way” in that order. There is also a track called “All My Life” that appeared on some bonus CD’s or as a B-side that is also up there. However, to hear all of the songs mentioned, I had to purchase the record label “promotional tool”; the good ol’ expensive CD.

That is why the album went multi-platinum everywhere.

Consumers of music had to purchase 10 to 14 songs, just to hear 4 to 5 songs. Of course we could have purchased the singles, however at $7 a single (that was the price in 1993), why spend $14 on two songs, when for $20 (on sale) or $27 (as a new release) you could buy the album.

I actually purchased the album for the song “Believe”. That is a great song and a dead sit hit in my book. When that lead break cuts in at the end, along with the strings, it’s goose bumps all the way.

The album went Gold (U.S) in May, 1993, three months after its release. By June, 1993, it was certified Platinum (U.S). By January, 1995, it was certified 2x Multi-Platinum. If you look at Kravitz’s most recent certification, it is for a single. How times have changed?

I don’t want to pay for a batch of songs I don’t like anymore. I didn’t used to be this way. I lived for music.

Misguided people think that piracy ruined the recorded business. What they don’t realize is that most people didn’t want the album/CD. People wanted that unique track. When the CD came and the record labels started charging us a fortune for it, albums suddenly became very long.

Instead of getting 35 to 45 minutes of music every year, we started to get 50 to 70 minutes of music every two to three years.

So the recording business saw the large profit margins and just kept on marching along with the overpriced CD’s business model, using MTV to push and promote the artists. So when people got the option to download, to cherry pick what they wanted to hear, a whole new market place was born.

We didn’t have to pay attention to what the major labels pushed on us anymore or any other label for that matter, because we started to have options. Today, we have options galore. That is why there will not be any super stars like there used to be. Competition in the market place diluted the record sales.

When I see artists like Thom Yorke and Nigel Godrich complaining about Spotify, I just shake my head. Thom and Nigel have to be real damn great just to have a little bit more than a tiny audience today. The old paradigm of fans purchasing CD’s that had a lot of filler because very little content was available is over.

To stand out today, artists like Thom and Nigel have got to be incredible. Protest The Hero went via Indiegogo to raise funds for “Volition”. Their goal was $125K and they ended up getting over $341,146 USD from a fan base of 8361 fans. I gave $50. A small audience that was happy to spend money.

The report from the “London School of Economics” called “Copyright & Creation: A Case for Promoting Inclusive Online Sharing” hits the nail on the head. Online piracy is not hurting the music industry. It has put a dent in recorded music sales, however that was inevitable with the shift in technology, the over saturated marketplace and the years of fan abuse by pushing overpriced CD’s. It’s simple economics. There is so much supply and the fans of music demand only what is great.

There is an argument from certain song writers that since people began downloading music without paying, royalties for them have dried up. Some have even had to take full-time jobs. Big deal is what I say. If you are a songwriter, then write more songs and better ones. Copyright was never designed to be a pension fund.

The bottom line is this – if the artist creates that undeniable song, they will have no problems selling it. The song will sell itself. I parted with $27 back in 1993 for the song “Believe.”

Looking at all the certifications around the world from the industry bodies, one thing is certain. The singles are dominating. So all those metal and rock bands spending years and dollars on a long player are doing it wrong.

Even Metallica now, have single Platinum certifications from songs that were released on their first five albums.

The following songs were given a GOLD certification by the RIAA (U.S) on December 13, 2012.

  • For Whom The Bell Tolls
  • Fade To Black
  • The Unforgiven
  • Master Of Puppets
  • Nothing Else Matters
  • One
  • Enter Sandman (was also given a Platinum certification for both digital and physical singles)
  • The Day That Never Comes
  • Until It Sleeps

Five albums are presented in the above list that ranges from 1983 to 2008.

We don’t need new laws to provide better protection for artist copyright. We need artists to create great tracks. We need laws that reduce copyright and puts the focus back on the Public Domain.

We don’t need to encourage internet service providers to make their customers do the right thing. We need to give customers a reason to buy.

If the customers have that reason, then they will buy.

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

There Are No Instant Experts

I finished reading an article called “COMPLEXITY AND THE TEN-THOUSAND-HOUR RULE” by Malcolm Gladwell a few weeks ago and a few concepts from that article have been lingering around in my head.

CONCEPT:
There are no instant experts. The article used a study by psychologist John Hayes who looked at “seventy-six famous classical composers and found that, in almost every case, those composers did not create their greatest work until they had been composing for at least ten years. (The sole exceptions: Shostakovich and Paganini, who took nine years, and Erik Satie, who took eight.)”

While I would argue that rock and metal musicians start composing at an early age, for the purposes of this article I would use the first bands that artists are involved in as year zero or the birth date of when artists started composing.

Basically it’s rare for a debut album or the first piece of music an artist creates to be their best. Of course there are some outliers to this concept, however the concept generally works. So, how does the concept fit into the metal and rock world.

Let’s start with one of my favourite bands at the moment, Machine Head.

Their debut album “Burn My Eyes” came out in 1994. For a groove thrash metal band, the album was a success.

So who is the main composer on “Burn My Eyes?” Of course the answer is Robb Flynn.

Robb Flynn started writing songs around 1984 and by 1985 he was in a band called “Forbidden” or “Forbidden Evil” (depending on which story you read). So Robb Flynn’s birth date for creating music is 1984. Comparing these dates with the concept, you can say that Robb Flynn created a great piece of work with “Burn My Eyes” ten years after he started composing. Since this album is also the debut album of Machine Head, in relation to the concept, for the band Machine Head, this is also Year Zero or the bands birth date for composing.

Burn My Eyes wasn’t Machine Head’s greatest work. That happened in 2007, with “The Blackening.”

From a Robb Flynn perspective, his greatest work happened 23 years from when he started composing. From a Machine Head perspective, the bands greatest work happened 13 years from when the band started composing.

Of course the biggest variable with the concept is that most bands or artists are the sum of their parts. This is so true for Machine Head. For “The Blackening” all of the members played an important part in the compositions.

Phil Demmel’s path is very similar to Robb Flynn’s. He founded the band Vio-Lence in 1985. It is safe to assume that he started composing a year before.

From Demmel’s perspective, it was 23 years from when he started composing that he was involved in the creation of a great work, with “The Blackening”. As already mentioned, from a Machine Head perspective, the bands greatest work happened 13 years from when the band started composing.

However with Demmel joining the band in 2003, this ushered in a new version of the band, so the composition birth date for this band goes back to 2003.

So for Machine Head “Version 7”, it took them 4 years to create their greatest work.

For completeness, here are the previous versions of Machine Head.
Version 1 (operated from 1992 to 1994) was Robb Flynn, Adam Duce, Logan Mader and Tony Costanza.
Version 2 (operated from 1994 to 1995)was Robb Flynn, Adam Duce, Logan Mader and Chris Kontos.
Version 3 (operated for a few months in 1995)was Robb Flynn, Adam Duce, Logan Mader and Walter Ryan.
Version 4 (operated from 1995 to 1998) was Robb Flynn, Adam Duce, Logan Mader and Dave McClain.
Version 5 (operated from 1998 to 2002) was Robb Flynn, Adam Duce, Ahrue Luster and Dave McClain.
Version 6 (operated from 2002 to 2003) was Robb Flynn, Adam Duce and Dave McClain.
Version 7 (operated from 2003 to 2013) was Robb Flynn, Adam Duce, Phil Demmel and Dave McClain.
Version 8 (operating from 2013) is Robb Flynn, Phil Demmel, Dave McClain and Jared MacEachern.

So by looking at the above versions and taking into account the concept that all great works happen ten years from when they start composing, the new version of Machine Head, will create their greatest work in 2013 (of course provided that they are still together). However if Adam Duce, remained in the band, Version 7 of the band would have been creating their greatest work right now.

So what should be the greatest triumph of the Robb Flynn, Adam Duce, Phil Demmel and Dave McClain era, will be a great debut album for the Robb Flynn, Phil Demmel, Dave McClain and Jared MacEachern era.

Let’s look at Motley Crue. Based on sales figures alone, “Dr Feelgood” is their piece d resistance and it was released in 1989. The main songwriters on Dr Feelgood are Nikki Sixx and Mick Mars.

Nikki Sixx, started in bands in 1975, therefore this is the year that Nikki Sixx started composing.

Vince Neil and Tommy Lee started off in bands around 1979, therefore this will be the year that they started composing.

Mick Mars on the other hand goes back to 1972, therefore this will be the year that Mick Mars started composing.

The band Motley Crue was formed in January, 1981. This is the year that the band started composing.

From a Nikki Sixx perspective, he was involved in creating “Dr Feelgood”, 14 years from when he started composing.

From a Mick Mars perspective, he was involved in creating “Dr Feelgood”, 17 years from when he started composing.

From a Tommy Lee and Vince Neil perspective, they were involved in creating “Dr Feelgood”, 10 years from when they started composing.

In relation to the band Motley Crue, it was 8 years from when the band started composing.

So based on the concept, the version of Motley Crue that we know, will not be able to create another masterpiece. So how did they end up creating “Saints Of Los Angeles” which everyone said is their best album since “Dr Feelgood.”

The answer is simple (just take a look at the songwriters on the album);

The song writing team of Nikki Sixx, James Michael, DJ Ashba and Marti Frederiksen wrote the songs “L.A.M.F”, “Face Down in the Dirt”, “What’s It Gonna Take”, “Down at the Whisky”, “Saints of Los Angeles”, “Welcome to the Machine” and “Goin’ Out Swingin.”

The song writing team of Nikki Sixx, Mick Mars, James Michael, DJ Ashba and Marti Frederiksen wrote the songs “Mutherf&cker of the Year”, “The Animal in Me”, “Just Another Psycho”, “Chicks = Trouble” and “White Trash Circus”.

Finally the song writing team of Nikki Sixx, Mick Mars, Tommy Lee, James Michael, DJ Ashba and Marti Frederiksen wrote the song “This Ain’t a Love Song.”

Even though the product was Motley Crue, three of the main composers are not from Motley Crue.

So by looking at all of the above, the song writing team of Nikki Sixx, Mick Mars, James Michael, DJ Ashba and Marti Frederiksen should create their best work by 2018. That is provided they stick around.

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A to Z of Making It, Music, My Stories

New Music Releases vs Maintenance Music Releases

Looking at the recent spate of releases from bands that I like, I am asking the question;

When did new music change from being about new and original music to a maintenance model of new music?

Five Finger Death Punch’s new album “The Wrong Side Of Heaven Vol. 1” is “American Capitalist” Part 2. So I am assuming that volume 2 of “The Wrong Side Of Heaven”, will be “American Capitalist” Part 3.

In order to define what I mean by new, I will use Metallica as an example.

Metallica released “Kill Em All” in 1983, which paid homage to the “New Wave Of British Metal” movement with the tempo’s increased to 200 beats per minute. It was new, and there was a technical element to it. It spawned a thousand imitators.

In 1984, they released “Ride The Lightning”. It wasn’t the same as “Kill Em All”. It was vastly different musically and lyrically and it was new. The people responded and Metallica went into refining the “Ride The Lightning” model with great success.

“Master Of Puppets” is a very similar sounding album and the track listing mirrors “Ride The Lightning”. The difference between the albums was the songs. Metallica improved as songwriters. The people responded even more. Then came the technical masterpiece of “..And Justice For All”. Again, the structure of the album was built around the “Ride The Lightning” model. However, even though it was a new album, it was still released under the maintenance model built around “Ride The Lightning”.

Then in 1991, they pressed the reset switch and released “Metallica”. It was back to the new and the people responded in the twenty millions. The “Load” and “ReLoad” albums that followed fell into the Maintenance model of releases that followed the format of the mega successful “Metallica Black” album.

Then in 2003, they pressed the reset switch again and released “St Anger”. It was back to something different. Regardless of what others thought of it, it was a gutsy move to release an album that sounded like that, along with chaotic song structures.

Then in 2008, they pressed the reset switch one more time and delivered a new album rooted in the old. They had taken the best things from the “Ride The Lightning” model and the “Metallica Black” model to deliver “Death Magnetic”.

All bands encompass these transitions.

Let’s look at Dream Theater.

In 1988, they released “When Dream and Day Unite”. It was new, taking influence from the metal bands at the time and merging those influences with progressive elements.

In 1992, they released “Images and Words”. It was new again. They didn’t go and re-write “When Dream And Day Unite”. The people responded and the album was a success.

In 1994, they released “Awake”. This album formed part of their maintenance. A good album, however you can tell they tried to rewrite “Images and Words.” The people didn’t respond to this album as they did to “Images and Words.”

Then in 1997, they released “Falling Into Infinity”. This was a new album as it moved the band into a more mainstream progressive sound. Although it had progressive elements from all previous releases, the band was pushed to enter this direction. Again, it didn’t meet the expectations of the record label and it also caused division amongst band members.

In 1999, they pressed the reset switch and released a career defining album in “Scenes From A Memory”. People responded again to the band. It was a new album in every sense.

So in 2001, they went into part new and part maintenance mode. “Six Degrees Of Inner Turbulence” kept with the concept theme on CD 2. CD 1 was all new tracks that showcased a very metallic element of the band as well as a very Tool style progressive element. Of course by 2001, Tool were huge all over the world.

Then in 2003, they pressed the reset button again and came out with the best progressive metal album in “Train Of Thought”. Any die hard metaller that wasn’t sure about the band, committed to them with this release. People responded as well, as metalcore was also on the rise and those young kids were looking for other forms of heavy music.

So in 2005, instead of re-doing “Train Of Thought”, they went into a part new / part maintenance model again with “Octavarium.” A notable influence this time around was Muse, who by 2004, were huge all over the world.

With the change of record labels, “Systematic Chaos” saw the band return to the metallic elements of “Train Of Thought” in 2007 with great success.

2009 saw “Black Clouds and Silver Linings” which encompassed everything that Dream Theater is in six tracks. It was New and it set a standard.

2011 saw “A Dramatic Turn Of Events”, the first album to not feature Mike Portnoy, who wanted the band to take a 5 year break and when the band said no, he departed. This album following the maintenance model of “Black Clouds and Silver Linings” and “Images And Words.”

2013 saw the release of “Dream Theater.” It has three songs that really stand out in “Illumination Theory”, “The Bigger Picture” and “The Looking Glass”. In the end, this is Dream Theater trying to create something new, however it is another maintenance album.

When you put these bands against the hundreds of millions of other musicians all making music, how does it all stack up.

There is a lot of great music out there that hasn’t been heard. There is a lot of good, a lot of okay and a lot of crap music as well.

With so much music being made every day and released every day, it is impossible for everyone to listen to it all. So when the label bands do end up releasing music, they need to make sure they captivate us to stick around, otherwise we just move on, trying to find something else in the meantime. Some other new niche. That is the new music business.

When an artist has an audience they need to be thankful for that audience. They need to show some respect towards that audience. The label bands have a head start, however if they turnover too many maintenance style of releases compared to something new and refreshing, the audience will move on.

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

Metal and Rock Quotes That Will Change The Way Artists Think

There is a post over at Music Think Tank called “12 Powerful Quotes That Could Change The Way You’re Promoting Your Music” that was written Lukas Camenzind.

You can read the quotes in the link. All the quotes are great.

Here are 10 of my favorite quotes that have the potential to change the way artists think (with a rock and metal flavor):

#1

“Unless you find another way of making money besides controlling copying, you will not last in the digital age.” – Ram Samudrala (in an article on the first “MP3 Summit” that appeared in the July 18, 1998 issue of Billboard.)

This quote forms part of a speech that was directed at the Record Labels in 1998. 15 years ago. The labels ignored the advice and went to war in 1999 against Napster and innovation.

Do you think they won? If anything they failed the artists that they claim to serve.

#2

“Some people get into this business for the attention, they want the babes or the money or the Porsche, but when we first got together we didn’t know that this was going to become a business. We were just friends who wanted to jam.” – Chris DeGarmo (Queensryche founder, ex guitarist and main songwriter)

Be in it for the right reasons.

#3

“Our web site is extremely interactive right now. We worked very hard on it in order to make it very fan orientated. There is so much stuff that you can do on our web site. We want to talk to fans. We want video blogs. Sell streams on there. You can talk to us personally.” – Brent Smith (Vocalist, Shinedown)

Your fans are your everything. Treat them with the respect they deserve. They are the only ones you are accountable too. Not managers, agents, labels or the press.

#4

“We owe everything we have to those of you that follow us and give us your love and devotion.” – Brent Walsh (I The Mighty band)

This is from a newer band in the scene. They get it. Fans are the only people bands and artist have to answer.

#5

“When I started, I decided to devote my life to it and not get sidetracked by all the other bullshit life has to offer.” – Cliff Burton (RIP) Bassist

There is no plan B for musicians. There is no safety net. Are you ready to fly?

#6

“The hell with the rules. If it sounds right, then it is.” – Eddie Van Halen

Songs don’t have to be Verse – Pre – Chorus. You don’t need to have the same verse riff each time the verse is played. Let your ears guide you. Those bands that have had a long career broke the rules.

#7

“One must feel strongly to make others feel strongly”
Paganini

If you don’t believe in what you are doing, how will others believe in you.

#8

“We view making it like it’s a finish line. It’s not. You never know what it’s going to be. You never know if you need to keep climbing or it’s a sheer drop down the other side. Sometimes it’s a plateau. Few of us have the Ozzy, Clapton, Billy Joel, Elton John careers, that go on for a lifetime. Most of ’em are a few years and thank you, you’re done.” Dee Snider, Vocalist, Twisted Sister

Making it is the start of the chase. That is when you need to keep on climbing in order to stay at the top. Vito Bratta struggled with this. Dee Snider struggled with it.

#9

“A band is a dysfunctional family. A brotherhood, a family business, and a renaissance-era-court. You’re room-mates in studio-apartment-on-wheels for years-at-a-time, 24-hours-a-day. Plus you’re in the pressure cooker of the spotlight, every move analyzed, read into, or attacked. Everybody wants something from you, everybody wants to be your friend, everybody loves you, everybody can do so-much-better-for-you-than-the-people-you-have-now. Some people try and turn you against each other, and everyone wants to take credit for your success.” – Robb Flynn (Machine Head)

The music industry is tough. Are you ready for it? Your best friend in the band will become your enemy, especially if you are the main songwriter.

#10

“To this day I don’t have a guitar idol. I have people who are my favorites.”– Randy Rhoads (RIP) Guitarist

Be influenced. Progress is derivative.

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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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