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

1983 – The Holy Roller, The Devil Rocker, The Synchronised Eliminator and The Moon Rebel

From May 29, 1983 up until sometime in 1992, metal/rock ruled and it all started with the US Festival (sponsored and orchestrated by Apple’s Steve Wozniack). For the bands involved it was a pivotal moment. For the movement as a whole, it was massive. For a fledgling TV service called MTV, it showed them a market to tap into.

Quiet Riot’s “Metal Health” was released on March 11, 1983 however it didn’t really do anything. The album then started to take off after the US Festival in May 1983 and after the release of “Cum On Feel The Noize” as a single in August 1983, it exploded. I will talk more about this album in one of the other installments of my 1983 saga.

Motley Crue already had some momentum going with “Too Fast For Love”. The U.S Festival in May, helped cement their status as Sunset Strip favourites and when “Shout At The Devil” hit the streets in September 1983, the momentum became a tidal wave to platinum glory. Motley Crue played the perfect set, including a few of the new songs that would appear on “Shout At The Devil”, so as a concert goer, you heard those songs and you wanted them.

Triumph, Scorpions and Judas Priest already had some serious momentum going.

1981’s “Allied Forces” for Triumph was a success and the follow-up “Never Surrender” released in January 1983 was no slouch either and it was certified Gold on September 30, 1983 by the RIAA. You can easily conclude that the festival had a hand in boosting sales.

Judas Priest had their 1982 “Screaming For Vengeance” album doing the rounds and in April 1983 it was certified Platinum in the U.S.

Scorpions had their 1982 album “Blackout” out in the market and their visibility at the US Festival in May 1983, assisted in “Blackout” reaching Platinum status in March 1984. This success didn’t come instantly either, working since the start of the Seventies.

Van Halen at the time were kings of LA however their last album “Diver Down” didn’t do them any favours. However the visibility from the May 1983 festival along with Eddie Van Halen featuring in Michael Jackson’s “Beat It” song would help their “1984” album released in January 1984 reach the lofty Diamond certification.

Anyway, enough of the U.S. Festival and time for a look at some albums.

Dio – Holy Diver

Ronnie James Dio success came from hard work and a commitment to stay the course. Check out his release schedule.

From when Elf’s self-titled debut album came out in 1972 he was constantly writing, releasing and touring. In 1974, “Carolina Country Ball” came out and in 1975, “Trying To Burn The Sun” came out.

Also in 1975, Ritchie Blackmore’s Rainbow was released. In 1976, “Rising” came out. In 1977, “On Stage” came out. In 1978, “Long Live Rock N Roll” came out.

With Black Sabbath, he was involved with the “Heaven and Hell” release in 1980. In 1981, “Mob Rules” came out. In 1982 “Live At Last” came out.

By 1983, he was about to release his eleventh album in 11 years.

While much of the talk these days is on Dio hiring Vivian Campbell, it was actually Jimmy Bain who had a larger influence on Holy Diver. It was Jimmy Bain that was hired first. It was Jimmy Bain who contributed musically to “Stand Up And Shot” and “Rainbow In The Dark”. It was Jimmy Bain who saw Vivian Campbell play with Sweet Savage.

Actually, if you look at the song writing credits you will see “Holy Diver” was written solely by Dio and “Stand Up And Shout” was written by Dio and bassist Jimmy Bain. Vivian Campbell’s contributions are “Gypsy” (with Dio), “Caught in the Middle” and “Invisible” (with Appice and Dio), “Rainbow in the Dark” and “Shame on the Night” (with Appice, Bain and Dio).

So have a drink for an unsung departed hero in  Jimmy Bain.

Stand Up And Shout
You’ve got the power, stand up and shout

The opening song and it’s a call to arms right off the bat. Written before Vivian Campbell joined the band, the opening riff was used again to great success by Iron Maiden in “2 Minutes To Midnight”. Quick, get the lawyers involved.

Lyrically the song deals with breaking away from conformity.  It was the same theme that Twisted Sister sold millions of albums on.

It’s the same old song
You gotta be somewhere at sometime
And they’ll never let you fly

The mysterious “they” could be your teachers, employers, leaders, mortgage brokers or some other entity/establishment who are holding you back.

You are the driver
You own the road
You are the fire — go on, explode

Damn right, we are our own driver but how many can truly say we made decisions without any influence from others.

Holy Diver
The lead single.

How good is that groove from Appice and Bain under the iconic riff. It’s the selling point of the song. Vocally, Dio is fantastic and the guitar solo from Campbell is shredalicious.

Ride the tiger, you can see his stripes but you know he’s clean

Only Dio knows what those lyrics mean however if you are looking for an explanation then go to SongMeanings. A user called “Nightrain50” posted the following;

“Holy Diver is about Jesus Christ’s descent into Hades after being crucified”.

Once you read the users lyrical breakdown, it sounds plausible.

The “Holy Diver” riff is that good, that the Foo Fighters used it in the pre-chorus of their song “Something From Nothing”.

Between the velvet lies
There’s a truth that’s hard as steel
The vision never dies
Life’s a never-ending wheel

The below is an example of the SongMeanings users break down of the above verse.

“Between the velvet lies” = velvet is gentleness or caution, often concealing strength or determination and a profit or gain beyond what is expected or due. Jesus is the velvet lie. His intentions are not clear. Satan has been fooled, he thought he had won when he had Jesus crucified, in fact he has sealed his own fate. Jesus is here to claim what’s his. All the souls of the fallen that will but believe in him can now be saved from Adam until now. Remember all fell short of the glory of God but one (Jesus), this means that all the prophets of the Old Testament were not reaching heaven. Not yet, but they are now.

“There’s a truth that’s hard as steel” = Truth is the word of God. Steel is the sword of Jesus’s mouth Rev 2:16 Repent of your sin, or I will come to you suddenly and fight against them with the sword of my mouth.

“The vision never dies”= The vision is the law, Proverbs 29:18 Where there is no vision, the people are unrestrained, But happy is he who keeps the law. The law will never die because Jesus has finally fulfilled the law, allowing us to have eternal life with God through him.

“Life’s a never-ending wheel” = Death has been defeated. 1st Corinthians 15:56 “The sting of death is sin; and the strength of sin is the law.” Romans *:2 “For the law of the Spirit of life in Christ Jesus hath made me free from the law of sin and death.”

It’s funny how a biblical interpretation has been made on “Holy Diver” that is pro-Jesus, and the person that wrote the song is known as the creator of the devil horn salute. Metal all the way is what I say.

Rainbow In The Dark
While “Holy Diver” and “Stand Up And Shout” warmed up the fan base it was “Rainbow In The Dark” that mobilised them and sealed the deal.

So depending on who you ask, it is pretty clear that a rainbow cannot exist in the dark, as rainbows require light. So is Dio using the term rainbow as an analogy for a “light” in the dark. Also, think of a rainbow as an entity and it found its way into the night. Is it lost? Is it lonely? Did someone abandon it?

It’s typical Dio, where the meaning can take many paths. Each verse line deals with a certain emotion.

When there’s lightning
You know it always bring me down

It’s about feeling down.

Do your demons,
Do they ever let you go?

It’s about giving in to our vices because they are always there.

We’re a lie
You and I
We’re words without a rhyme

It’s about a relationship going sour.

No sign of the morning

It’s like the light will never return into his life.

“Don’t Talk To Strangers” and “Shame On The Night” musically are fantastic songs, but lyrically they are terrible.

Twisted Sister – You Cant Stop Rock N Roll
Dee Snider wrote the tracks for “You Can’t Stop Rock N Roll” while “Under The Blade” was getting mixed. At that stage, Snider was a 10 year vet in the music business. He didn’t rely on sales of recorded music to provide him with a living. He earned his coin by delivering the goods on stage, night after night.

The band was a consistent crowd puller on the live circuit. You would think that would get them signed, however it didn’t. All the labels rejected them, until an independent label in Europe called “Secret” signed them. This in turn eventually led to Atlantic’s European division signing them for the “You Can’t Stop Rock N Roll” album which in turn led to the U.S arm of Atlantic picking them up, once imported versions of the “You Can’t Stop Rock N Roll” LP started selling in the U.S.

And if you want to hear about record label mistreatment look no further than Dee Snider.

The Kids Are Back
The opening track.

My cousin Mega is a hard-core Twisted Sister fan. He is the one that got me into the band. He even has the TS logo tattooed on his shoulder. This was my first exposure to the band. The sound of the marching feet. It was perfect for the time.

We walk the streets
In tattered armies
We got the lion in our heart
We’re not lookin’ for trouble
Just for some fun
But we’re all ready if you wanna’ start

How can I put in words the trueness of this verse?

We just wanted to have fun, but man, if someone wanted to roll with us, we didn’t take a backward step. You can hear the anger build in Dee’s vocal delivery. It’s raw and it is honest. It is not auto tuned like all the other crap released today. It has a certain life to it.

I Am (I’m Me)
It’s a song that needed to be written, so that Dee could go on and write, “S.M.F”, “I Wanna Rock” and “We’re Not Gonna Take It”. To me, it is like a back story to the main movie. It’s message is one of standing up for yourself.

Who are you to look down
At what I believe?

Notice how most of the lyrics have a certain trend showing. If you don’t believe me, compare the lyrics between these songs;

“Stand Up And Shout”, “The Kids Are Back”, “I Am (I’m Me)”, “Your No Different”, “Rock And Roll Rebel”, “Red Hot” and “Rebel Yell”.

The eighties were a time when the youth didn’t want to follow in the footsteps of what their fathers did. I didn’t want to work in the steel mills. I wanted something different, but I didn’t know what. For too long I had been conditioned to want something else.

We’re Gonna Make It is another song that needed to be written so that Dee could go on to write the classics.

The power of the people
Ain’t been showin’
It’s never what you know
It’s who you’re knowin’
Sure it ain’t right,
But as the saying goes its might
That decides who stays behind
And who’ll be goin’

It’s the A to Z in making it.

You Can’t Stop Rock ‘N’ Roll

Lift up your hands in praise
You can’t stop rock ‘n’ roll

You know, those words are so true because rock just keeps on evolving. Even when hard rock stopped being a dominant commercial force in the Nineties, another form known as Grunge Rock took over with Nirvana and Pearl Jam. Then Alternative Rock took over with Foo Fighters and a renewed Pearl Jam. Then Modern Rock took over with Matchbox Twenty and Tonic. Nu-Metal came and it morphed into Heavy Rock. We had Rap Rock, then Pop Rock and Glam Rock came back again via “The Darkness” and we even had Industrial Rock via “Filter”, “Stabbing Westward” and others of that ilk.

It’s an angry steed,
On a never ending course

Damn right.

Ozzy Osbourne – Bark At The Moon

There is a lot of septic crap around this album especially around the politics of the song writing.

By 1983, Ozzy had lost the momentum that the Blizzard Of Ozz band started. From the original crew, Bob Daisley and Lee Kerslake were fired and Randy Rhoads died tragically and if the tragedy didn’t happen, Rhoads was putting plans in place to leave Ozzy.

Ozzy’s saving grace was the US Festival. After the US Festival, Bob Daisley, along with Jake E. Lee, Tommy Aldridge and Ozzy Osbourne went to New York and started writing. It could have been George Lynch instead of Jake E. Lee. Maybe on Earth 2, there is a version with George Lynch replacing Randy Rhoads.

For Daisley, coming back into the Ozzy camp meant certain conditions. He wanted to be paid for writing the songs and to be paid to play on the album. He wanted bonuses when the sales reached a half a million and then a million and so on. However, as usual, he got screwed again and no bonuses came.

Writing by Daisley and Lee continued in London and recording started at Ridge Farms with Max Norman engineering again. Tommy Aldridge struggled in the studio. Sharon Osbourne was constantly on his case as to why the drum parts took so long to record. Time is money. After Aldridge recorded the album and just before the tour, he got fired.

That is when Carmine Appice entered the fold. If you see the “Bark At The Moon” video, Appice is on drums. He had a contract to do the tour and he got fired as well, because he was sneaking off and doing drum clinics.

Bark At The Moon
What a way for Jake E. Lee to introduce himself to the fans of Ozzy Osbourne. Jake E. Lee came up with the riff, Ozzy with the title and Bob
Daisley wrote the lyrics based on a Hammer Horror film story.

But Lee or Daisley are not credited as songwriters. Only Ozzy is.

With so much talk these days about plagiarism and other people taking credit for something they didn’t do, this is exactly what Sharon orchestrated for Ozzy. As it stands, Ozzy is listed as the sole songwriter and by default taking full credit for someone else’s work.

Bark at the moon
Ha ha ha ha ha…

One of my favourite lyrical lines is;

He finds his heaven
Spewing from the mouth of hell

There are a lot of people like that, who find their happiness by putting others down. Hell, the whole bully system is designed in this way. Internet trolls are exactly like this.

And if there was any doubt to the guitar mastery of Jake E. Lee then just listen to the outro solo.

“You’re No Different”
A lot of hate for this song because;

a) it’s a ballad,
b) it has keyboards,
c) it’s a ballad and
d) it’s a ballad with keyboards.

But man, coming off the stellar opening title track, it was a WTF moment, but it’s still a good song and there is no denying the lyrics from Daisley that deal with how people judged and perceived Ozzy.

Everything that I say and do
In your eyes is always wrong
Tell me where do I belong in a sick society

Where do we belong when everyone has their own thoughts and ideas? And why should our thoughts, ideas and words be so wrong, just because we are lower in the status chain.

Your’re no different, no different to me

Last time I checked, we all have a mortality of about 80 years and we all end up in the same place when it all comes to an end.

Living my life in a way that I choose
You say I should apologize
Is that envy in your eyes reflecting jealousy

I’ve said sorry many times when I never should have. It was purely an attempt to put a situation to rest and move on.

Tell me the truth and I’ll admit to my guilt
If you’ll try and understand
Is that blood that’s on your hand from your democracy?

Is there such a thing as pure truth as what I see from my point of view and my cultural upbringing is different to what another sees.

And again that outro has a lot of cool Jake E. Lee’isms.

“Rock And Roll Rebel”
It needed to be written so Jake could go and write “Lightning Strikes” because the riffs are identical except in different keys.

I’m just a rock ‘n’ roll rebel
I’ll tell you no lies
They say I worship the devil
They must be stupid or blind
I’m just a rock ‘n’ roll rebel

It’s a national anthem for us metal heads. “I’m a rock and roll rebel” was my favourite comeback line to my school teachers.

They live a life of fear and insecurity
And all you do is pay for their prosperity

Damn right, it’s called tax and mortgages. The best way to ensure that the majority still serve rich masters like in ancient empires is to create wages, income tax and credit loans. That way, the rich will get even richer and the rest of us will just pay for their prosperity.

That lead break from Jake again is brilliant. Arpeggios, bluesy pentatonic lines, fast legato lines and anything else he could fit in, he did.

“Waiting for Darkness”
The excellent album closer. It’s how Jake E. Lee decorates the song by palm muting and double-picking each note to create a staccato style effect. It’s very similar to how Andy Summers from The Police decorated songs.

Promise me rebirth
And then you tear me from the womb
Give me my freedom
And then you lock me in a tomb

The way of the world is more pure in books of fiction. The non-fiction reality version is very different. A lot of the songs I like deal with how “we believe we are free but really are not”. It’s not coincidental. The more I get older, the more I realise how I’m not free. Like how Hetfield sang in “The Unforgiven”;

“New blood joins this Earth and quickly he’s subdued”

Motley Crue – Shout At The Devil
Motley Crue is another band that benefited greatly from the U.S Festival. 1983 is when the LA Sunset Strip Scene broke out as a commercial force.

On the backs of Motley Crue and Quiet Riot, suddenly the labels were looking for bands that looked and sounded like Motley Crue and Quiet Riot. Ratt, Dokken WASP, Kix, Krokus and Mamas Boys are a few bands that benefited from Motley Crue breaking out of the L.A Sunset Strip scene.

Other labels that had established bands made their bands look like Motley Crue. Y&T, Accept, Fastway, Whitesnake, Helix, Saxon, Kiss and Tygers of Pan Tang are a few bands that had a look and feel change to their wardrobes. But for the Crue, their changes had a lot to do with what was popular at the time. Metal bands like Judas Priest and Iron Maiden were riding a wave of commercial prosperity. The Crue had the metal look and all they needed was the metal sound.

Enter the pentagram.

The “Shout At The Devil” album was primarily written while the band was still unknown and striving for success. You can hear the angst, rebellious youth and aggression in the music. You can hear the kilos of cocaine and decadent lifestyle in the music.

Tom Werman is on hand to produce. There is no denying the fact that Werman had a certain touch to get the albums sounding radio friendly.

Around this time there was a satanic backlash happen in the U.S. Motley Crue played into the controversy and as Vince Neil once said, they did anything that would get them attention.

Werman advised them that they could record their tracks separately and then fix up any mistakes after. This in turn led to a lot of down time. Down time equals partying. In the end, the Crue managed to get it together to record an album that was a product and snapshot of 1982/83.

“Shout At The Devil”
The funny thing is the band is accused of being satanic however they had the most Christian sounding title in “Shout At The Devil”. It is no different to “To Hell With The Devil” from Stryper. The main riff is a bluesy classic, in the vein of ZZ Top’s if played with a boogie feel.

But in the seasons of wither
We’ll stand and deliver
Be strong and laugh and
Shout-shout-shout
Shout at the devil

Nikki is channelling his love of Aerosmith and his rebellious street punk nature in the lyrics. He is part of the disenfranchised generation.

“Looks That Kill”
The L.A sound is all over this. The opening riff of “Looks That Kill” was copied from somewhere and then all of the LA bands copied each other with different variations. If you don’t believe me, check out Ratt and Dokken. The “Breaking The Chains” album has a song with a very similar riff and so does ”Out Of The Cellar”.

As good as the riff is; it’s the foot stomping beat from Tommy Lee that gets the song going. It’s metronomic and G-string tight.

Now listen up
She’s razor-sharp

Now she’s bulletproof
Keeps her motor clean
If Nikki was channelling Aerosmith in “Shout At The Devil”, well for “Looks That Kill” he was channelling Brian Johnson and “Back In Black”.

“Bastard”

Bastard
Won’t get screwed again

Written about their manager who funded their debut album and then split with the Elektra advance.

“Red Hot”
Tommy Lee is channelling “Overkill” from Motorhead with the drums.

Shout at the devil
We’ve laughed at your wars

The title track appears again in another song. It’s such a strong statement.

“Too Young to Fall in Love”

Again, it’s Tommy’s foot stomping and metronomic drumming that gets the song rolling and grooving.

Run for the hills
We’re both sinners and saints

“Knock Em Dead, Kid”
That intro riff from Mick Mars and the build-up from Tommy Lee is a foot stomper. It’s a call to arms.

In the heat of the night
You went and blackened my eyes
Well now I’m back, I’m back, I’m back
And I’m coming your way”

Lyrics about a fist fight. Nikki took a few hits and now he’s back for retribution. Brilliant

“Ten Seconds To Love”
Touch my gun
But don’t pull my trigger
Let’s make history
In the elevator
Or lock the door
Shine my pistol some more
Here I cum
Just ten seconds more

Sixx is a master at the tongue and cheek bubblegum sexual lyrics.

Bring a girlfriend
Maybe bring two
I got my camera
Make a star outta you

The Crue guys made stars of themselves and others with those camera’s many years later. How prophetic.

“Danger”
This one is one of those gems that is forgotten, telling a story about the bands early days.

“Danger, you’re in danger when the boys are around”

The Motley Crue lifestyle. It was danger. Hotel rooms got destroyed, cars got destroyed, Razzle died, Nikki Sixx died.

Billy Idol – Rebel Yell

“Rebel Yell” is written by Billy Idol and Steve Stevens.

Steve Stevens is merely a footnote in the pages of rock/pop and Digitech whammy noises. Tom Morello is seen as an innovator for doing the same thing that Steve Stevens was doing a decade before. Stevens only crime was big hair and big hair is not in to the people who write pop culture history.

In the midnight hour, she cried more, more, more
With a rebel yell she cried more, more, more, wow!

The Police – Synchronicity

It goes to show how one great song and two good songs could move millions upon millions of albums. Tracks 7, 8 and 9 are the ones.

“Every Breath You Take”
The big one. The songwriting credits state it was all Sting, however the way guitarist Andy Summers plays the stock A – F#m – D – E progression is what defines the song and sets it apart from all of the other pretenders.

“King Of Pain”
Gotye took the feel and chordal structure of this song and made it a hit again almost 30 years later. Quick, call the lawyers, we have plagiarism at its best.

There’s a king on a throne with his eyes torn out
There’s a blind man looking for a shadow of doubt
There’s a rich man sleeping on a golden bed
There’s a skeleton choking on a crust of bread

I’ll always be king of pain

Brilliant lyrics. All of those characters could have been Sting.

“Wrapped Around Your Finger”
Again, Summers takes centre stage with his intricate, melodic and delicious sounding guitar lines.

I can see the destiny you sold
Turned into a shining band of gold
I’ll be wrapped around your finger

ZZ Top – Eliminator

“Gimme All Your Lovin’”
It kicks off the album that turned ZZ Top into superstars. And as all things to do with the Eighties it was on the back of MTV and their stylish videos that all kept the same theme going throughout.

You got to whip it up
And hit me like a ton of lead
If I blow my top
Will you let it go to your head?

Are the lyrics dealing with cumming on her face.

“Got Me Under Pressure”
All the trademarks of classic ZZ Top are here. The riffs, the solos, the jam like structures.

I’m gonna give her a message,
here’s what I’m gonna say:
“It’s all over.”

Man, it’s good the ZZ Top guys don’t take themselves too seriously. Premature ejaculation gets a verse.

“Sharp Dressed Man”
If “Gimme All Your Loving’” and “Got Me Under Pressure” were the combinations, then “Sharp Dressed Man was the knockout.
It’s a technological refined Southern Blues Rock boogie merged with a lot of pop sensibilities.

They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man

“Legs”
Six songs would have been enough for this album.

She’s got legs, she knows how to use them

The immortal lyric that everyone knows. But what about this one;

She’s got hair down to her fanny
She’s kinda jet set, try undo her panties

Fanny makes it in a hit song. Brilliant.

And based on the above, here is a sequenced list of songs for a 20 song double album. All killer, no filler.
Side 1
1. Bark At The Moon
2. Stand Up And Shout
3. Looks That Kill
4. Rainbow In The Dark
5. Every Breath You Take
Side 2
1. Rebel Yell
2. Shout At The Devil
3. Legs
4. You Cant Stop Rock And Roll
5. Holy Diver
Side 3
1. Red Hot
2. I Am (I’m Me)
3. Too Young To Fall In Love
4. Gimme All Your Lovin’
5. Waiting For Darkness
Side 4
1. The Kids Are Back
2. Wrapped Around Your Finger
3. Sharp Dressed Man
4. King Of Pain
5. Got Me Under Pressure

Stay tuned for Part II.

In case you didn’t get the title;

  • The Holy Roller is a combination of “Holy Diver” and “You Can’t Stop Rock and Roll”.
  • The Devil Rocker is a combination of “Shout At The Devil” and “You Can’t Stop Rock And Roll”.
  • The Synchronised Eliminator is a combination of “Synchronicity” and “Eliminator”
  • The Moon Rebel is a combination on “Bark At The Moon” and “Rebel Yell”.
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Music, My Stories, Unsung Heroes

While The Music Has Achieved Worldwide Acclaim (the people behind the scenes have not)

I went to “The Powerhouse Museum” in Sydney today with the family. It was the “Game Masters” exhibition that sealed the deal. Video games are one of those peculiar cultural items where the games are well-known, however the actual designers are only known to the geeks.

This is what the “Game Masters” exhibition is trying to highlight; the key designers who have had a large influence on video games and video game culture.

I loved the exhibition (my only gripe is that you are not allowed to take photos inside the exhibition as I wanted to snapshot my boys playing Outrun). The retro arcade games made me relive some of my youth. Seeing “Outrun”, “Galaga”, “Space Invaders”, “Pac-Man”, “Donkey Kong” and “Elevator Action” in all of their glory, ready to be played, reminded me of visiting the local bowling alley with a pocket full of change.

Even my kids enjoyed themselves. This is when game play was simple. Insert a coin, move the joystick and press the only button you have to kill the baddies. How simple. I remember a comment from the Steve Jobs bio, that his motto about Apple products had to have the same ease of use as a Star Trek game that Steve Jobs played as a kid. The instructions where, insert coin and kill Klingons.

As the exhibition states, “While the games have achieved worldwide acclaim, their makers have yet to become household names.”

Does anyone know the names of Tomohiro Nishikado (“Space Invaders”) or Toru Iwatani (“Pac-Man”) or Yu Suzuki (“Outrun”)? I didn’t, however I knew the games. I spoke about the games to my kids.

And it got me thinking about some names behind some of the great music that I love.

Tom Werman is one person that comes to mind immediately. Regardless of the different versions of history out there from some of the artists that he worked with, one thing is clear; Tom Werman was a pop producer who got selected by the A&R people of the labels as the man to get hard rock acts on the radio.

This is what Werman had to say about it;

In those days, AM radio sold records and FM didn’t. FM played only album tracks, and AM played only singles. So I made singles with bands who were only being played on FM radio. This is why Doug Morris called me when he was the president of Atlantic Records and said I was the only producer he knew who could make a hit with Twisted Sister, who up to that point was a little known band in America. So I made sure there were two singles on the record, and they sold several million albums as a result. Same with Ted Nugent. Same with Cheap Trick. Same with Molly Hatchet. Same with Mötley Crüe. Same with Poison.

The first album I came across with a Tom Werman production was Motley Crue’s “Shout At The Devil”. Werman said that it was a hard record to make because Nikki Sixx had broken his shoulder when he drove his car off the road and that in turn affected his bass playing. However he credits Tommy Lee as the second-greatest drummer he’s ever worked with and Mick Mars as a guitarist who doesn’t get the recognition he should. History has shown that this album was a career defining album for the Crue in the same way that Master Of Puppets was a career defining album for Metallica. What a coincedence that both bands would go on to make their biggest albums with Bob Rock producing.

The second album I came across was Twisted Sister’s “Stay Hungry” album. Tom Werman said that Dee Snider was a solid writer and that his songs were almost like nursery rhymes as Dee wanted everybody to understand his melodies. And didn’t we enjoy them, sending the band to the top.

The third album was Dokken’s “Tooth N Nail” and then it was a torrent.

Motley Crue’s “Theatre of Pain” and “Girls, Girls, Girls” followed. Krokus “Change of Address”, Poison “Open Up And Say Ahhh”, Kix “Blow My Fuse”, Junkyard’s self titled album, LA Guns “Cocked and Loaded”, Love/Hate “Black Out In The Red Room”, Stryper “Against The Law” and Babylon A.D. “Nothing Sacred” and Steelheart’s “Tangled In Reins”.

Michael Wagener is another that comes to mind. He was a producer, an engineer and a mixer.

He produced’s Dokken’s “Breaking The Chains” and then mixed the follow up “Tooth N Nail”, the same album that Tom Werman produced. He was on deck again to produce and mix “Under Lock and Key”. He then produced and mixed Stryper’s “Soldiers Under Command” and was on deck to also mix Poison’s “Look What The Cat Dragged In”. He then mixed Metallica’s “Master of Puppets.”

Other production credits include Alice Cooper’s “Constrictor” and “Raise Your Fist N Yell”. White Lion’s “Pride” and “Big Game”. Skid Rows self titled debut and “Slave To The Grind”. Bonfire’s “Point Blank” and “Fireworks” albums. Extreme’s “Pornograffiti”. Ozzy Osbourne’s “Ozzmosis” and Warrant’s “Dog Eat Dog” followed.

He mixed WASP’s “Inside The Electric Circus”, Warlock’s “True As Steel”, Megadeth “So Far, So Good, So What”, Motley Crue’s “Decade of Decadence” and Ozzy Osbourne “No More Tears”.

What about Randy Staub? He engineered “Dr Feelgood” from Motley Crue, the black album from Metallica, “Keep The Faith” from Bon Jovi, Motley Crue’s self titled album, “Subhuman Race” from Skid Row, “Load” and “Reload” from Metallica, “Satellite” from POD and many others like Five Finger Death Punch’s “War Is The Answer.”

Mike Fraser is another whose name is in the majority of albums that I like as mixer. The two John Sykes/Blue Murder albums, “Blue Murder” and “Nothin But Trouble”. Most of AC/DC’s stuff, especially all of the remixes for digital transfer, Metallica, The Cult and many more.

Looking at the above list, I guarantee that you have at least 80% of the albums that the names mentioned have worked on in your collection. Of course there was Max Norman, Roy Thomas Baker, Jack Douglas, Bruce Fairbairn, Bob Rock, Duane Baron/John Purdell, Dave Prater and many more that shaped the albums that we have come to known to love. The music has achieved worldwide acclaim, the bands and the song writers have achieved worldwide acclaim however a lot of the people behind the scenes that captured the sounds, mixed them, edited them, spoke out about arrangements and so forth, have not.

What they have done is work on a consistent basis? That is what artists need to do today. Release on a consistent basis. It’s back to the single format. The great song.

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Classic Songs to Be Discovered, Copyright, Influenced, Music, My Stories, Stupidity, Treating Fans Like Shit

The Great “Bark At The Moon” Song Writing Controversy

Coming into the “Bark At The Moon” sessions, the Blizzard of Ozz band was in disarray. Bob Daisley and Lee Kerslake got fired before “Diary of A Madman” was released and in the process they had their credits removed from the album. The other driving force, Randy Rhoads died tragically when the plane he was on crashed into a mansion and burst into flames on March 19th, 1982.

Ozzy Osbourne as usual was at his drunken best and after delivering the “Speak/Talk Of The Devil” album, he was free from his Jet Records contract, ready to sign a major label deal with CBS.

Jake E Lee joined Ozzy’s band during the “Speak of the Devil” tour. The band at the time consisted of Tommy Aldridge on drums, Don Costa on bass and Lindsay Bridgewater on keyboards. Once that tour ended, the song writing process began for the next album.

This is what Jake E. Lee had to say on the song writing process in a recent interview with the Ultimate Classic Rock website;

Well, most of that was really me and Bob Daisley. Because Ozzy would show up and kind of play around with songs. I remember that I had the riff for ‘Bark at the Moon’ and I played that, and he said, “Oh, I love it — we’ll call that one ‘Bark at the Moon,’” because he already had the album title in mind. So he said, “That’s the one that’s going to be ‘Bark at the Moon.’” He’d come in with things like that and then he’d drink, and he’d either pass out or leave, which left just me and Bob. We’d stay in the studio and flesh out the songs. It was fun working with Bob. He wrote all of the lyrics, [and he’s] a great lyricist. So yeah, me and Bob, we had a good working relationship. It was fun doing that record.

Bob Daisley told his story to the Bravewords website in the following way;

“You see Ozzy and Sharon were trying to get me to agree to get rid of Lee (Kerslake) and get Tommy Aldridge in the band. I kept on saying no, it’s not broken, so let’s not fix it. Lee (Kerslake) was working fine. So they got rid of both of us. But a few months later, Sharon phoned me and asked me to meet her in London for a chat. She said that Randy wanted me to come back and that they wanted to do a third album. So I was supposed to do an album with Randy, Ozzy and Tommy Aldridge. It was all planned that I was supposed to do the third album, which I did but not until 1983 but was supposed to be in 1982. Obviously Randy was not a part of it and it ended up being Jake E Lee. Everything was postponed when Randy left us.”

That postponement meant that Dan Costa was playing bass on the 1982, Winter/Spring European tour. Eventually, Ozzy got fed up with him, punched him in the face, breaking his nose and firing him all in one swoop. The call went out to Bob Daisley again to do the US Festival gig and then the third album.

The US Festival attendance figure varies however it is safe to say that the attendance was somewhere between 350,000 to 450,000 people. The US Festival was the Metal’s world “Woodstock”.

From May 29, 1983 up until 1992, metal and rock ruled. Coming into the US Festival, Bob Daisley had a week to get himself re-acquainted with the songs. In typical rock star fashion, Daisley flew in to L.A, went straight to rehearsal from the airport with some series jet lag. After another rehearsal the next day, he walked out on stage to play to a sea of people on the third day. The bands that performed on the Heavy Metal day included;

Quiet Riot
Mötley Crüe
Triumph
Ozzy Osbourne
Judas Priest
Scorpions
Van Halen

The US Festival (sponsored and orchestrated by Apple’s Steve Wozniack) was a pivotal moment for all of the metal bands involved.

Quiet Riot’s “Metal Health” was released on March 11, 1983 however it didn’t really do anything. The album then started to take off after the US Festival in May 1983 and after the release of “Cum On Feel The Noize” as a single in August 1983, it exploded.

Motley Crue already had some momentum going with “Too Fast For Love”. The U.S Festival helped cement their status as Sunset Strip favourites and when “Shout At The Devil” hit the streets in September 1983, the momentum became a tidal wave to platinum glory. Motley Crue played the perfect set, including a few of the new songs that would appear on “Shout At The Devil”, so as a concert goer, if you heard those songs and liked them, you more or less would go out and purchase the album that has them them.

Triumph, Scorpions and Judas Priest already had some serious momentum going.

1981’s “Allied Forces” for Triumph was a success and the follow-up “Never Surrender” released in January 1983 was no slouch either and it was certified Gold on September 30, 1983 by the RIAA. Isn’t it funny what a festival in May of that same year did to boosting sales.

Judas Priest had their 1982 “Screaming For Vengeance” album doing the rounds and in April 1983 it was certified Platinum in the U.S.

Scorpions had their 1982 album “Blackout” out in the market and their visibility at the US Festival in May 1983, assisted in “Blackout” reaching Platinum status in March 1984. Also in March 1984, “Love At First Sting” hit the streets with the worldwide smash “Rock You Like A Hurricane” further cementing the band’s status as superstars. This success didn’t come instantly either, as the Scorpions had been working since the start of the Seventies.

Van Halen at the time were kings of LA however their last album “Diver Down” didn’t do them any favours. The visibility from the May 1983 festival along with Eddie Van Halen featuring in Michael Jackson’s “Beat It” song would help their “1984” album released in January 1984 reach the lofty Diamond certification.

Ozzy Osbourne on the other hand was a very different place in his career. He had the momentum with the Blizzard Of Ozz band and then started losing that momentum when Sharon and Ozzy fired Bob Daisley and Lee Kerslake. With the death of Randy Rhoads, all of that momentum was totally lost. So the US Festival was an important moment for Ozzy Osbourne’s career.

For Daisley, coming back into the fold after he played the U.S Festival meant that he came with conditions this time around. Two of the conditions he stipulated was to be paid for writing the songs and to be paid to play on the album. Other conditions that he stipulated was to get bonuses when the sales reached a half a million and then a million and so on. However, as usual, he got screwed again and no bonuses came. Of course when the album was released in November 1983, by January of 1984 it was certified Gold in the US.

So after the US Festival in May 1983, Bob Daisley, along with Jake E. Lee, Tommy Aldridge and Ozzy Osbourne went to New York and started writing. Writing continued in London and recording started at Ridge Farms with Max Norman Engineering and producing again. The rest of the album was finished at The Power Station back in New York in 1983. The reason for the change was that Ridge Farm Studio was losing money at that point. In typical Osbourne fashion, the favourite Tommy Aldridge struggled in the studio, with Sharon Osbourne constantly on his case as to why the drum parts were taking so long. So after Aldridge recorded the album and just before the tour, he got fired.

That is when Carmine Appice entered the fold. Appice appeared in the “Bark At The Moon” video and had a contract to do the tour. Eventually he got fired from the tour as well due to him sneaking off and doing drum clinics, which infuriated Sharon Osbourne, especially when he would come back late for sound checks.

This is what Bob Daisley had to say on the matter in an interview on the Classic Rock Revisited website;

“Sometimes he (Appice) would throw extra things into the songs that shouldn’t be there just to show his pupils that he gave free tickets to after doing the clinics. He got a little carried away with himself but it was wrong for Ozzy and Sharon to get rid of him because he had a contract to do that tour. They should have ironed out the problems but what do they do? They get rid of him and bring Tommy Aldridge back and I think it was a mistake. Carmine sued them and he won.”

How many law suits would the Osbourne’s face that all could have been avoided if they were fair to the musicians that really made Ozzy Osbourne’s solo career. Let’s get one thing out-of-the-way. The mix is horrible. Thank Tony Bongiovi for that.

“Bark At the Moon” was a title that Ozzy came up with. Ozzy mentions it and both Jake and Bob agree with it. Jake E. Lee came up with the riffs and Bob Daisley wrote the lyrics about a beast that comes out in a full moon.

I love the lyrics in “You’re No Different.” Bob Daisley has stated that it was Ozzy’s title and that Ozzy wanted the song to be about people judging and criticizing him.

Look at yourself instead of looking at me
With accusation in your eyes
Do you want me crucified
For my profanity

Concealing your crimes behind a grandeur of lies
Tell me where do I begin
If you think you’re without sin
Be the first to cast the stone

Living my life in a way that I choose
You say I should apologize
Is that envy in your eyes
Reflecting jealousy

Tell me the truth and I’ll admit to my guilt
If you’ll try to understand
But is that blood that’s on your hand
From your democracy

The lyrics to the song “Now You See It (Now You Don’t)” were composed by Daisley and were aimed at Osbourne’s wife and manager Sharon Osbourne. However Ozzy and the rest assumed the song was about sex. Even Bob Daisley stated once that the song is about hiding a sausage.

For the song “Rock N Roll Rebel” this is what Bob Daisley had to say about it on his website;

Ozzy’s title and another one about him being accused of being a devil worshiper. Some of the lyrics were his too but about 90% were mine.

“Centre of Eternity” or “Forever” was Bob Daisley’s title and lyrics. As Bob stated, it is a “tongue-in-cheek philosophical look at ‘time’ and our existence in eternity.”

“So Tired” to me was a great song. Jake E Lee hated the orchestra in the song. Bob Daisley has stated that it was his title and lyrics. On his website, this is what he had to say about the song;

Something quite unusual for me to write – a love song. The idea came from a Kinks’ song I heard on the radio one night driving back home from Ridge Farm. Their song was called ‘Tired of Waiting’ but that’s where the similarities end.

“Slow Down” is a Bob Daisley title and all lyrics are by Daisley. This is what Bob Daisley had to say about the song;

Inspired by The Beatles’ song of the same name but again, that’s where the similarities end, the lyrics are very different. I remember Jake E. Lee particularly liked this one.

“Waiting for Darkness” to me is a favourite. It is Ozzy’s title however Bob Daisley wrote all the lyrics.

This is what Bob Daisley had to say about the song;

I wrote it about the hypocrisy within organized religion, the brainwashing, mind control, paedophilia and manipulation through guilt, and that if that’s what equates to the ‘light’ then I’ll wait for the ‘darkness’. When Ozzy was asked what the song was about during his interview with ‘International Musician’ magazine, mentioned earlier, his answer was, “A witch.” It seems he didn’t understand the lyrics I’d written and he’d sung, although he took credit for writing it.

“Spiders” was a Bob Daisley title and lyrics.

This is what Bob Daisley had to say about the song;

When we were recording ‘Bark’ at Ridge Farm, there were hundreds of little spiders everywhere. They were harmless but the glut of them inspired the song idea. I turned it around at the end with ‘the spider’s in your head’…

“One Up the B-side” is Bob Daisley’s ode to anal sex and the title and lyrics are all his.

In relation to the music, Jake E. Lee has said that he would come up with riffs and the ones that got the nod of approval ended up into songs.

On the Ultimate Classic Rock website, Jake E . Lee is asked the question if he went into the making of the “Bark At The Moon” record knowing that he would not be getting any writing credits. He answered that question with a simply “No”.

This is what he had to say on the matter;

“I was promised that I would get [credit]. Because I was young and I was in the middle of Scotland recording, I didn’t have a manager or a lawyer — it was just me. From the beginning, every musician, it’s always hammered into them, “Keep your publishing” and “Keep your writing.” So those were the only conditions that I had was “OK, I’m getting song writing credit, right?” I was always assured that “Yes, I’m getting publishing — of course you are!” When I didn’t on the first record, it was upsetting. But I figured OK, what am I going to do? I got freaked — what am I going to quit? We’re about to tour on a record that I finally got to make. There’s no problem for Ozzy to find another guitar player — am I just going to be that guy that played on that record, didn’t even get credit on the record and then refused to tour because I had a problem with Ozzy? No. I had to go out and tour. It would have been stupid not to. So I was only able to put my foot down at the end of the tour. “Let’s make another record” and I was like, “OK, but this time, you know what? I want the contract first before we start recording. I don’t want to be a dick, but I don’t want to get freaked again either.”

A lot of people think that Ozzy wrote a lot of the lyrics. Ozzy has led people to believe that. In interviews Ozzy has always stated, “when I wrote that”. It is all lies.

This is what Bob Daisley had to say on the matter, in an interview on the Classic Rock Revisited website;

“The Osbournes won’t recognize or admit it’s true. They dislike the fact that, through my lyrics, I had a big hand in creating the magic and image that is Ozzy Osbourne. They’ve always tried to hide that. I remember at the time of Bark At The Moon, Jake E. Lee’s song publishing and mine had some complications. So we opted for a buyout and that’s why it says – ‘All songs written by Ozzy Osbourne.’ This of course, is not true. Ozzy did an interview with International Musician magazine, back in ’83 or ’84, they asked him how he wrote those songs and he said ‘with one finger on a piano.’ What a joke. The whole thing was ridiculous. Most people take it for granted that if someone is singing lyrics, that they wrote them.”

Now Bob Daisley got a buy out for “Bark At The Moon”, however it looks like Jake E.Lee got really screwed over for this release. There are no royalty checks for the songwriting and no publishing monies either. Let’s hope the Osbourne’s can sleep well each night, considering that a couple of million from the hundreds of millions that Ozzy is worth could right their wrongs.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Revisionist History when it comes to Metallica

Kill Em All, Metallica’s first album is celebrating 30 years this month. It was released in July 25, 1983. At the time of its release it didn’t really set the world on fire, however if you look at the reviews and praises the album is getting now, it is like the album came out and created a movement called thrash metal right off the bat.

Let’s put into context the lifespan of Kill Em All. It came out on July 25, 1983. By February 1984, seven months since Kill Em All was released, Metallica was in the studio, writing and recording the Ride The Lightning album. The victory lap of Kill Em All was seven months. That’s it. If the band wanted to have a career, they needed to get back into the studio and record a new album.

Of course when the 1991 Black album exploded, new fans started to dig deep and purchase the bands older material. It is for this reason that the bands older catalogue from Kill Em All to Justice started to get RIAA certifications.

Kill Em All finally reached U.S sales of 3 million units in 1999. That pales in comparison to the Ride The Lightning and Master of Puppets albums which have moved over 6 million units in the U.S alone by 2012. The ..And Justice for All album has moved over 8 million copies in the U.S and the Metallica black album is pushing close to 17 million units sold in the U.S alone by the close of 2012.

As a Metallica fan, the Kill Em All album is not a bad album. It is a product of its time and its era. However in 1983, heavy metal and hard rock music was becoming a force to be reckoned with. So by 1983 standards, Kill Em All was up against some hard competition.

Motley Crue, Twisted Sister and Def Leppard had break through albums with Shout At The Devil, You Can’t Stop Rock N Roll and Pyromania.

Ozzy Osbourne, Kiss and Dio had new bands and you can call their 1983 releases as comeback albums. Bark At The Moon showcases Jake E.Lee, Lick It Up showcased Vinnie Vincent and Holy Diver showcases Vivian Campbell. In relation to Dio he was continuing his upward trajectory that started with Rainbow, then continued with Black Sabbath and now with his solo band.

ZZ Top hit the mainstream with Eliminator.

Iron Maiden followed up the breakthrough success of their 1982 album, The Number of The Beast with Piece of Mind.

Quiet Riot had a number one album on the back of the Randy Rhoads back story and connection with the band, a cover of Slade’s – Cum on Feel The Noize and a catchy original called Bang Your Head, which was perfect for the time.

Judas Priest was also riding high on the charts and selling well from a 1982 release called Screaming For Vengeance.

Going back to Metallica, the RNR history is written by the winners. Since Metallica is now inducted into the Hall of Fame, everyone that can put fingers to letters on a keyboard is rewriting their back story. Bands like Quiet Riot will be written out. Artists like Vinnie Vincent and Jake E.Lee will be forgotten by the clueless revisionists. The impact of other bands will be diminished because Metallica won.

Is anyone talking about Judas Priest and their impact to the American metal scene? Quiet Riot’s Metal Health was the first American heavy metal debut album to ever reach No. 1 in the United States on the Billboard album charts.

History is written by the winners.

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You Don’t Know Me, But You Will…. From Controversy, Popularity Is Born

I watched Fast 6 the other day, and the final additional scene had me all pumped up. For those that haven’t seen it, I will not spoil it, however it sets up Fast and Furious 7 very nicely. The final words said in the movie, are the words of the villain, “you don’t know me, but you will……..”

Isn’t that what every musician wants. To be known.

So how does it came to be, that the villains end up known to the world and the ones that do real good are forgotten. Does the world at large know the names of the police officers that captured the Boston Bombers? Does the world know the names of the victims that died in the bombing? The answer is NO, however everyone knows about the Bomber brothers, their family links to Chechnya and so forth. Even Rolling Stone has glorified the bombers with their recent front page issue. By doing this, Rolling Stone has sent social media into meltdown.

David Draiman and Nikki Sixx are two rockers leading the outcry against Rolling Stone. It looks like the Rolling Stone magazine is taking the “you don’t know me (or maybe forgot about me), but you will “mantra to heart. Once upon a time Rolling Stone mattered. Today, Rolling Stone is a dead magazine. They needed to do something shocking like Rammstein did with the Pussy video to bring their name back into the mainstream. You can’t get more shocking than putting a terrorist bomber on the front cover, regardless of what kind of story you are trying to sell. The wounds are too fresh.

Another person looking for publicity is Thom Yorke from Radiohead. He has gone onto a Twitter rampage against Spotify and what they pay artists. For those people that didn’t know about Spotify, they sure know about it right now. Every mainstream news story has picked up the story and run with it. Every blog is talking about it, including this one right now.

Thom Yorke on the other hand, should write great quality music as a solo artist and take control of his own catalogue of music. That way he will know exactly what Spotify pays him, instead of waiting for the statements that the labels give him. It’s funny to look back and read stories about how Thom Yorke and Radiohead was praised for releasing an album under a “pay what you want” model. From this recent outburst, it is clear that Thom wasn’t expecting fans to pay nothing for it, however they did. That is why they never tried that model again.

The big grey area that hangs over Spotify is the lack of transparency over the payments made to the labels, because in order for Spotify to operate in the US, the labels wanted a 50% share in the company.

One thing is clear from all of the above, from controversy, popularity is born.

Ozzy Osbourne’s solo career at the beginning was all about controversy. The dove and bat biting incidents, the tragic death of Randy Rhoads, the drinking and partying which lead to the Alamo incident, the court cases about backward messaging on the song Suicide Solution and the drugs.

Motley Crue built a career from controversy with their sexual innuendos, the pentagram on Shout At The Devil, their partying and drug taking lifestyles which lead to the tragic death of Razzle at the hands of an intoxicated Vince Neil and the death and rebirth of Nikki Sixx.

Even Dream Theater experienced controversy when in a Guitar World interview circa 1994, certain musicians from the grunge / alternative scene blasted John Petrucci for playing with no feeling. Since Petrucci responded gracefully that he likes the music that those bands do, all it did was divert people’s attention to Dream Theater.

Did anyone in the mainstream world know that Black Metal existed? Of course the fans of the style did, however it was just a niche. Then churches started to burn and people started to die. So the Black Metal movement is all over the news.

From the Napster controversy, the people got to know that you can find and download mp3’s of music that you liked, from people that had similar tastes. 13 years later, people are still downloading. From the Napster controversy, the people got to know who the RIAA is and how corrupt they really are. Throughout the years, the RIAA popularity as a corrupt organisation has grown tenfold. From the Napster controversy, everyone got to know Lars Ulrich and Metallica. For better or for worse, Metallica had fully become embedded with mainstream media and pop culture. Press Organisations that never reported on Metallica, suddenly where reporting on Metallica.

Metallica in 2013 is now the biggest metal band there is. Did the Napster controversy hurt Metallica? My answer is No it didn’t. It made them bigger, it spread their name out across all the corners of the world and most importantly it made their music available to everyone.

As an artist, that is your mission statement. Your music needs to be available to everyone. It is not about money right now.

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A to Z of Making It, Music, Piracy

Create Something That Is Forever

There is an article doing the rounds on TorrentFreak about Nintendo designer Shigeru Miyamoto.

The part that interests me is the below quote;

“In fact, from our perspective you want to create a game that people will want to keep and keep playing for a long time. That’s the approach that we always take and that’s the best way to avoid used games.”

As an artist/creator that is what you need to do. Metallica created Master of Puppets, Mötley Crüe created Shout At The Devil, Dream Theater created Images and Words, Queensryche created Empire.

What will you create?

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