Music

Avenged Sevenfold and Five Finger Death Punch at the Big Top

I wrote this post on Wednesday morning, however I didn’t post it as I was in a rush to get to work and then once work was over I had to rush over to the Richie Sambora show. Then I spent Thursday morning writing up the Richie Sambora post and after posting that, I was off to work and then after work I was off to see Mrs Browns Boys at WIN Entertainment Centre. So here I am, three days after the event, back to this post.

I attended the Five Finger Death Punch and Avenged Sevenfold Sidewave on Tuesday, 25 February at the Big Top in Luna Park. It was my first time seeing them both live so I didn’t know what to expect.

Did I mention that Asking Alexandria opened up?

Yep, they opened up and regardless of how much Revolver Mag creams their pants over them and cross promotes them in corporate sponsorship deals, the bottom line is this; They still need a lot of work. I caught the last three songs of their set and it didn’t make me want to go out and buy them. The best releases the band has done are the cover songs.

I caught up with an old school friend at the show who came one out to watch Avenged Sevenfold. I asked him if he had heard any music from Five Finger Death Punch and he told me that he hasn’t. Half way through the set, he yelled in my ear that he will be downloading their collection when he gets home tonight.

So on to the mighty Five Finger Death Punch. They started with “Under and Over It”. A great selection for an opener and a surprise one. “Burn It Down” came next and to me, the song just didn’t really work in a live setting. “Hard to See” and the show was back on the road.

“Lift Me Up” actually lifted the Big Top. It was anthemic all the way and what a great live song it is. “The Ultimate Sin” vocal melody was sung word for word and the crowd chanted chorus drowned out the band.

“Burn MF” didn’t really do much for me on the recording, however as a live song and the way Ivan Moody gets the crowd involved in the chant, it works brilliantly. This song was the biggest surprise on the night.

Another big surprise was Chris Kael. He looks like a cross between Kerry King and Zakk Wylde and what a performer he is, backing up on clean tone vocals and deep guttural vocals. Definitely a great choice for the FFDP band.

“Coming Down” actually kept the energy levels up for a mid tempo song and the band finished off with “Never Enough” and “The Bleeding”. As a live band, Five Finger Death Punch nail it. It’s no wonder that when they hit a city, sales of their albums increase the next day.

One thing about Five Finger Death Punch that a lot of people don’t understand is that they are sort of like a supergroup of independent bands. Each musician in the band has paid their dues in other bands. Some of those bands had small record deals, some of them played on large tours and some of them just played the club scene. So when you see Ivan Moody, Zoltan Bathory, Jeremy Spencer, Jason Hook and Chris Kael on stage, you are seeing a group of talented musicians who have over 50 years combined in the music business.

On a side note, it looks like Ivan Moody got into some trouble on his Qantas flight from Brisbane to Sydney due to being an intoxicated unruly passenger and assaulting a stewardess. With his past alcohol struggles well documented in his lyrics and interviews, the latest occurrence is just another chapter in this saga. As a fan of the band, let’s hope that the other band members don’t over-react to this, because Ivan Moody is the key ingredient as to why the band resonates and connects with the audience. Changing him will be the death of Five Finger Death Punch.

Avenged Sevenfold and Five Finger Death Punch along with Machine Head, Protest The Hero and Shinedown are currently providing the music for the soundtrack of my life. It is the familiarity of the songs and the energy that familiarity brings that provides the connection. I have this drive home playlist that is littered with A7X and FFDP songs.

So up next was Avenged Sevenfold, with their Machine Head inspired curtain logo opening up to the “Shepherd Of Fire” stage set. Some people in the audience wore Machine Head tops and they were getting heckled for it. It was all in good taste and everyone was having a laugh about it.

It is safe to say that “Shepherd Of Fire” and “Hail To The King” are great live songs. The best of the night along with “Lift Me Up” from Five Finger Death Punch. So regardless of what people call those songs or from what bands A7X and Five Finger Death Punch borrowed from in creating them. They are undeniable in a live setting. And didn’t we resonate and connect with them.

As is the norm, “Shepherd of Fire” opened up the sing along. It’s all about roots. A great song to kick off a concert with a sing along chorus.

“Critical Acclaim” from the 2007 self-titled album followed. It’s a hard song to pull off in the live setting, especially when you are playing a song that has “The Rev” on vocals via a backing tape.

“Beast and the Harlot” from the “City of Evil” album came next. The “City of Evil” album was the one that resonated with me and it was the album that got me into Avenged Sevenfold. I loved that whole Dream Theater meets “A Night At The Opera” approach.

Then it was back to the sing along with “Hail To The King”. I was actually singing “Sign Of The Cross” from Maiden throughout it as a test. “Eternal Rest” from the “Waking The Fallen” album came next and it hasn’t been played live since 2009. Personally, I would have loved to hear “Second Heartbeat” instead.

Then it came to the Nightmare vs City Of Evil part of the set. “Buried Alive” from the “Nightmare” album kicked it off, followed by “Seize the Day” from the “City of Evil” album.

Then the song “Nightmare” was played, followed by “Burn It Down” from the “City of Evil” album. It was also the first time they have played “Burn It Down” live since 2008.

The songs from the “Nightmare” album worked really good in the live setting. It gave me a new appreciation for those songs, as I saw that album as a very confused album and missing some direction.

A little Guitar Solo by Synester Gates introduced “Afterlife” from the 2007 self-titled album , that has that unbelievable shred solo that Synester made it to look completely effortless.

The main set finished off with “Almost Easy” from the 2007 self-titled album.

The Encore kicked off with “Unholy Confessions” from the “Waking the Fallen” album and finished with The Rev masterpiece “A Little Piece of Heaven” from the 2007 self-titled album.

In the same way that all the great bands had a definitive guitar player, Synester Gates is up there from the current trend. He worked that fretboard all night, sweeping up and down it, tapping it, pulling off and hammering on fast legato style leads on it and then doing some machine gun picking on it. This was a TRUE guitar hero.

And memories came back of practicing in my room, honing and refining my skills, hoping that one day, I will get a band together and have people appreciate what I do. It was never about riches. It was about the art of creating and connecting. I look at my kids and if I mention the words “Guitar Hero”, they think of the game. They fail to realise the hard work that goes into the practice.

It was entertaining and I got my money’s worth.

Compared to the Richie Sambora concert, Richie wins hands down. Sambora didn’t play it safe, taking us into improvised jams and sing alongs. Metal bands are not renowned for doing that. They are too scared in case they lose the audience.

What are the chances of metal bands playing it safe? Metal music is known for its rebellion and you have two of the big metal bands today, playing it safe in a live setting.

On a bad note, the $32 parking was a dead set rip off, especially when other venue parking stations charge between $12 and $16 dollars.

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.

Uncategorized

Music Isn’t Just About Record Sales

Change is hard and in the end it is always worthwhile. There is a cliché that goes that after being fired or rejected or dumped one door closes and a million other doors open that will lead to a better place. It is true, however the main part that nobody talks about is how long it’s going to take to get to that better place.

The highs of success and fame are brief. It begins to fade and then what are you going to do next?

Vince Neil

On July 6, 2013, Vince Neil played a solo show in Mexico City. The venue was Jose Cuervo Salon. The capacity of the venue is 1,500. The attendance was 64 people. That’s right, less than 5% of the total venue size. Total Gross sales for the night was $2,286. There was only one ticket price at $35.72. So does anyone really care about Vince Neil outside of Motley Crue? Based on the ticket sales, Mexico sure don’t.

What a hard truth that is? Music is a tough business and this is what happens when you go out every night with Motley Crue and sing out of tune. Also why is he touring. He hasn’t released anything new recently. Also when he does tour, all he does is play Motley Crue songs. No one wants to hear Vince Neil do Motley again. I don’t know why, as there are some great songs in the Vince Neil catalogue that fans would love to hear live.

His debut album “Exposed” celebrated 20 years this year. He should have commemorated that release? It is a great album and there is an audience for it. It might mean he plays smaller venues that fit a couple of hundred. However he needs to sing in tune to get people to come back time and time again.

It is a good thing he is getting into the restaurant business and the Tequila/Wine business.

Classic Rock and Southern Rock Rule in Gilford, New Hampshire

On July 3, 2013, the Gigantour tour hit Gilford, New Hampshire. The venue was Meadowbrook. The capacity of the venue is 6,657. The attendance was 1,308. That’s right, 1,308 people turned up to watch Megadeth, Black Label Society, Device and Hellyeah. Total Gross sales for the night was $49,860. There was three tiers of ticket prices ranging from $42, $33 and $23.75.

My first opinion was that the low attendance is due to the poor recent albums put out by the bands involved. Don’t get me wrong, all of those albums are worthy of a listen, but there is nothing really engaging to go back for seconds.

This show should have been a sell-out. The Gigantour tour has never hit Gilford, New Hampshire before. So it is not a market that has seen the Gigantour tour before. However, if you take just the town of Gilford and its population of 7000, then you see it is a small market and the attendance of 1,308 people is not a bad result. Add to the mix that other rock shows are playing the same venue in the weeks leading up to the Gigantour show and in the weeks after, you start to form a different viewpoint.

With most shows a lot of people come from surrounding towns as well. I know in Australia that Sydney is the place that most bands play, however the audience is derived from places in NSW that are a decent hour or three or five away from Sydney.

On July 9, 2013, Daughtry, 3 Doors Down, Halestorm and Bad Seed Rising also played the Meadowbrook at Gilford, New Hampshire. The attendance was 2,718 in a venue that fits 6,219 (for this shows the capacity was reduced due to the stage size). Total Gross sales for the night was $142,431. There was four tiers of ticket prices ranging from $59.50, $49.50, $39.50 and $29.50.

Again not even half full. Daughtry is a platinum selling major label backed super star. 3 Doors Down are also in the same league, although they haven’t reached the same heights as the early two thousands and Halestorm are Grammy award winners. So what’s gone wrong. Lynyrd Skynyrd and Bad Company is what went wrong.

On July 26, 2013, Lynyrd Skynyrd and Bad Company also played the Meadowbrook at Gilford, New Hampshire. The attendance was 6,671 in a venue that fits 6,671 (that’s right people, classic rock and southern rock sold out the venue). Total Gross sales for the night was $407,641. There was three tiers of ticket prices ranging from $79, $59 and $33.25.

Classic rock and southern rock trumped everyone. Lynyrd Skynyrd released “Last of a Dyin’ Breed” in August 2012 however that album was dead and buried by the July 2013. Bad Company on the other hand haven’t released anything worthwhile for a long time. However when you combine the two acts, put a 40th Anniversary name to the tour and you have people from that era interested. Lynyrd Skynyrd’s first album release and Bad Company’s formation happened 40 years ago. To prove my point, I am going to watch Bon Jovi in Sydney, because I want my kids to experience it.

Classic Rock Rules Part II

On July 19, 2013, Bob Seger and the Silver Bullet Band played a show in Winnipeg, Manitoba. The venue was the MTS Centre. The capacity of the venue is 8,397. The attendance was 8,397. Total Gross sales for the night was $724,948. There was two tiers of ticket prices ranging from $107.15 and $63.31.

Talk about turning the page. What a comeback from the man with the golden voice? Thank Metallica for their cover of “Turn The Page” in 1998. The Metallica version made Bob Seger cool with the metal community and who can forget the Metallica clip with Ginger Lynn.

Another turning point for Bob Seger’s comeback was 3 Doors Down and heir song “Landing In London” that Bob Seger sang on.

Once “Landing In London” came out in 2005, interest in Bob Seger was renewed. It was followed by a new album in 2006 and a few Greatest Hits / Live packages in between.

Guess what else is happening in the world of Bob Seger? A new album is on its way. Isn’t that like the old guard. He is hot at the moment so let’s release a new album. Why don’t the people that advise Seger release a new song first and see how it resonates with the public before dropping a slab of them.

Classic Rock III

On July 2, 2013, Alice Cooper played a show at South Bend, Indiana. The venue was Morris Performing Arts Center. The capacity of the venue is 2,552. The attendance was 1,662. Total Gross sales for the night was $77,967. There was two tiers of ticket prices ranging from $69.50 and $39.50.

This is Alice Cooper fresh from his run with Marilyn Manson that ended in June. This show was billed as “An Evening With Alice Cooper” and it was his first show in South Bend in 4 years. There is still juice in the tank of a cultural icon.

On July 28, 2013, Ted Nugent and Laura Wilde played a show in Nashville, Tennessee. The venue was the Ryman Auditorium. The capacity of the venue is 2,037. The attendance was 1,254. Total Gross sales for the night was $67,893. There was two tiers of ticket prices ranging from $59.50 and $39.50.

Just like Alice Cooper, Ted was coming off a Classic Rock run with REO Speedwagon and Styx. As with Alice, there is still life left in our favourite gun toting / wildlife hunter.

Wish they would take a leaf out of the Black Star Riders playbook? Their album, “All Hell Breaks Loose” is a great slab of classic rock songs. I was always a fan of Rick Warwick from The Almighty days so it was great to hear him rocking out again with a Phil Lynott swagger this time around, instead of a Brian Johnson swagger.

What Does A Grammy Award or Nomination Mean in 2013?

Halestorm (along with Age Of Days) played a show on June 26, 2013 at Edmonton, Alberta. The venue was the Starlite Room. The capacity of the venue was 700. The attendance was 492 and the total gross sales for the night was $12,778. There was two tiers of ticket prices ranging from $27.61 and $24.76.

Halestorm are still paying their dues. The Grammy win means nothing to today’s music public. The record labels that pay the entry fee are the ones that can compete. It’s got nothing to do with public opinion.

Hell, Dream Theater and Megadeth were nominated for Grammies last year and their current albums can’t move past the 100,000 mark in sales. If the music is great it will sell itself.

Both Dream Theater and Megadeth should look up the Wikipedia entry of “Instant Karma” from John Lennon.
“It ranks as one of the fastest-released songs in pop music history, recorded at London’s Abbey Road Studios the same day it was written, and arriving in stores only ten days later. Lennon remarked to the press, he “wrote it for breakfast, recorded it for lunch, and we’re putting it out for dinner.”

This is what both bands need to be doing. Writing some new material ASAP. Forgot about the next album or the tour coming up and go back into the studio and churn a couple of songs out. Surprise us for Christmas.

Alice In Chains is still powerful

On July 11, 2013, Alice In Chains played a show in London, Ontario, Canada. The venue was Budweiser Gardens. The capacity of the venue is 5,248. The attendance was 4,801. Total Gross sales for the night was $237,558. There was two tiers of ticket prices ranging from $56.57 and $30.90.

I can’t say I am a fan of the new Alice In Chains album. It’s pedestrian. However the fans are there. If they are there because of the old or the new or both, it doesn’t matter. The band is a quarter of a million per show band.

Power Metal Rules In Europe

On April 18, 2013, Helloween, Gamma Ray and Shadowside played a Power Metal feast in Hamburg, Germany. The venue was the Docks. The capacity of the venue is 1,500. The attendance was 1,171. Total Gross sales for the night was $51,299. There was two tiers of ticket prices ranging from $52.52 and $43.33.

You have German bands playing in Germany. Enough said. The thing with power metal bands is that they know the size of their audience. You won’t see them playing venues larger than the above size. Maybe 3000 max. it is a niche and it has a hard core and devoted fan base. They even have power metal outdoor festivals where fans even get dressed up in medieval clothing and enact sword fights and so forth.

This is a good indication of bands still carving out a living in a time where they have no promotion in the large US market. This is a good indication of bands still carving out a living in a time where people download music illegally or stream it legally.

The Black Crowes still do good business

On July 19, 2013, The Black Crowes, Tedeschi Trucks Band and The London Souls played a show in Nashville, Tennesse. The venue was the Woods Amphitheater at Fontanel. The capacity of the venue is 4,056. The attendance was 3,273. Total Gross sales for the night was $215,641. There was two tiers of ticket prices ranging from $115 and $49.50.

I watched The Black Crowes at the Wollongong Entertainment Centre on April 1, 2008. The venue had less than a thousand people in attendance in a venue that has a capacity of around 10,000, so the stage was moved heaps forward to accommodate for the smaller audience.

It was the best show I saw. They jammed, they extended songs and just had fun. Rich Robinson was the sheriff. He was the one they all looked too for when the jam starts and when the jam ends.

That is a sign of a true champion. The night before, they played to a sold out Sydney audience 70 minutes away. They could have chucked a hissy fit at the small turn out for the Wollongong show, however they didn’t. They came out and they rocked.

There is plenty of money available in music and the more people that have access to your recorded music means more fans that could turn into customers.

A to Z of Making It, Music, My Stories

Question Everything – Inspiration From Killswitch Engage and Jesse Leach

After overdosing on the new Protest the Hero album “Volition” for some reason the last song “Skies” got me thinking about Killswitch Engage. So out come the headphones and on goes the new album “Disarm the Descent.” I haven’t listened to it since about July. Our favourites don’t last long in the times of today. With so much new music coming out, we move on very quickly. As Jesse Leach pointed out recently in an interview with Lithium Magazine, the title is a creative way of saying redemption or rising again.

“You’re in a state of your life where you’re approaching rock bottom and you find a way to pick yourself up again before you hit the floor.”

I came to Killswitch Engage late. I didn’t listen to their first three albums. The only song I heard was “My Last Serenade” back in 2004 and that was via a bass player friend. However at that time, nothing really connected with me and that was it. There was no urge to commit to the band for me.

Fast forward a few years and the “Guitar World” issue arrived in the mailbox. I don’t recall which month; however it was a magazine from 2007. At that time the magazine still came with a DVD of bonus content. One of the bonuses was a lesson from the Killswitch guitarists on how to play “My Curse” and after watching it, I was hooked.

So I asked my bass player friend to burn me all of their albums, which he did. At the time, I had no idea that vocalists changed, which after hearing “Alive or Just Breathing” in 2007, I realised that the tones of the vocalists didn’t match up. So what do we do when we need information? We Google. We click on Wikipedia. In addition, “My Last Serenade” suddenly mattered. The song sucker punched me and I was hooked. The timing was right in 2007, for Killswitch Engage to enter my life on a full time basis.

By the time, their 2009 self-titled album came out; I was purchasing it without even listening to a single note. As a bonus their back catalogue was on special at the time, so I picked them up as well and added the official releases to my collection. That is why I always say that no metrics can ever measure the reach or pull of a band at the time of a release.

Of course, sales data can show what is in demand at a certain point in time; however the reach and the popularity of a certain band or a certain album cannot be properly measured until years later. Remember that history is written by the winners. In music, the winners are the artists or bands that outlast the competition.

Going back to the different singers, since Jesse’s split with the band, he kept busy with other projects, like the stoner-rock outfit “Seemless” and the metalcore/hard-core influenced “The Empire Shall Fall”. During this period, he also appeared with Killswitch Engage, performing the track “My Last Serenade” alongside Howard Jones at the Roadrunner United concert in 2005.

Then in 2011, I was blown away by “Times of Grace”. Everything about that album connected with me on so many different levels. I saw “Times Of Grace” open up for “Machine Head” at the Uni Roundhouse in Sydney in February 2012. Adam Dutkiewicz had his leg in some form of a support cast and he still went ballistic on stage, commenting frequently that “Aussie girls are hot.”

In relation to “Times Of Grace”, I could hear the regret in some of the songs. When Jesse jumped ship from Killswitch he was fighting a pretty serious depression. He had just gotten married and he couldn’t deal with being on the road all the time and away from his new family.

Songs like, “Fall From Grace (my best song on the album)”, “The Forgotten One”, “Hymn Of A Broken Man”, “In The Arms Of Mercy” and “Where The Spirit Leads Me” capture the more personal side of Jesse Leach. I remember reading in an interview in the “Revolver” April/May issue with Jesse mentioning that at the time of leaving Killswitch he was “broken and unconfident”.

So when Killswitch Engage announced that Jesse Leach is the vocalist again, I was more than pleased. His redemption was complete. When Jesse left Killswitch Engage the album he worked on “Alive Or Just Breathing” was just another album in a burgeoning metalcore scene that helped to kick start the New Wave of American Heavy Metal movement.

Today, “Alive or Just Breathing” is seen as a classic. I always state that music is all about creating great music now so that it is recognised later for its greatness. As an artist grows their body of work takes on a new life of its own. It takes a while for something to be assimilated. Artists or bands have to hang in there long enough until they get their turn, getting better while they wait and releasing quality music.

“In Due Time” was the lead-off single.

“All that we suffer through leads to determination
The trials we all go through gives us the strength to carry on
Something within us burns, desire feeds the will to live
A reason to believe I will see redemption”

As the chorus lyrics go, in due time, the shadows will gave way to the light. You just need to be patient and resilient. The words could even reference Jesse’s redemption to Killswitch and the knowledge that he had to go through all these trials so that he could come back a better person.

“A Tribute To The Fallen” has that hook that resonates. In my view this song should have led the album.

“With a new dawn we rise in renewed strength
Knowing we’ve just begun to fight this war within”

Think about all the crap that is going on in our democratic nations. Governments are spying on their own people. The Corporations and their lobby groups drive legislation. Government granted monopolies like the copyright industry are doing their best to kill innovation and when that fails, insert the corporations and their lobby groups. Transparency is promised however it doesn’t exist. Every communication is suddenly classified. Enables of pirated goods get more jail time than actual criminal offenders.

“New Awakening” has the legend behind it about how Jesse blew his voice while he was recording it in the studio. After the Doctor told him about the strain on the vocal chords, Jesse saw it as a badge of honour.

“There is more to life than this
We are more than just this flesh
We are alive and our time has come
For a new awakening”

It’s the Killswitch revolution. Killswitch wants you. Where do i sign? I’m all in.

“You Don’t Bleed For Me” connects with me because it more or less sums up our politicians and how even though they are voted in by the people, they do not work for the people. Of course there are the rare ones who do their best to speak for the people but in the end money wins the game.

“Fly your flag of righteousness
When underneath it is deviousness, it is greed and lies
Don’t pretend to know me you martyr of disgrace
With your plastic smile
I don’t believe a word you say
You don’t speak for me
You don’t bleed, you don’t bleed
You don’t bleed for me”

The closer “Time Will Not Remain”.

“None of us should be thought of as anything less than a potential to change the world”

What a lyric and what a statement. That is the reason why Jesse Leach’s return means so much to Killswitch Engage and to metal fans in general. He never stopped being who he was. He was not corrupted by the modern era. He questions social norms and ideals. He questions the crap our politicians and news outlets throw at us. He questions everything. The great vocalists always have something to say.

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

Cog

When the History of Australian music is written by the mainstream pop writers, a certain band from Bondi, Sydney called Cog will be forgotten. Seeing the band play live on a lot of occasions, I can say without a doubt, they are one of Australia’s best live bands.

The star of the show without doubt was always Lucius Borich on drums. He rolled and he grooved. The energy he produced on stage, he somehow miraculous transferred over to the audience.

I remember the times when we played with Cog at the Oxford Tavern and UniBar in Wollongong. We all had to load in early as the doors to the venue would shut. (Note: The venue was normally open and entry to watch the live show was free, however when Cog came into town, the venue was turned into a concert hall.)

So we just sat around, drinking beer and watching Lucius sound check. There he is, sound checking the drums, then the guitars and then the bass. The thing that blew me away was the riffs he was playing during the guitar sound checks. At that time, the information doing the rounds on Cog was very vague.

So I had no idea that Lucius was such an accomplished instrumentalist and songwriter. That is why as a drummer he really locks in with the guitar and the bass. That is why his drums move with the peaks and valleys of each song.

No Other Way

What an album track! For an Australian band, it is a ballsy move to open an album with a 10 minute song. The rules are made to be broken and that is what Cog kept on doing with all of their releases. While all their contemporaries went to the hook immediately, Cog took their time to build up to it and when they did, it was well worth the wait. Every time I go back to this song, I keep on hearing little things that I missed with each play before.

Once upon a time albums were not made for radio. Of course, each band had a few songs that could be considered radio friendly, however, the soul of the album was always found by digging deep into the cuts. I remember reading a lot of polarising reviews of the “Sharing Space” album released in 2008, however, if you listen to “No Other Way” and not nod your head, then you must be dead.

Bridges are burning but faces are looking away
People are yearning for someone to show them the way
Tables keep turning and time is the price that we’ll pay
Fast cars and freedom as long as you learn to obey

Fear is the virus they use to divide us
Hoping we’ll all just pretend
That there’s no other way

I remember sitting down to learn this song and I started to break it down into movements. The above lyrics form part of the intro which I call “Movement 1 (0:00 to 2:17)”. It’s got that major chord to minor chord transition and it’s got a melodic hook that draws you in. This is Cog saying to the fans, we are still progressive, we are still mathy, however we are a touch different to what you are used too. This track has melody, it has soul and it has groove.

The subject matter is way understated and so relevant. This is Cog, not playing for a radio hit, but somehow if people stumbled onto it, they would be hooked like it was a radio hit.

Ordered by a god above
To murder in the name of love
And they’ll always claim that truth is on their side

Holding keys to a paradise
All their noise is a lullaby
For years they have ruled over you and I

I called the above, “Movement 2 (2:18 to 3.32)”. Anyone seen the documentary, “Zeitgeist”. It is great viewing. Even Robb Flynn spoke about it recently in one of his journal posts.

Lay down your guns people and start again
And stop digging this hole
Into which we’re all sliding

Screaming down a dead end track
We took a wrong turn now we’re heading back to love
Once this ship has departed
Everyone can feel at home

All invited
Humans undivided
Why not set aside the time to understand your mind

Take it slowly
While facts are showing
Until we’re there
Until we all arrive

I call the above Movement 3 (3:33 to 6:05). People need to listen to each other and take the time to understand each other, instead of talking over each other. “Anybody Listening” from Queensryche, also invokes a similar theme of trying to find a freedom for the soul and to pay attention to what people are saying.

Take it slowly
While facts are showing
Until we’re there
Until we all arrive

Fear is the virus they use to divide us
Hoping we’ll all just pretend
That there’s no other way
No other way

I call the above Movement 4 (6:06 to 9.55) – Hearing the melodic hook of the intro sung again over a different chord progression is brilliant.

Are You Interested?

The most famous song off “Sharing Space” is “Are You Interested?” The song embedded itself into the listeners mind and it never left. Producing something magical rarely follows formula. The vocal line of Flynn Gower drives the song.

Yes they’re making lists of people interested in this
And they’re scanning all their databases
Hunting terrorists
Yes their making lists of people interested in this
And anyone who speaks their mind is labelled anarchist

In 2008, Cog sang about how personal privacy is extinct. In 2013, the world is in uproar at the Governments spying on their own citizens.

Four Walls

I am sitting at work listening to “Four Walls” telling myself THIS IS A HIT!. You need to dig down deep into the album to check out “Four Walls” as it is track 12. It’s truly genius, a hooky track based on agoraphobia.

I’m stuck in a space
Four walls
In a room again
But I feel safe
Cause I know, where the end begins

What If

It is the 5/4 timing at the start that hooks me. Again, the vocal line drives the song. It sounds primal and angry. It is almost robotic. It is one of the shorter tracks, however it is still infectious. The song has elements of math rock in it, and in a way the message is one of hope.

What if
In the future
People
Just decided
No more leaders
Fighting to control us

This is Cog offering solutions.

What if
Life was
Just an
Illusion
Made up
By you

We don’t trust our own voice or conscience anymore. We procrastinate and we fail to make important decisions in life. We are fearful of losing what we have, so we over analyse everything to death. So we live a life, that we surround with illusions, just to make us feel better about where we are at in life. I remember this phrase, about proving that a chair exists outside of our mind.

Some things don’t seem right
Change is in sight
Some things are so wrong
Blind eyes too long

It’s like the Queensryche song, “Sign of the Times”, where they ask the question, “Can we do better than this?” The answer is we can, however we have been blinded for so long, we fail to see the wrongs.

Bird Of Feather

This song is dark. It is confrontational.You can hear the anguish in Flynn’s voice at the separation from his three year old daughter and his partner. He was away from them for eight months while he was recording the album in the U.S and then once the album was released, he had to seperate from them again to tour.

But I’m only trying to make it better,
Is there no other way,
No other way to go,

Bridging the gap with calling,
Don’t fade away,
Tuning my ears to the sound of your tears,
Is there no other way?

Of course she’s wondering why,
Only three years old,
Dad’s gone again,
Don’t know when,
We’ll all be back home together

Sharing Space

All the faces that we’ve learnt to love
And all the tears we cried when we opened up

I been working, dreaming, wanting something more
And I’m thinking; all this shit I’m doing, what’s it for?

I’m waiting for the day to arrive

They have been writing and touring for years and they have come a long way. They set themselves goals and then complete them. Now they are at a point in their life where they are doing some self-evaluation. They are re-assessing, asking the question why they are together, as life moves so fast, they need to take a pause to absorb it all.

All the fighting, the hurting, the bleeding, the crying
What’s it for?
All the people living, breathing, dying
Wanting more…

For some reason it reminds me of the song, “Promised Land” from Queensryche. Queensryche asks the question, what is success and what is happiness in that song. Does success equal happiness? Our whole society is based on consumption. We are all part of this system, so what’s this life for? Basically all of the ideals our society stands for is a load of crap.

Listening to Cog brings back memories of Tool. Progressive, a bit alternative, a bit rocky, a bit metally, very left of centre, quirky and artistic and in the same way that Tool could cross over with a song like Sober from their album Undertow, Cog do the same with What If?

In the end it just looks like the people that dealt with them, didn’t know what to do with them, how to market them, how to sell them to the public on a world-wide scale. Despite a hard core of die hard fans who purchased every album and went to see the show, the core never really increased.

“Sharing Space” did crossover and the band did see an increase in the fan base during that tour. Maybe they just needed that force of nature personality type, who would not take no for an answer to take them to the next level.

In a country that is infatuated with American Culture and reality TV shows like The Voice, X Factor, Got Talent and Idol, Cog was the antihero to all of this crap.

Cog’s music will endure forever.

Classic Songs to Be Discovered, Music, My Stories

Vince Neil – Exposed

A few of my favorite albums from back in the day are having anniversaries this year.

Let’s start with the Vince Neil release, Exposed. As a massive Motley Crue fan, let’s say that I wasn’t impressed with the ousting of Vince Neil. For some reason, I always took Vince’s story as the source of truth.

Back in 1992, it was hard to get current information. So I hear that Vince was fired from Motley, and next I am seeing his Exposed album in Utopia in April 1993. Without question I purchased it, took it home and put it on the CD player. Before I pressed play, I took out the booklet and I see that Phil Soussan is credited with writing quite a few songs. This got me even more interested.

For those that don’t know, Phil Soussan was responsible for writing Shot In The Dark when he was in Ozzy’s band. Shot In The Dark appeared on the Ultimate Sin album, released in a time where Hard Rock and Metal was starting to hit its commercial peak. To give some back story to Shot In The Dark, Soussan had this song written years before he joined Ozzy’s band. It was inspired by the Pink Panther movies. Ozzy loved the lyrics, but wanted Soussan to make the song darker, while trying to keep with the original idea.

Then Jake E. Lee left the band. Soussan and his best friend Randy Castillo (RIP) who was also the drummer in Ozzy’s band, started to hold auditions to find a new guitarist, while Ozzy went out to promote the Tribute album. That is where a young Zachary Weilandt came into the picture based on a recommendation from Mark Weiss (this is the guy who photographs everything to do with rock n roll). That is how Zakk Wylde was born.

Phil Soussan was just another talented musician and songwriter that had to leave a band he wanted to be in because of business disagreements with Sharon Osbourne regarding future publishing arrangements. I am sure Jake E. Lee was also forced out in this way.

To get back on track, I am a fan of Phil Soussan. So I find out that many of the songs that he had written for Ozzy’s next album, ended up on Exposed.

I then find out that it was Soussan that was responsible for putting together the Vince Neil band. The original band line up was Vince Neil on vocals, Phil Soussan on bass, Adrian Vandenberg (from Whitesnake) on guitar, Vik Foxx (Enuff Z’Nuff) on drums and Robbie Crane on guitar.

Soussan and Neil also put the Warner Bros deal together along with Vince’s manager Bruce Bird who passed away in 1993.

Then it all went sour when Steve Stevens (Billy Idol and Atomic Playboys) was asked to replace Vandenberg. Stevens already had a personal issue with not having written the songs and it looks like Stevens held a grudge against Soussan for working with Billy Idol, who was Stevens former employer. So all hell broke loose after the death of Bruce Bird.

Soussan started to be on the outer, especially when Stevens wanted to play bass and eventually Soussan had no option but to leave again. Imagine his dismay, when his manager showed him a draft sleeve of the album where Stevens had tried to put his name as the songwriter and remove Phil Soussan’s credit from his own songs. Songs that Soussan wrote all the original demos and titles from back in the Ozzy days.

The matter was addressed and legally resolved, in favor of Soussan. So much drama and the album hasn’t even come out. Isn’t that just the nature of Rock N Roll.

Look in Her Eyes is the opener and it is listed as being written by Vince Neil, Steve Stevens and Phil Soussan. Other songs written by this combination are The Edge, Gettin’ Hard and Forever.

Look In Her Eyes is a classic. The intro riff has that Euro Metal vibe, the verse has that Dr Feelgood vibe and the Chorus is melodic and catchy as hell. You can hear that Phil wrote this song with Ozzy’s style in mind. Steven Stevens contribution to this song, was to make the lead break a centerpiece and it goes for well over a minute and a half.

An ocean of temptation
With every drop of wine
Shadows meeting face to face
The tentacles entwine
One look from the jezebel
Phony valentine
Now you see the wanderer
Frozen in the corridors of time

For some reason I love the way that second verse is written. Maybe it is the Medusa reference, done in such a rock n roll way. That is why the song has that big epic classic rock feel. Men are creatures of temptation, from the Garden of Eden to now.

The Edge is another uptempo riff fest of a song. From its flamenco intro, to its pedal point driven verses and its climbing arpeggio choruses. This song is a dead set classic. It reminds me of Red Hot from the Crue for some reason. It reminds of Deep Purple. It reminds me of Scorpions. The lead break is pure class, breaking down into the acoustic flamenco passages again, before building up again, with the orchestra strings in tow into a wah shred fest of a lead break.

There is no tomorrow i live my life today
Luck is my religion to the lady i will pray
I fail to see the black in every tinsel town
They can try and take my pride
But they can never take my crown

Listen to the phrasing of the vocal line. It’s done the same way Ozzy sings. It was meant for Ozzy. Of course Vince has a totally different voice, so it sounds unique. It’s totally different to what Vince did in Motley. Living your life on the edge of time, is what the song is saying.

Fine, Fine Wine is written by Vince Neil and Phil Soussan. This song would fit perfectly on Dr Feelgood. It is classic Motley Crue. The lyrics, the riffs, the sex and the sleaze. Vince is in his element here.

Baby’s long and tall man she’s got it all she’s alright
alright
Hips have got a sway shakin’ it my way it alright
alright
Full bodied curves with her legs she serves oh yeah
oh yeah
Lips that say it all turn and hear her call oh yeah
oh yeah
Ain’t no cheap and nasty liquor dripping down her vine
Taste of golden honey sweet as candy money
Bottle it up and make her mine

Give me a taste of your fine fine wine

The bass line just rolls the song along, keeping it low and dirty. Steven Stevens delivers another great solo on this song. Even though he was a dick to Soussan, he still played his arse off on this album.

Sister of Pain and You’re Invited (But Your Friend Can’t Come) was written by the Vince Neil, Jack Blades and Tommy Shaw combination. It is steeped in the blues hard rock vibe that Damn Yankees brought back to the charts. The same blues hard rock vibe made famous by Free, Bad Company, Led Zeppelin, Ted Nugent and many others. Again both songs would not be out-of-place on a Motley Crue album.

Can’t Change Me is a Jack Blades and Tommy Shaw composition, very similar to Damn Yankees, the super group project they had with Ted Nugent.

Can’t Have Your Cake and Living Is A Luxury is written by Vince Neil and Steve Stevens. I don’t really rate these two songs.

Finally there was a Sweet cover in Set Me Free, that is written by Andrew Scott.

The album was produced by Ron Nevison. That is why it has that AOR feel, very radio friendly, arena rock feel and the performances are top-notch.

Ron was coming off multi platinum success with Heart, Survivor, Bad English, Europe and Ozzy’s The Ultimate Sin. Actually Ron played a part in getting Phil Soussan to depart, as he started to support Steve Stevens in the decision-making.

1993 was a year of big change in the music business. Vince Neil delivered an album that didn’t get the promotion it deserved. The only way I could have purchased the album was from Utopia Records, which was a hard rock/heavy metal record store. Utopia records is located in the Sydney CBD and back then they where on Clarence Street. I had to take a 90 minute train ride from my country town to the Sydney CBD.

The usual major stores back then didn’t even stock it. Makes it hard to compete if the fans can’t find it. It can be found today, by everyone.

Music, Treating Fans Like Shit

Queensryche is nothing without Chris DeGarmo.

I really, really, really liked this band. Note the emphasis on the three really’s. They started off as a normal metal band, with a singer in Geoff Tate that had a unique voice for the metal genre. The musical style of the band evolved much the same way my musical tastes evolved during the Eighties, so it was perfect.

I have been forming an opinion on Queensryche, since Chris DeGarmo left in January 1998, after the 1997 Hear In The Now Frontier album.

After listening to what Geoff Tate has released recently with his Kings and Queens solo album and his F.U Queensryche offering, and also listening to the new song Redemption that the Queensryche/Todd LaTorre fronted version released, I can say without a doubt, that the star in Queensryche was Chris DeGarmo.

To be honest, I purchased all the Queensryche releases up to American Soldier. That is what fans did once upon a time, and none of the new stuff stacks up. The songs are forgettable and the music even more so. I thought that Operation Mindcrime II would be a savior, however that failed to get my attention as well. Who knew at the time that it came out, that session musicians played on it.

For those that don’t know the story so far, Geoff Tate was fired from Queensryche. He countered that firing by saying that he is Queensryche, so how can they fire him from the band that he lived and breathed.

Stories continued to come out, about violent punch ups before a South American show, involving Geoff Tate vs the rest of the band members, about how the band members haven’t even played on any of the newer Queensryche releases even though they are credited and so on. Just go to Loudwire, search for Queensryche and you will be filled in.

They have filed injunctions against each other and I am pretty sure if they could throw each other under a bus, they would. This is one of those bad blood split ups, more controversial than Vince Neil’s ousting from Motley Crue or David Lee Roth’s ousting from Van Halen.

I saw Queensryche at the Metro Theater in Sydney back in 2009, August 31. The band at the time was the original four, with Tate’s son in law Parker Lundgren on guitars. What can I say, they killed it. The Metro is a small venue, it was sold out. 1,200 people paid $90 to watch them.

They did songs from Rage For Order, Empire and American Soldier. That was cool, because they promoted the shows that way as well, so people knew what they were paying for. The American Soldier songs became toilet breaks.

Keeping bands together is a tough gig in itself. Don Henley said that it was a horrible relief when the Eagles broke up. That more or less sums it up. On one hand, the break up feels like shit, you are sad and you are on the angry, but on the other hand, you are relieved its over, you are free, you can start over again.

What is pathetic in all of this, is that the fans are being treated like shit. Both bands do not deserve the name of Queensryche. They should have taken a new name, however both versions know, that they need the Queensryche name to sell themselves.

One thing is clear in my mind, Queensryche will always be Chris DeGarmo for me.

It looks even that is not working. F.U debuted at #74, with 5,500 units sold, last week. Week 2 saw it at #173 with 2,275 sold. By week 3 it will be gone. So expect Tate to start spitting out some controversial comments, so that he can get free press come his way.

Music

Bon Jovi is coming to Australia – December 2013

Bon Jovi fans rejoice, Bon Jovi is coming to Australia, to play all of their classic songs, plus a couple of so/so new ones.

The Because We Can – The Tour will be visiting stadiums all over Australia.

Members of the Backstage JBJ can purchase tickets now. By the way to become it member it costs;

$300 for Premium Membership for 2 years,
$160 for Signature Membership which is for 1 year,
$80 for Standard Membership which is for 1 year,
$60 for Online Membership which is for 1 year.

So if you are a member of Backstage JBJ and have paid astronomically ridiculous prices to be a member, you then get the chance to pay even more astronomical prices for one of the backstage packages before anyone else can.

Anyway members of Backstage JBJ get first dibs when it comes to buying VIP Packages today, May 2nd at 9:00AM AEST (Sydney) and pre-sale tickets without packages beginning Monday, May 13th at 9:00AM AEST (Sydney).

Dec 7 – Melbourne, Etihad Stadium – May 20 is the Public Sale
Dec 8 – Melbourne, Etihad Stadium – May 20 is the Public Sale
Dec 11 – Adelaide, AAMI Stadium – May 20 is the Public Sale
Dec 14 – Sydney, ANZ Stadium – May 20 is the Public Sale
Dec 17 – Brisbane, Suncorp Stadium – May 20 is the Public Sale

Sorry Western Australia people, it looks like another show has ignored you.

Music

Black Sabbath – the final word

When I was checking the stats of the page, I saw that a lot of people where referred to my site by typing “Brad Wilk drum solo Allphones Arena” in Google.

So people are going to watch Black Sabbath, but they don’t even know who the drummer is performing live with them, even after Ozzy mentioned that “on drums we have Tommy Clueftos”.

I am a big Black Sabbath fan. That is the beauty of music, I like a lot of bands and styles. I like Machine Head, Dream Theater, Motley Crue, Killswitch Engage and so on. I even saw the set list on http://www.setlist.fm from the New Zealand and Brisbane shows, so that I could do a play list of the songs they would be playing live. More importantly, I knew who was playing on the stage for them. Why would I want to know that? That is what fans do, we want to know everything about our heroes. When information was scarce in the seventies and eighties about our heroes, we seemed to know more. Now with the rise of the internet and information at our fingertips, we seem to know less.

How a person can spend $160 on a ticket and not know who the drummer is beyond me?

Black Sabbath is an institution. The name of the band is now bigger than the individuals in it, I heard a person say. Sort of like Pink Floyd. Roger Waters thought he was Pink Floyd, and then when he left, he thought the band would end. Dave Gilmour had other ideas.

Will Black Sabbath fans care if Zakk Wylde fills in for Tony Iommi on certain dates of the North American tour? I’m not saying that Tony is ill or is pulling out, I am just getting that thought out there. All you need to do is glance back a year and see the Ozzy and friends shows played when Tony was undergoing cancer treatment.

Basically if Ozzy goes out on the road with his solo band and calls the tour Black Sabbath, I don’t believe people will care that it is not the original line up anymore. It has already happened. Remember, that Tony Iommi did the same with the Dio and Tony Martin versions of Black Sabbath. You can say the Dio version of Sabbath is the real deal as it featured three of the original members, however the Tony Martin era, was all new musicians and if anything should have been called Iommi.

Music, My Stories

Black Sabbath – Are They Still Relevant?

I watched Black Sabbath at the Allphones Arena, in Sydney last night and i was wondering, if they are still relevant.

Black Sabbath owned the beginning of the 70’s. Towards the end of that era the band was bleeding and Ozzy was fired. The beginning of the 80’s, saw Black Sabbath have the Heaven and Hell period, with Ronnie James Dio on vocals. After that, you can say the band didn’t really set the world of fire, however i must admit that i have a soft spot for the Eternal Idol and Headless Cross albums with Tony Martin on vocals. The Dehumanizer album in 1992 with Dio was an attempt to make both Dio and Sabbath relevant in the 90’s, however it didn’t really hit the mark.

In the crowd around me, there was an audience of young and old. Fan T-Shirts of the younger generation showed a lot of Ozzy colours (especially the Diary/Blizzard era), so it is safe to say, that Ozzy’s solo career has played a big part in Sabbath finding a new audience. That is how i got into Sabbath, from Ozzy’s solo career.

Then I saw Machine Head, Iron Maiden, Slayer, Rob Zombie and Metallica t-shirts on fans. These concertgoers are fans of those bands, checking out Black Sabbath, as all of those bands have mentioned Sabbath as an influence. Rob Zombie is one person who speaks very highly of Sabbath.

One thing that really irks me, is Rick Rubin. He was an extraordinary producer once upon a time. Not anymore. Black Sabbath did wrong taking him on board for the new album. From what I have heard so far, it is a dead set joke. It is basically Black Sabbath 2013, covering Black Sabbath 1969 – 1972.

Black Sabbath of the 70’s questioned authority, challenged institutions and preyed on people’s fears of heaven and hell. They don’t do that anymore. Why is why the current music they are releasing sucks.

What happened to the two new tracks Psycho Man and Selling My Soul from the Reunion CD? They are better than the two songs they have released so far from 13. I was re-listening to God Is Dead! again. I have given this song a few go’s now, trying to find something to like about it, as all the celebrity metal / rock musicians have spoken what a great song it is.

It is still mediocre. Then I came across a song called In Due Time from Killswitch Engage. It got me interested. It hit a nerve inside of me, and I needed to know more. The melody in the music is captivating and heavy, the chorus is unbelievable melodic and catchy, the screaming in the verses borders on insanity… SHADOWS GIVE WAY TO LIGHT…

Listening to In Due Time brought back memories of Live In Love from Times of Grace, which is more or less Adam and Jesse from Killswitch. After listening to Live in Love, I went back to the 2009 Killswitch album and cranked The Forgotten, hearing Howard Jones singing it and if he is reading this, he will never be forgotten.

When i listen to Sabbath, i think of Randy Rhoads and the unbelievable version he did of Children of the Grave on the Tribute album. When i listen to Sabbath, i think of Ronnie James Dio. When i listen to Sabbath, i think of Ozzy. To me Ozzy is more relevant than what Sabbath is. Ozzy really didn’t have to go back to Sabbath for a new album, he didn’t need it.

So is Black Sabbath still relevant. For their influence and legacy, YES. As a band writing new music, NO. It is great that they are attempting to release a new album, however as i have mentioned previously, if it is not great, people will move on. Our time is short these days.

Life has its highs and it’s lows. Careers are the same. I don’t want to waste time listening to lame music anymore, I’m ready for great. Black Sabbath have been away for a while now. The Ozzfest shows gave them some leverage again. People saw them, appreciated it, but no one was eagerly waiting for them to reform and do a new album.

The new Black Sabbath album will be a hit. It will sell at least a million in my view. These days, it’s not about the hit record anymore, it’s about sustaining the buzz. In my mind, 13 is already in the rearview mirror and it hasn’t been released yet.

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