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

Forgotten 2

The Playlist

Wake Up (The Sleeping Giant)
Twisted Sister

How fortunes change for artists?

Twisted Sister was the top band in 1984. Dee Snider was everywhere, on the cover of magazines, newspapers and even hosting a show on MTV that would go on to become “Headbangers Ball”. For a band that toughed it out for a decade, success came and went in half of that.

Who cares if “Love Is For Suckers” was meant to be a solo album?

Who cares if Mark Mendoza and Jay Jay French hate the album?

Who cares if studio musicians contributed to it?

It’s listed as a Twisted Sister album, it sounds like a Twisted Sister album and like all Twisted Sister albums, Dee is still the main songwriter and it should be given its dues as a Twisted Sister album. That means, playing the excellent “Wake Up (The Sleeping Giant)” live.

Who the hell are they to say
What we can do and how we can play
We got the numbers, yeah,
We got the might
We got the strength and
We got the right
We got the reason, yeah,
We got the night
So wake up the sleeping giant

Dee was always good at writing the anthem of the SMF’s vs the world. “Wake Up (The Sleeping Giant)” is no different. The WE in the song is the fans, the black sheep, the ones that everyone was calling devil worshippers in 1984.

It’s our rights they’re abusing,
It’s our right to fight back
So rally the troops and
Let’s start the attack

It’s the war cry against the censorship taking place against heavy metal and hard rock music. Freedom comes with a choice and sometimes, we sign away our freedom because we like to create an enemy, someone to blame when it all goes to hell.

It’s our boss’s fault because we are not making our mortgage repayments. If only we earned more.

It’s our leaders fault because we have our rights taken away a little bit at a time.

We like to have someone else in control.

Around the world, our internet is under attack from governments and corporations. They want to control it, regulate it and charge a premium for it. The Net Neutrality war is real and it’s happening and only a handful of people are speaking up against it. The rest are ignorant.

Snider’s message is good. It’s right, but the SMF misfits had grown older and they had responsibilities. Rising up against the institutions wasn’t their mission anymore. It changed to performing duties and keeping a roof over their head or their own families head.

The more metal inclined fans of Twisted Sister moved their loyalties to the thrash and metal movements and the more pop rock casual fans moved their loyalty to Bon Jovi’s “Slippery When Wet” and Whitesnake’s 1987 release. And in that climate, the album couldn’t compete.

Magic Touch
Aerosmith

With “Dude Looks Like A Lady”, “Rag Doll” and “Angel” taking all the attention, this little classic had no chance. Which is a shame, as the song is up there when it comes to Aerosmith. It’s got the classic bluesy groove the band is well-known for and a wickedly good vocal melody. Plus Joey Kramer sounds louder than hell on the drums.

It’s written by Tyler, Perry and Jim Vallance (yep, that same Jim Vallance who co-wrote “War Machine” with Bryan Adams, plus the majority of Bryan Adams catalogue).

Don’t need no wedding with a shotgun, shotgun

Ahh, the problem with the male species is our basic load control. An innocent moment of explosion and that accidental shotgun wedding might be very real. Then again, that’s how it was in the past. In today’s age not so much.

Dancing On Glass
Motley Crue

Man, that riff from Mick Mars, is sleazy and dangerous. You can safely call “Dancing On Glass” the prequel to “The Heroin Diaries”.

In 1987, Nikki was asking if he is in Persia or just insane. In 2005, Nikki via Sixx A.M was reminiscing about how a girl with golden eyes talks to him in Persian, telling Nikki, she loves him.

There are plenty of other auto biographical lines about Sixx’s drug life.

“Valentines in London, found me in the trash”
“One extra push, last trip to the top”
“Silver Spoon and needle, witchy tombstone smile
“I’m no puppet, I engrave my veins in style”

“Wild Side” and “Girls, Girls, Girls” sold the album but to me, the third track is just as good.

Breakin’ All The Rules
Ozzy Osbourne

I know there was a film clip for it and it was a single, but “Miracle Man” was that strong and Ozzy’s earlier catalogue was still selling well, “Breakin’ All the Rules” was just ignored.

But what a riff to kick it off, under a rumbling Randy Castillo groove.

Nobody thinks the way I do
I guess that nobody dares

I read an article about a computer scientist guy who took all the google searches people make and found that we basically lie when it comes to everything public. The only place we don’t lie is within our Google searches because we believe we are alone and they are private. And Google Searches show what we really think and really like. And guess what, Google sells this data to marketeers.

And I know
That you would love to know the answers
But to you
The truth is just another lie

Some people don’t care about reason or a different point of view. With Ozzy being the whipping boy for all the religious institutions, you can see where Bob Daisley was going with the lyric. Funny how the religious entities classed Ozzy as satanic when his whole house is littered with crucifixes.

Rising Power
AC/DC

It’s a solid album, coming out after the holy trinity of albums, their U.S breakthrough “Highway To Hell” in 1979, the mega selling “Back In Black” from 1980 and it’s 1981 successor “For Those About To Rock”. Some personnel changes happened as well. Simon Wright is in the drummers’ chair, replacing Phil Rudd. The producer of their holy trinity albums, Mutt Lange was also out. Their manager Peter Mensch was also out.

Angus and Malcolm stepped up to give the world a live and raw version of AC/DC and the result is a lot of groove and swagger but no classics.

My body’s blown a fuse
Rising power
We’ll raise the night
Rising power

Rise/Rising = hard on. Blow a fuse = climax. Johnson is rolling out the metaphors.

Rocket Queen
Guns N Roses

The closing track to the epic “Appetite For Destruction” album. It was never a single, but the audience knows the lyrics. It’s just one of those songs on an album full of audience classics.

I’ve got a tongue like a razor
A sweet switchblade knife
And I can do you favors
But then you’ll do whatever I like

Ahh, yes, Axl and his tongue… Guess someone is going down.

Here I am
And you’re a Rocket Queen

The opening lines of the Chorus. Every Gunner’s fan knows it.

I’ve seen everything imaginable
Pass before these eyes
I’ve had everything that’s tangible
Honey you’d be surprised

The rock and roll debauchery and decadence summed up in four lines.

And then that outro. It’s basically another song within a song. First the power chords and then the open E and B string arpeggios over shifting notes on the G string, mapping out the E major scale.

I see you standing
Standing on your own
It’s such a lonely place for you
For you to be
If you need a shoulder
Or if you need a friend
I’ll be here standing
Until the bitter end

You think you have friends and lovers when you’re a star and then when the lights go away, who is left.

Or think I, I mean you harm
Of those that take you
Leave you strung out
Much too far

Law enforcement efforts to stop cocaine and heroin increased the narcotic production ten-fold. The use of narcotics today is high and the war against drugs is 50 plus years old. And it’s the vulnerable/lonely people who turn to it. And the most vulnerable are our heroes, on the road, playing theaters or arenas and surrounded by people who profit from them.

Good Enough
Get Up

Van Halen

Any album (especially a Van Halen album) that kicks off with “Hello Baby”, you know you’re in for a ride. In “Good Enough” Sammy Hagar compares a great looking woman to a premium cut of beef. I’ll have another cut please.

Wow, U.S. Prime, grade A stamped guaranteed
Grease it up and turn on the heat
You gotta throw it down and roll it over once, maybe twice
Then chow down, down, down, down

“Get Up” is basically a speed rock song. And EVH breaks out some excellent riffage in this one as well.

Feel like throwin’ in the towel?
Don’t be a fool
They’re out to knock you out
And put you down for the count

I feel like throwing in the towel a lot of times. Some days feel like a battle against the forces of society. Making people believe that working hard and paying things off will get you freedom is a dream promoted by the banking sector and the 1% that control it.

Ah, there’s still some fight in me
That’s how it’ll always be
Hold your head up high, look ’em in the eye
Never say die

It’s the human spirit. Never say die, never give up. The thing with “5150” is the pop rock songs got so much attention. I’ll be honest, all of the pop songs are excellent, however it was a shame the real heavy rock songs like “Good Enough” and “Get Up” got lost in the noise.

Blindman
Aint Gonna Cry No More
Looking For Love
You’re Gonna Break My Heart Again

Whitesnake

Coming into 1980, Whitesnake was putting out an album a year and touring consistently. Then the Martin Birch produced “Ready an’ Willing” dropped, launching the song “Fool For Your Loving”, a piece written by Bernie Marsden, Micky Moody and David Coverdale.

To me, “Ready an’ Willing” is the album that started Whitesnake’s rise which culminated in the 1987 self-titled album selling millions around the world.

My two favourites are “Blindman” (which is a derivative version of the Coverdale/Blackmore penned “Soldier Of Fortune”) and the very Led Zeppelin sounding, “Aint Gonna Cry No More”. Those songs also nail it lyrically for me. Talk about completely forgotten, no one under forty would know these songs.

“Chasing rainbows that have no end, The road is long without a friend….” from BLINDMAN
“Like a Blindman, I can feel the heat of the sun, But like a Blindman, I don’t know where it’s coming from…” from BLINDMAN

“Aint Gonna Cry No More” is White Led Zep Styx Snake and I swear Tommy Shaw and Jack Blades built Damn Yankees on the backs of songs like these. Influences aside, it’s a track that’s good enough to stand on its own

“Memories of broken dreams, As distant as the sun, Are drifting like an echo in the wind….” from AIN’T GONNA CRY NO MORE

Then fast forward to 1987 and two of the best tracks didn’t end up on the normal world-wide release.

I didn’t hear “Looking For Love” until many years later. It’s better than “Is This Love” however at over 6 minutes long, it wasn’t a commercially viable song. David Coverdale was shocked when he heard that John Kalodner would be cutting the song from the final album release.

The candle is burning, it’s way down low
I just need someone
To show me the way, the way to go
Which way to go

Isn’t life like that. We are always looking for some guidance. That’s why tarot card readers, astrologists, clairvoyants, psychologists have a career.

“You’re Gonna Break My Heart Again”, “Don’t Break My Heart Again”. David Coverdale was the master song title re-user.

How huge is the riff in “You’re Gonna Break My Heart Again”.

Sykes goes to town on this song, a derivative version of “Children Of The Night”. It’s got all of his uniqueness in it, from fast palm muted staccato runs, a shredelicious and melodic lead and to using thirds and minor chord inversions instead of the standard power chords.

Perfect Timing
Knucklebones

David Lee Roth

“Perfect Timing” is written by David Lee Roth and keyboardist Brett Tuggle, so it’s got that melodic rock vibe happening.

I’m thinkin’ this is the right time
I’m hoping you feel the same
‘Cause that light at the end of the tunnel
Is the front of an oncoming train

It had to be David Lee Roth that linked love to standing on the train line in front of an oncoming train. Then again, he always had a way with words.

“Knucklebones” is written by Gregg and Matt Bissonette along with David Lee Roth.

So we’re hittin’ the road
And we’re pumpin’ thunder
Mama look out for down below
Get the show on the road
It’s the feeling we’re under
You can feel it right down to your knucklebones

One of a million songs about the rock and roll show.

One of these dark nights, as the saying goes
There’s some dirty work
To be done down by the crossroads
And I know it’s true

Always love a supernatural tale at the crossroads. There’s some dirty work to be done.

Livin’ For The Minute
Poison

It wasn’t even on the album. A B-side on the “Nothin’ But A Good Time” 7 inch single.

“Open Up and Say…Ahh!” was huge for Poison. “Every Rose Has Its Thorn”, “Nothin’ but a Good Time” and “Fallen Angel” took all the glory. Hell, even a cover of “Your Mama Don’t Dance” charted okay. But “Livin’ For The Minute” is just perfect.

Magazine covers always shootin’ poor Billy’s face
He kept a score of his ladies chalked up on his guitar case
He was a bad-ass rockin’, baby, always rollin’ out the sounds
Like some freight train come and did a six-string strut and just tore the damn place to the ground

It’s a character driven story about a guitar slinger called Billy, who kept a groupie monument in his guitar case and man, he could play. Sort of like Johnny. There is no doubt the song is influenced by “Johnny Be Goode” in the lyrical department. Quick! Call the lawyers.

Slave To Love
Quiet Riot

A great piece of melodic pop rock, however like many other bands that broke through in 1983/84, by 86/87 they became old news. Forgotten.

We made a slave to love
That’s what I’ll always be
A victim of your touch
You stole my soul and now I’m just a slave to love, yeah

DuBrow was never known as a great lyricist and I suppose that became his downfall. There are only so much clichéd and generic rhymes a fan could take. But for some reason AC/DC seemed to get away with it.

All The Fools Sailed Away
Dio

Music is written by Dio and Goldy, while lyrics are all done by Dio.

What can I say about this song that I haven’t said before about classic Dio songs?

The drumming is epic, great vocal melodies, great movements between loud and soft and when the chorus comes in with the backing vocals, it’s time to sing along.

There’s perfect harmony
In the rising and the falling of the sea
And as we sail along
I never fail to be astounded by
The things we’ll do for promises

If our ancestors never set sail to find new lands, who knows what the world would be like. Our sense of adventure is the backbone of the human psyche.

We are the innocent
We are the damned
We were caught in the middle of the madness
Hunted by the lion and the lamb

Society is founded on the persecution of races. And as we get more advanced, persecution exists between the haves and the have-nots. The divide is only getting bigger.

And all the fools sailed away
All the fools sailed away
Sailed away

People need to move and find new lands/cities to thrive and survive.

They say you’re beautiful
And they’ll always let you in
But doors are never open
To the child without a trace of sin

I watched “Split” recently and the James McEvoy split personality character wouldn’t kill a person that was as beautiful as him (which meant scarred from some past abuse). And I suppose sin is what makes us who we are. How can we learn from our mistakes or the mistakes of others if we don’t make them or don’t believe we make them?

Stand Up And Fight
Fantasy

M.A.R.S

Putting this band, supergroup, one-off project together proved to be one of the best decisions ever made by Shrapnel Records supremo Mike Varney.

You have hotshot newcomer Tony MacAlpine on guitars. Rudy Sarzo and Tommy Aldridge are on bass/drums. Another newcomer in Rob Rock is on vocals. The potential is unlimited. The melodic rock is amped up to 11. Yeah, the lyrics are clichéd and some of the melodies and rhymes are overused, however don’t let that get in the way of a good listen.

The big X-factor, star quarterback, star centre forward is Tony MacAlpine. He’s a virtuoso keyboardist and guitarist all rolled into one. He churns out brilliant riff after brilliant riff. Craig Goldy was their original guitarist, but he left to join Dio and I think Tony MacAlpine had a better and more creative musical career than Goldy.

Isn’t it funny how a no-brainer decision in the past, in hindsight maybe didn’t pan out to be such a great decision?

“Stand up and fight for your rights, stand up and be free”

Prisoner
Dokken

From the excellent “Back For The Attack” album and it’s sequenced straight after “Kiss Of Death”. And it works. The basic Am to F to G chords underpin the song, while the double stop bends in the intro lead make it sound unique.

Then it slows down in the verse, only to build it all back up to the arena rock chorus. A great piece of song writing.

“I’m a prisoner chained by love”

Long Cold Winter
Cinderella

Blues music is simple however to make it sound simple is a challenge. In this case, Keifer and Co. show the hard rock MTV world how to play the blues and they make it sound simple.

“A long cold winter without your love”

Winds Of Change
Y&T

1981’s “Earthshaker” started Y&T’s rebirth. “Black Tiger” released in 1982 would enhance and refine their signature sound. The album was recorded in England and produced by Max Norman. At that time, he had just finished working with Randy Rhoads on two career defining albums, so he knew how to work with excellent Californian guitarists.

Winds of change
Blowing strongly

The song has this “Kings and Queens” Aerosmith vibe. I dig it.

Far From Over
Frank Stallone

Sly Stallone’s nepotism to family members is evident here. His brother Frank is singing one of the signature songs from the “Staying Alive” movie, which is the sequel to “Saturday Night Fever”.

I dig this song a lot. It’s written by Frank Stallone and Vince DiCola.

I’m diggin’ in,
I want it more than anything I’ve wanted

How bad do you want it and how far are you prepared to go to sacrifice to get it.

I am down but I am far from over

An unwritten rule of life.

On The Line
Tangier

After doing the Philadelphia scene for 5 plus years, the band finally got a chance to showcase for a few labels. ATCO head, Derek Schulman was successful in getting their signature and he got producer Andy Johns from Led Zeppelin fame on board for “Four Winds.”

“On The Line” has a good feel and groove, but man the lyrics about a stranger waiting in the alley way to take your life just don’t do it for me. Only Dee Snider could get away with lyrics like that.

Free’N’Easy
Devils Toy

The Almighty

Ricky Warwick is known today as the lead singer/guitarist for “Black Star Riders” but back in the 80’s/90’s he had a pretty cool band called “The Almighty”.

They were signed by Polydor in March 1989 and recorded their first album, “Blood, Fire and Love” the same year. These songs are from their second album “Soul Destruction” which was released in March 1991. I know I cheated by chucking these ones in the list.

“Everything is so Free ‘N’ Easy”

The modern-day slogan.

Love, only love,
Love is the devils toy

Yes, something so pleasurable has to be evil.

Driving Wheels
Last Frontier
Too Much Ain’t Enough Love
Walk On

Jimmy Barnes

I bet a lot of Journey fans would have no idea the influence of the Journey songwriters on this album. “Freight Train Heart” is the third studio album by Australian rock singer Jimmy Barnes.

“Driving Wheels” is written by Barnes, Jonathan Cain and David Roberts. Yep, the same David Roberts who wrote songs for Bad English, Lee Aaron, House of Lords, Signal and Starship.

“Too Much Aint Enough Love” is written by Barnes, Cain, Neal Schon, Randy Jackson (bass player and recently known for his work on American Idol) and Tony Brock (drummer for The Babys and Jimmy Barnes).

“Do or Die” and “Last Frontier” are written by Barnes and Cain.

“I Wanna Get Started with You” is written by Barnes, Cain and Schon.

“I’m Still on Your Side” is written by Barnes, Cain and Jim Vallance. Yep the same Jim Vallance from Aerosmith and Bryan Adams fame.

“Lessons in Love” is written by Barnes, Vallance, Cain and Jeff Neill (Canadian guitarist who had success with Shama and Streetheart. He toured with Jimmy Barnes before dedicating his time to song writing and producing.

“Waitin’ for the Heartache” is written by Barnes and Desmond Child. Yep the same Desmond from Kiss, Jovi and Aerosmith fame.

“Walk On” is written by Desmond Child and Joe Lynn Turner. Yep the same Joe Lynn Turner from Rainbow fame. The track also appears on a Sunstorm album from 2009.

“Seven Days” is a track Bob Dylan wrote for Ronnie Wood.

Jonathan Cain was on hand to produce, however due to interference from Geffen Records and Cain’s creative vision being different to Barnsey’s vision, the album production was brought back to Australia, with Mick Stone producing and a supergroup of musicians playing on it.

It’s the rhythm of the highway
As he rolls on down
And city lights as they fade from sight
Drives the man behind the driving wheels

Truckie lifestyle, hell in the modern world it’s the morning two-hour commute to work for a lot of people.

Well he’s thought about settling down
A little diner on the edge of town
But in this world of push and shove
He’s still got freedom in his blood

The corporations, the banking industry and our leaders don’t like people like this. Hard to control and bring into the system.

The below is from “The Last Frontier”.

The lawless and the brave, searching for a dream
When all they found was sand and stone
Where rivers once had been

Australia was populated by the convicts and the ones who had dreams of a better life outside of the UK.

And suffered in a sunburnt land
Down in the last frontier

Australia is known as the sunburnt land.

And they sent them to another land
Into the greatest fear
To fight and die for freedoms cry
And for the last frontier

The U.K goes to war and their front lines are made up of soldiers from their colonies.

You Won’t See Me Cry
Signal

And if my world should end tonight
When you walk out of my life
You won’t see me cry

And that’s the end of another Forgotten playlist from the 80’s with an exception for “The Almighty” who even though the album was released in 91, it feels like it was heard in the 80’s.

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

The Goal Is To Get People To Believe What You Believe

Ask any artist why they didn’t get more recognised, or signed and the answers are variations of the same three things;

– Lack of support
– Didn’t have the right people involved
– Wrong place, wrong time

Ask any record label A&R rep why the act they signed didn’t achieve worldwide domination and you will hear the same three things. If the three excuses for not making it sound familiar, then they should as they are derivative versions of Simon Sinek’s failure reasons from his TED talk. The music world is littered with these kinds of examples. Let’s go back to the Eighties.

Steve Howe left ASIA at the peak of their commercial success to form GTR in 1984. It was a big budget band that Clive Davis from ARISTA touted as the next big thing. It had all the right people in place. The band was well-connected and they had access to funds and support. Apart from Steve Howe on guitar, the band also had Jonathan Mover on drums, Steve Hackett on guitars, Phil Spalding on bass and Max Bacon on vocals. The market conditions were favourable and the timing was perfect. After spending millions on the over produced debut album, it was a commercial disappointment when compared to ASIA’s multi-platinum success.

Nobody knows, anymore, that a band called GTR even existed.

What about Steve Stevens Atomic Playboys?

He had the big backers in Warner Bros Records. He had a talented front man in Perry McCarty. All the right people were in place. Ted Templeman and Beau Hill assisted with the production. Thommy Price and Anton Fig drummed on the album. The market conditions in 1989 suited hard rock music to a tee. The album comes out and disappears as quickly as it was released. Steve Stevens later would refer to this band as an expensive project. Personally I think the album is very good, however the general public at large just didn’t connect with it. Another commercial failure.

What about the band Tangier?

So the story goes something like this. Jon Bon Jovi after his multi-platinum success convinces Polygram to sign Cinderella. Cinderella also strike it big and Tom Keifer then convinces Derek Schulman from ATCO to sign Tangier. Super producer Andy Johns (RIP) was on hand to produce. They had a good band and in Doug Gordon a very compenent and underrated guitarist. They delivered a classic rock AOR album in “Four Winds”. I loved it. The market conditions suited. The funding was there. And it failed commercially.

What about Lynch Mob?

Like Steve Stevens before him, George Lynch left the band that brought his name to the masses. In this case it was Dokken. Elektra bidded to retain his services and proceeded to pay over a million dollars to first get the band members in place and then to get “Wicked Sensation” written, recorded and distributed. So the band had the right support and the funding. George Lynch said in the October 1989 issue of Guitar World that the toughest thing about forming Lynch Mob was finding a great lead singer because that either makes or breaks a band. So it is safe to say that all of the right people were in place within the band. They had a super experienced producer in Max Norman. The songs were perfect. A bit more blues based than the Dokken output but still of high quality. I loved the album. The market conditions suited them. Hell, it was 1989, the era of Hard Rock. And the band still failed commercially.

What about the band Nitro?

Michael Angelo Batio had the endorsements, the quad guitars, instructional videos, a plethora of support  and a banshee vocalist in Jim Gillette. Check out the Guitar World review from October 1989 by Joseph Bosso.

“This album is a wonder – a wonder that anybody thought these guys could play or sing, that they looked good, that they deserved a gig, studio time or worse yet a record deal (with Rampage/Rhino). Utter trash. The worst.”

And of course that band also failed. And yes, I agree totally with the review. That album was pure garbage.

The thing is this. The people who believed in the artists above did it just for the pay check. And it failed to pay off.

While in Seattle, a movement was growing who didn’t have any of the ingredients for success. They had a small local independent record label that supported them and that was it. But those artists were not driven by the RICHES. And we found out years later about the Seattle scene when everyone jumped on its bandwagon.

And to show that so many artists/record label execs of the Eighties were not in the music business for the right thing, the day that Grunge broke out to the masses so many rockers got dropped or just quit. Music is more than just the song. It is about the lifestyle as well. The heavy metal movement morphed into the hard rock movement and its roots/fan base came from the industrial heartlands of the developed economies. At one stage it was a lifestyle to be a metal head. The record labels took that lifestyle away with their overproduced pop metal bullshit and of course we watched it die a horrible death from over saturation.

Be in the game to create masterpieces. That is how you build a body of work. One song at a time. Don’t over analyse what you do as there is no formula for what connects and what doesn’t. You just need to have to right reasons to be in place for why you want to be a musician.

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Copyright, Music, My Stories

Words of Wisdom from Chris DeGarmo

Chris DeGarmo always interviewed well. At times he was cautious with his words and no matter how hard the interviewer tried to get him to slip up, he always put up a front of unity within the band.

DeGarmo (in 1994 doing interviews for the Promised Land record)

“I like to think of our song writing as people that soak in life and turn around and express it through our music. You have to take time to absorb life to be able to let it breath through your work. You can just hammer out music like you do boxes of soap but I can’t do it that way.”

(The Crossroad’s Edge… Chris Degarmo AOL Interview, http://personalpages.tds.net/~dreemland/tce/chrisint.html)

Chris is talking about his song writing, however he frames the answer in the context of the band, so that if the band members read it, they will be pleased. It is our song writing and our music and then right at the end he contradicts himself, by saying I.

Artists that create songs from their experiences end up having a career. These artists are the anomalies, the paradigm shifters. Look at artists like Dee Snider, Nikki Sixx, James Hetfield, Brent Smith, etc.. They all write about their experiences. What they have experienced, someone else has experienced. Straight away a connection is made. That is why We’re Not Gonna Take It connected and Hot Love didn’t. Both are great songs, however We’re Not Gonna Take It is about as real as you can get, where as Hot Love is about a fantasy relationship.

Queensryche connected with people on Mindcrime, because they had a good story accompanied by great music and melody. People always love a good story. That is why we read books and watch TV shows and movies.

Copycat artists fail. When Guns N Roses came out in 1987, a million other artists came out with a similar look and sound. Even bands that where around changed their styles to suit the GNR sound.

Does anyone remember bands like Skin N Bones, Junkyard, Love/Hate, Shotgun Messiah, Spread Eagle, LA Guns, Danger Danger, Tangier, Faster Pussycat and Saigon Kick? I do and that is because I have all of their albums.

Artists that sing songs written by committees, will have instant fame. There is no doubt about that. This is the corporatisation part of the music industry. The labels that control the charts want that to happen. The label business is all about making money today. The labels are not interested in building a career for their artist. The mainstream press will see these artists as champions. However it doesn’t last. People these days can see that there is no substance and integrity to what they are doing. Everyone that hangs around to be with the star of the moment will abandon them.

Artists that write songs with the thought of being paid straight away will never achieve anything. Creating music is never a dollar driven game. The below quote from DeGarmo sums it up.

DeGarmo (in 1990 on life after Mindcrime and before Empire came out);

“It starts dawning on you that this can actually be lucrative, which is something that has escaped us for so long”.

(Guitar World – Nov 1990)

This is around the time that Empire came out. They have been at it for nine years. Creating albums and touring. The fantasy put out there by the press, is that these artists are loaded. However that is so far from the truth. The record labels are loaded. They make all the money from the sales of recorded music. That is why the RIAA is shaking down sharers and trying to get legislation passed to bring back the glory days. Real artists, that are in the game to create music, remain silent. They just go about their life, creating and building connections and trying to force another paradigm shift.

DeGarmo (in 1997 – doing press for Hear In The Now Frontier and asked about the writing process)

As a songwriter, I think you have to be true to yourself first, and I think we’ve done that, and by doing that, we’ve been able to find other people who are interested in what it is we do, as opposed to at some point changing the strategy all of a sudden and creating albums based on what we think other people think we should do. That gets you into this terrible house of mirrors, and you can’t find your way back.

(Scream.org – Dan Birchall)

DeGarmo sums up my point of view. The reason why the fans came to Queensryche is because they remained true to themselves as artists. By doing that, they found other people (fans) that connected with them. We love a good old story. These days even reality TV shows have scriptwriters. So when a song tells a story, it is magic. When an album tells a story, it is priceless. Operation Mindcrime (the album) told a story. Empire had songs that told stories. Promised Land had songs that told stories and it had a theme of disconnection running through it.

No one should create an album just to please the label bosses. It always ends bad.

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