Alternate Reality, Music, My Stories, Piracy, Unsung Heroes

June, 1993

It’s June 1993 and I am flicking through the new issue of Hot Metal Magazine, which at the time was Australia’s premier metal and rock magazine. For $3.50 it was an excellent alternative to the overpriced American and British magazines.

On the cover there was the John Bush fronted Anthrax. Three members are wearing white t-shirts with blue Jeans, and two members are wearing black t-shirts with blue jeans. It was a sign of the changing times as publicists and record labels pushed their artists to have a more grungy look.

“The Sound Of White Noise” got 5 skulls in the magazine review, which equates to ‘KILLER’. A few months after it’s release the album was certified GOLD. This is probably the album that Scott Ian was referring too when he made his comments that in the past they would sell a shitload of albums.

It was a hungry album. John Bush’s transition from a struggling band to a major label act was the catalyst. It was an album chock full of metal “hits”. “Only” comes to mind straight away. Even James Hetfield called it the perfect song. “Black Lodge” didn’t sit out-of-place with the current crop of chart toppers in Soundgarden and Alice In Chains. Credit producer Dave Jerden who produced both “Dirt” from Alice In Chains and “The Sound Of White Noise”. It was the last good Anthrax album and it is not even up on Spotify. Actually none of the John Bush-era of Anthrax is on Spotify which is a shame.

And the critics that said “Worship Music” is a great album cannot understand why it didn’t resonate with the audience. Look at the top ten songs on Spotify for Anthrax. Not one song from “Worhsip Music” is on the list. Same goes for YouTube.

Then you have the bloodbath from the Eighties scene.

Jani Lane (RIP) and Warrant had split and both acts had their contracts reduced to demo deals. So even though you had three albums that had moved 500,000 plus units each, they still ended up on the scrap-heap. Kik Tracee also split with vocalist Stephen Shareaux (bet he wished he tried harder for that Motley Crue vocalist spot) and both of them had been reduced to a demo deal. Looks like all the promo to sell the act just didn’t connect with the audience because in the end the songs where rubbish.

Meanwhile Rowan Robertson from “The Lock Up The Wolves” Dio era inked a deal with Atlantic Records for his new band that had Oni Logan from Lynch Mob on vocals. We all know that this didn’t end up going anywhere.

While, Roberston’s former employer, Dio (RIP) was working with WWIII guitarist Tracy G after his “Dehumanizer” venture with Black Sabbath went sour. These sessions would go on to create the “Strange Highways” album while Jake E.Lee was working with WWIII singer (and i use that term loosely) Mandy Lion.

Reports coming through at that time spoke about the new Bruce Dickinson solo album being an “updated, toughened up Santana vibe with a heavy leaning towards Peter Gabriel type atmospherics and experimentation.”  That album would become “Balls To Picasso” and apart from the song “Tears Of The Dragon” which sounds like an Iron Maiden song the rest of the album was a listen best avoided.

On the drug front we had David Lee Roth getting busted in New York after purchasing a $10 bag of weed. Seriously, for someone like his stature surely he could have done it more discreetly or gotten that $10 bag delivered to the studio. However, Roth is Roth and he decided that he should go out into the town and look for a dealer. On the other drug front, there was news that started coming out about Tim Kelly (RIP) from Slaughter who was alleged to have been involved in a major drug smuggling ring that was busted after a five-year investigation by the F.B.I.

Then we had the Motley Crue vs Vince Neil shenanigans.

The Vince Neil “Exposed” album got a good review in the magazine. I suppose it was inevitable that the solo album from Vince Neil would sound a lot like Motley Crue, even though NIkki Sixx insisted that Vince Neil had nothing to do with the creation of the songs in Motley Crue or the Motley sound. I think Nikki Sixx missed the memo that the actual voice plays a big part in the sound. Credit music business vet Phil Soussan for delivering a stellar performance in the songwriting department that helped kick-start Vince’s solo career.

Then on the other side you had “The Scream” with new singer Billy Scott battling to get their album done in time so that they can tour with Motley Crue as part of the singer transfer deal. For the uninitiated John Corabi from “The Scream” replaced Vince Neil in Motley Crue. However, the Crue’s album was REJECTED by Elektra Records. It wouldn’t be until the following year that the self-titled Motley Crue album saw the light of day. And within 6 months it disappeared from the public conversation and the tour got reduced from arena’s to theaters to getting cancelled.

Finally Pride and Glory was still on hold while Zakk Wylde worked with Ozzy Osbourne on the follow-up to “No More Tears”. Producers John Purdell and Duane Baron took over from Michael Wagener (who produced the first few songs and was then retained to mix the album until Micheal Beinhorn got involved). James Lomenzo was being used as a bass replacement for the recording sessions. The album that would become Ozzmosis would take another two more years before it saw the light of day and the style of the songs would be re-imagined into the modern sound of the day.

In the end the majority of artists mentioned above are still part of the music business in some way. And for the ones that aren’t, only death could separate them from the music world.

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Alternate Reality, Music, My Stories

Cold Case – Connecting The Dots With Motley Crue And It’s Vocalist Problem.

“MOTLEY STILL SINGERLESS” is the headline from a news break item that did the rounds in an issue of Hot Metal from June 1992.

For everyone that had a vested interest in hard rock music knows, Motley Crue and Vince Neil parted ways in February 1992. The actual argument took place on February 11, 1992, with Motley Crue issuing the official statement on Neil’s departure on February 14, 1992.

Now from all evidence, it looks like the band started working with John Corabi immediately, from as earliest as February 17, 1992, however it wasn’t until September 27, 1992, that John Corabi officially signed a contract to be Motley Crue’s new lead vocalist. The below is from the June 1992, Hot Metal magazine and it is an update from Walt Woodward III (RIP);

In a conversation with Walt Woodward III, drummer with much touted and Hot Metal-approved The Scream, we just had to ask what exactly was going on with the band’s singer John Corabi? It seemed to those on the outside that just as The Scream was about to explode Down Under, John Corabi was gonna bail for Da Crue.

Well, as of April 15th no confirmation had been made. Says the very friendly Walt, “We’ve just finished recording a song with John. It’s for [MTV comedian] Paulie Shaw’s new movie Encino Man. Sure, Motley Crue are really interested in John. He’s been writing with them, and whether the songs end up on our album or the Crue’s is yet to be seen.”

Walt went on to explain that he was a big fan of dedication. Y’see, since becoming The Scream, John Corabi, Walt, Bruce Bouillet and John Alderette”…had really grown together, become good friends. I would hope that dedication would win through.”

If John was to bail from The Scream though, things would definitely go on. Says Walt, “We’ve all talked about it and if John did leave I can honestly say that there’s a couple of cool cats out there who’ve rung us up and will definitely blow some people away.”

The above is interesting for two reasons. As far as the guys in “The Scream” where concerned, the songs that John Corabi was working on, could have ended up on a Motley Crue album or a new Scream album. That would mean that even though John Corabi was working with Motley Crue, he was still technically or legally in The Scream.

This also goes against Nikki Sixx’s viewpoint on the matter that John Corabi was the only guy on the scene. The comments from Walt Woodward, gives some street cred to Sebastian Bach’s claim that he did in fact audition, as it was almost seven months from when Vince Neil left to when Motley Crue officially announced John Corabi as the replacement. The other vocalists that also auditioned are Stevie Rachelle from the band Tuff, Marq Torien from the band Bullet Boys and Stephen Shareaux from the band Kik Tracee.

Now if Sebastian Bach did audition in 1992, it would have had to have been between February 1992 and September 1992. Due to the fact that John Corabi had to wait until September to be officially recognised as the lead singer, it points to one thing; some reservations existed within the Motley Crue circle of managers, record label reps and road crew if John Corabi was the right man.

During the period December, 1991 and June 22, 1992, Skid Row was touring the U.S. Plenty of free days in between to tee up an audition.

From July 8, 1992 to August 11, 1992, Skid Row did a South American tour and wrapped up the month of August with an appearance at Castle Donnington in the U.K. Again, plenty of time to fit in an audition after the tour ended.

Skid Row didn’t hit the road again until October 1992 for a small Japanese tour and then they wrapped up the “Slave To The Grind” cycle, by supporting Guns N Roses on their “Use Your Illusion” Australian tour from January 30, 1993 to February 6, 1993. Of course by the time this cycle completed, Sebastian Bach had committed to Skid Row.

It is not uncommon for different theories to emerge when band members are replaced. Even Dream Theater got caught up in it, when the stories came out that Marco Minnemann got the Dream Theater drummer spot when Mike Portnoy left. That is why on the videos of the drummer audition that came out, you don’t see footage of Dream Theater telling Minnemann that he didn’t get the gig, however there was footage of when they told all the other drummers that auditioned they didn’t get the gig.

By connecting the dots, Marco Minnemann got the gig and then turned it down when he was told he needed to relocate to the other side of America.

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Classic Songs to Be Discovered, Music

Motley Crue – 1994 – Welcome To The Numb, Smoke The Sky, Droppin Like Flies, Driftaway – John Corabi Era – Part 3

Continuing on from Gerri Miller’s Metal Edge interview with Nikki Sixx.  The below excerpts in italics are taken from Metal Edge circa 1994.  The lyrics and comments are added by me.

“WELCOME TO THE NUMB”
It’s about sensory overload via television—”people shove stuff down your throat. Too much information, you can see it in my eyes. Welcome to the numb.”  It’s too much—we shut down.

If Nikki thought there was a sensory overload back in the early nineties, what does he think now.  We are connected 24/7 and we are interacting with people from bedrooms to bedrooms, all over the world.  We watch what we want, when we want it.  We download what we want, when we want it.  Everything is open online.  We don’t shut down, we evolve.

The lyrics are screaming that they don’t want to be part of the machine, however they are part of the machine.  They are one with the machine.  The created videos to appear on television, to promote their brand.  The did interviews that appeared on TV to promote their brand.  I was never a fan of artists that complained of the machine.  Look at Swedish House Mafia, they did what they wanted, became successful, and then walked away from it all, as they didn’t want to be part of the machine.  They didn’t hang around and complain about it.

“SMOKE THE SKY”
A full-throttle burner that smokes indeed, this song arose from a riff Mick came up with at rehearsal. It takes a pro-marijuana stance and stems from a period in which, “after being clean for a few years, I decided to smoke pot and smoked a ton of it.  It says, ‘Get off my back.’  But I’m 100% clean now,” Nikki underlines. “I can’t do it, or I’m all the way up Peru’s butt.

Any song that starts off with a pull and a cough, deserve respect.

Home grown vision compliments the senses, opens up my mind.
J.F.K. sold us freedom, or was it just a business toke?
63 went up in smoke.
He was the great seducer crawling from our T.V.s.
Breathed hope into our future, before he died, he smoked the sky,
Smoke the sky.

“DROPPIN’ LIKE FLIES”
This apocalyptic rocker talks about “a war zone in the streets,” a “modern Babylon,” crack, disease, and a wasted future and was created at a jam session. “There’s a lot of references to death, destruction, and the end of the world,” Nikki sums up.

I really dig this song.  It’s heavy and that break down interlude sounds like it came from Korn’s debut album that came out a year later.  This album was way ahead of its time.  You can tell Bob Rock, brought the heaviness that he mastered with Metallica to this album.  Even thought it didn’t set the charts on fire, or the sales department, it is an important album for the musical trends that came afterward especially the sound of Modern and Alternative Rock acts.

Hate is growing fast in a hazy cloud of crack, but it helps us fade away.
Some inner city queen French kisses his disease with one foot in the grave.
Oh, and this junkyard we call home is primed and ready for another war.
My, my, my, the children have no chance and these eyes have seen this all go down
before.
We’ve all raped it, the future’s wasted.
Can we take it?
Is nothing sacred?

“DRIFTAWAY”
Probably the closest thing on the record to a ballad, this song was written by John, who brought it in when he joined the band. Nikki helped him “tighten up” the lyrics, which go in part, “I try to make the best of another lonely day/I close my eyes and slowly drift away … close my eyes and dream my life away.”

When i first heard this song, I thought of The Scream.  It had John Corabi all over it.  It was a clichéd rock song and to be honest, I don’t believe it was a good fit on the album.

Motley Crue wrote and recorded over 20 songs for this album.  Another three made it on the re-released version and another four songs made it onto the Quartenary EP, released in Japan.  Those songs will be for another day.

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