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Tag Archives: James Hetfield
A to Z of Making It, Music, My Stories, Stupidity
October 27, 2019 destroyerofharmonyJames Hetfield 1 Comment
When artists get into a situation when their life feels like it is out of control, how much blame should be levied at management or band mates?
Sometimes a simple conversation over coffee can change things. Sometimes, a simple question, "are you okay?" could change things. But people need to ask those questions like the band mates.
But without good managers, it's an uphill struggle to world domination. And you don't get good management if you are not making money. So in order to keep the good managers, you need to be making money.
And Metallica is a worldwide cultural phenomenon. I was at a fundraiser last night for Beyond Blue, a Call centre which deals with mental health and a guitar signed by the Metallica members was the highest auctioned item.
And the people who in most cases start the downward spiral are the main people, like James Hetfield.
If Hetfield wants, he could really fire all of the other band members and it will still be Metallica. He is the riff meister, the singer and the lyric writer (well ignore that album called "St Anger" when others were made to contribute lyrics because a life coach said so and because the main writer wasn't really interested).
So is it any wonder that James Hetfield is back in rehab. The reality is, without James Hetfield, Metallica cannot tour. And if they cannot tour, they don't make money. And if they don't make money, band members and management don't get paid. So they tour, until something breaks.
But Metallica is a corporation, a business, with employees. It needs to roll on.
The band owns all of their masters, so they negotiated favourable license and royalty deals with streaming services.
A movie is released about S&M 2. They will eventually license that to streaming services and DVD/Blu-Ray replications.
They form partnerships.
Metallica with Billabong for a special run of surf clothing. Metallica with a football sporting team for a special run of jerseys with the Metallica logo. Metallica watches. Metallica whiskeys. Metallica with lipstick and nail polish companies. Metallica mugs, glasses to drink from and glasses to put on your eyes. There are other licensing deals with other companies to have their T shirts in various stores around the world.
But the main person is in rehab. And until they fix that, they are in trouble.
Fame Game
December 23, 2015 destroyerofharmonyDee Snider, Dream Theater, fame, fan to fan, insights, James Hetfield, mindshare, nikki sixx, personal connections, reason to buy, sales, sully erna Leave a comment
"You let them know you are large and in charge. It's the way you stand, the way you carry yourself. Being a front man is less about your voice than your ability to connect with a crowd. A front man is a salesman. Steve Jobs was a front man. Wozniak was the great songwriter, but he couldn't sell the thing he created. He needed the cock rocker Jobs to say, "Pay attention to this!" I wasn't always confident, but confidence is a self-fulfilling prophecy. It starts as false bravado—you're acting like you're cool and confident even when you're not—but if you're convincing enough, people start to believe it. Then you start to believe it and then it's the reality."
Dee Snider on his philosophy on how to connect with an audience
You see, fame ain't what it used to be. In the past, very few people made it and when they did, we all knew their name, regardless of their style of music. Now, no one even knows who the "stars" are. The odds of breaking through your inner circle are tiny, but people keep trying.
So where does that leave the artists who are trying to sustain a career in an ever-changing marketplace because fame is a game. It's not always about the music, but more about communication and participation.
Sully Erna is a salesman. He goes on a radio show and Nikki Sixx becomes the topic of his conversation. He generates a ton of interest, a lot of discussion and he played the fame game. But that was weeks ago. The feud is old news again. Forgotten for the time being. The audience moved on to another topic, to another artist.
Remember when music records and singles used to be number one for ages. Well, that doesn't happen anymore in music and it definitely doesn't happen when it comes to information. News is an on demand item. The only question is where are we going to get it from. The usual suspects are far from impartial. Look at the Top 20 lists at Loudwire and Noisecreep and Ultimate Classic Rock and you will see that the lists are made up of the bands that had big PR campaigns with the website; not because the albums are worthy of being in the top 20.
Music is not the leader anymore. Information is. And with a million ways to occupy ourselves, artists need to find a different way to make us pay attention. So with everything available, we are drawn to very few.
Like James Hetfield.
The "SoWhat" fan club magazine interviews offer up personal viewpoints and feelings that people can connect with. He doesn't do side projects because it needs to add to what he is about and not detract from Metallica. However he is now okay with his band mates side projects. He told us that Metallica lost millions doing the Orion Music + More festivals and he offers his insights as to why that might be the case. He gives us his feelings on "Lulu". Then there is the movie "Through The Never" that cost the band millions. Again more insights or "excuses" as some metal websites called them.
So even though Metallica hasn't released new music in seven years, Hetfield is constantly out there playing the fame game.
Whether you agree with the viewpoints or not, it's actually good to listen to artists having a say instead of not saying anything. Even artists like Scott Ian, Gene Simmons and Paul Stanley who fail to understand or realise that the record company model is based on stealing everything from the artist, are good at playing the fame game, especially when they have nothing new to offer musically.
Because it is virtually impossible to get mindshare in todays cluttered and chaotic world. We had MTV, Hit Parader, Circus, Rip and Metal Edge magazines and they reached everybody. Today, we get the popular squeezing out the less popular and what we have are people complaining there is no money in music.
And who cares what sales record is broken. Adele is all over the news about her sales figures. Star Wars the same. Michael Jackson and Thriller just passed 30 million.
Does anyone know who many records Black Sabbaths "Paranoid" sold, or Motley Crue's "Shout At The Devil" or Dream Theater's "Images and Words" or Bon Jovi's "Slippery When Wet" or Twisted Sister's "Stay Hungry" or Journey's "Escape".
Hell, even the bands won't know how many albums they would have sold, as the accounting of it all was dodgy and secretive. But the music has maintained. Dream Theater is still doing victory laps from the success of "Images and Words". I just forked out $170 for "The Astonishing" pre order of the deluxe edition.
In the end, everything is a game, with winners and losers.
Alternate Reality, Copyright, Derivative Works, Influenced, Music, My Stories, Stupidity, Unsung Heroes
January 19, 2015 destroyerofharmonyChapter 4, crap, fiction, James Hetfield, Lord, Metal Militia, Metallica, metallica story, movie, my story, Prince Charming, The Judas Kiss, Through The Never Leave a comment
I finally got around to watching the "Through The Never" movie last night and there was a question nagging at me throughout the whole experience;
"How can James Hetfield think that this is good?"
Lars just wants to be front and centre on everything so any outlet that can put him there, he will agree with. Kirk and Rob will just follow what Lars and James do? But James Hetfield to me is the quality behind the band. He can have a different drummer, guitarist and bassist backing him up and it will still be Metallica.
And if he thinks that the movie was good and that Lulu was good and that the new live song "Lords Of Summer" is good, then I am hoping that all bad things come in threes. Because if they don't then it is not looking good.
Anyway, I am still having fun with my so-called story based around Metallica songs and themes so here is Chapter 4.
–1978–The Armerous
Blackened Hetfield makes his way to the meeting place. Along the forest track, bodies are suspended along the trees. As he gets closer to his destination, winding his way up a steep mountain pass, the trail is littered by a series of pikes with severed heads on top. These are the people who just got in the way of the grand design.
There is a generic road sign on one of the pikes that states "No Trespassing". A thick fog is beginning to descend. Everything is feeling and looking creepy like something imminent is about to happen.
Hetfield enters a partially destroyed Buddhist temple. The outside decay of the building masks a perfect and sterile environment inside.
In the wide room there is a table with a chair. The person sitting on the chair is not facing the door way. Instead the person is looking into something else. Flanked on each table are two Red Guards, clothed like Samurai but Samurai they are not. Next to the Red Guards are two more guards; however these ones wear black colours instead of red.
The colours are a rite of passage. All of the black colour guards/warriors have a first name of Blackened. The ones in red have a first name of Crimson.
Hetfield sits down on the leather chair that he normally sits on."Lord Slither we have a new enemy".
"So it is true", responds a man that we assume is Lord Slither. It is a strange relationship as Hetfield has never seen Lord Slithers face, however he swears a loyalty to him that is broken only in death.
"Yes, the books of knowledge have a new keeper", continues Hetfield. "It seems that The Phantom Lord managed the transfer before we got to him".
"How did we not foresee this failure Blackened Hetfield?"
"I am unable to answer that my Lord. My failure is mine to own. The consequences are mine to suffer."
"Not this time Blackened Hetfield. Your suffering will not be from me". This was ominous and sinister from Lord Slither. Hetfield has been failing his master a lot recently.
"Are the new agents ready?" questions Lord Slither.
"No Lord Slither, the indoctrination process is taken longer than expected." This is another failure from Hetfield.
"How is the child of "The Judas Kiss" tracking along?
Hetfield doesn't let his hesitation show as the child of "The Judas Kiss" is also his child. "He is far exceeding our expectations in all disciplines."
"And what about the one known as "Cyanide". It has been seventeen years since he came into our possession."
"He is almost ready. By far one of our best".
"Unleash him. Send out to the "Creeping Death".
"As you wish, Lord Slither".
"It's time to begin the whipping dance of the dead and colour their world blackened."
–1976–The City Of Devils Dance
Two years post E.B's tour of duty, the Vietnam War was lost.
Meanwhile back at home E.B had used the financial resources of his father, Cyprian Breadfan to establish the Unknown Five and the Metal Militia. One as a secret society and the other one as a public face.
It was then that E.B encountered the one known as "Prince Charming".
His real name is Terence Blinks. The definition of the word corrupt in the dictionary doesn't define Prince Charming in any way. He is in a class of corruption all on his own. He is equally known for his catch phrase of "the shortest straw has been pulled for you."
Devils Dance is defined by the power struggle between the two wealthiest families. On one side you have the Breadfan's who stand for fairness and justice and on the other you have the Blinks who stand for power and wealth.
"Fairness and Justice is a fool's errand", said Prince Charming in one of the many hostile arguments he had with E.B's father.
The city citizens are either on the payroll of the Blinks or on the run from the Blinks. But then the Metal Militia was born and they became an equalizer to the situation.
The constant shop fronts shaken down by corrupt officials and forced to pay private levies suddenly had new protectors in the Metal Militia.
And Prince Charming didn't like it.
–Current Day–The City of Devils Dance
The Metal Militia has a roll of honour on one of their walls, sort of like a Hall Of Fame. The list is broken into Immortals and Lifers.
Listed as IMMORTALS are E.B and St Anger. Listed as LIFERS are Frantic Frank, Stone D.F Clover, Nole A.F Clover, Dyers Eve and Lowman Lyric. The NOMAD list shows The Outlaw Torn and Wim Roam.
Then there is another list for the current membership status of the organisation.
Currently, Motorbreath is the President. His lady, ItsElektra is the Secretary. The Vice President is Overkill and the Sargent in Arms is Damage Inc. The Treasurer is Whiplash. Together they form the executive arm of the Metal Militia.
Orion is a sworn in member of the Metal Militia along with Two-by-four, Loverman and Astronomy.
Right now Orion is waiting outside the chapel, the meeting room of the Militia. Stone D.F has been inside for a long time with the Militia Executive. IMMORTALS and LIFERS are held in high regard. They have done so much and sacrificed so much that they don't need to hold a rank anymore. Instead they are elevated to a status normally reserved for Gods. So if any living IMMORTAL or LIFER requests a meeting with the Executive, the Executive must adhere and be present.
And Stone D.F is the only one of the hall of fame list that is still alive.
Eventually after what seemed like days which was in essence about four hours, Stone D.F emerges from the chapel.
"What was all that about?" asks Orion
"Nothing that important", answers Stone D.F.
"Not important. It was the longest meeting I have witnessed."
"When you have a club that does what we do, meetings do seem to go on a touch too long. I suppose that is democracy at work," counters Stone D.F.
"So it had nothing to do with the phone call I got", continues Orion.
"That was mentioned as was our journey to the City of Beholder."
"So what was said about it?" questions Orion.
"It was just a heads up to them that we will be out-of-town. So are you ready to depart" responds Stone D.F. There is no way that Stone D.F is going to let Orion take this trip alone, especially due to the mysterious circumstances of the phone call.
–Current Day–The City of the Beholder–
The City Of Beholder is a Bible belt mining town and it is only fitting that the reason why the town is known is also the reason why it is slowly tearing itself apart. An underground fire has been burning from one of the mine shafts for over a decade and it is slowly swallowing parts of the town.
A lot of people have abandoned the town. In its heyday it had over 200,000 people. Now it is lucky to have 40,000. Houses are levelled and areas are fenced off.
The High School is partially submerged into the ground. Orion glances at it and so does Stone D.F. Weeds, grass, trees and other forms of fauna are growing over it, around it and in between it. Looking at it reminds Orion of a dystopian future that he has seen in comic books and movies.
Orion notices a sign on the water tower.
"What is that sign?" asks Orion.
"It's the symbol for corruption and capitalism," answers Stone D.F. "It's another business from Prince Charming".
"Does Charming own all of this?"
"As soon as he can get rid of the Metal Militia" answers Stone DF.
"What do we have to do with it?"
"The Militia is the complete opposite of what Prince Charming is. Before the Militia, the people that Charming and his cronies intimidated had no one to fight back for them."
A partially destroyed Buddhist temple in the distance grabs Orion's attention. But with the speed they are travelling it vanishes as quickly as it came into view.
"Do you feel the disturbance?" asks an elder looking person that looks like a Buddhist monk.
"Yes" replies another, that could be a monk in training.
"Something's changed."
A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes
January 2, 2015 destroyerofharmonycrossover hit, Dave Mustaine, episode, James Hetfield, Justice tour, Megadeth, Metal Evolution, Metallica, Peace Sells, Sam Dunn, suburban teens, thrash metal, tour of Australia 2 Comments
I am a great believer that certain musical styles rise to prominence on the backs of social change or a social movement. There is a quote from Deena Weinstein who is a Professor at DePaul University in the Metal Evolution Thrash Episode that goes something like this;
"When Thrash started in the early eighties Thatcher and Reagan were in charge and we had a highly conservative very restrictive kind of society and if you're a teenager especially a teenage male, yuck, you don't want to live in a place where they are in charge. This made males feel like they had to fight against the system just to stay in place and that kind of aggression leads to a sense of wanting to be louder and faster."
By 1988, Thrash Metal in Australia was becoming huge. There was a substantial underground movement of thrash bands or bands that dabbled in rock, thrash and traditional heavy metal and there was an audience for it. Suburban garages became jam rooms for a million wannabe thrash bands.
And then came Metallica to our shorelines for the "Justice" tour.
All of those suburban teens who had seen their parents deal with the Black Monday Wall Street crash purchased tickets.
All of those suburban teens from immigrant families that had seen their parents get dicked around and racially abused purchased tickets.
All of those suburban teens that had seen their parents get shafted from various long-term state governments that dealt in corruption purchased tickets.
All of those suburban teens that had seen their parents get fired from companies that dealt in corruption and bribery of politicians purchased tickets
All of those suburban teens who didn't fit in to the new divide between the haves and the have-nots purchased tickets.
All of those suburban teens who had finished high school or dropped out and couldn't hold down any jobs or get work, scrapped up enough cash to purchase tickets.
We even made the news. In our excitement to get into the venue, we broke down gates and fences. When the police came we resisted. So many misfits, that just wanted to fit in.
We all stood together with people wearing Venom, Judas Priest, Iron Maiden, Ozzy Osbourne, first two albums Motley Crue, Twisted Sister and Slayer tops. This was our moment and the "…And Justice For All" album with its lyrical themes of corruption and truth being sold to the highest bidder was the same shit that we faced or our parents had faced. We all related to the "injustice" themes throughout the album.
I have always debated with people who was the biggest band in the genre. I always saw it from an influential musical point of view and others saw it from a sales point of view. Metallica and Megadeth to me are the two bands that had their feet in so many genres. With each album they kept on crossing over into new markets. That is why to me, the Black album wasn't outside of the norm for what the Metallica sound is.
In the doco, Sam Dunn (the interviewer) felt betrayed when Metallica came out with the "Black" album. He wasn't alone in that view-point. A lot of my peers also felt betrayed at the album however I couldn't understand their viewpoint.
Metallica always had more accessible shorter songs on every single album leading up to the "Black" album.
What about, "For Whom The Bells Toll", "Escape" and "Trapped Under Ice" from the "Ride The Lightning" album.
What about, "Leper Messiah" (how good is that bass riff (RIP: CLIFF BURTON) over the E5 power chords from 0.33 to 0.55) and "The Thing That Should Not Be" from the "Master Of Puppets" album while the "…And Justice For All" album had the big one, "Harvester Of Sorrow."
All of those songs are more or less at the same tempo that the "Black" album songs are at.
I for one am glad that Metallica had the balls to make the "Black" album instead of "And Justice For All Part Two", which if you look closely at it, the Justice album was more or less, "Ride The Lightning Part III".
Megadeth on the other hand, in between their drug addictions and overdoses created some definitive songs. All of the thrash fans that felt betrayed at the Black album liked "Peace Sells". That is why their view points just didn't make sense.
Yes people, the mighty Dave Mustaine was way ahead of his time. He gave Metallica that technicality and their sound in the early years and by 1986, he gave the Thrash movement a crossover hit song in "Peace Sells". It was all over MTV.
And that is the reason why this sub-genre has survived and grown. The two biggest bands of the movement just kept on crossing over and those two biggest bands had two super influential songwriters in Dave Mustaine and James Hetfield. It's hard to believe that once upon a time they were in the same band.
Then and Now – Are We Living In A New Era Of The Eighties
October 26, 2014 destroyerofharmony2014, Dee Snider, Eighties, James Hetfield, Judas Priest, lyrical themes, Motley Crue, Rock'N'Roll Children, Ronnie James Dio, similar Leave a comment
Dee Snider and Twisted Sister told us to not take any crap from authority and institutions in "We're Not Gonna Take It". They also told us to stand up for ourselves if we want to rock in "I Wanna Rock". Ronnie James Dio also told all of the "Rock'N'Roll Children" to "Stand Up and Shout"
Five Finger Death Punch are telling everyone that life never favoured weakness and that only the strong will survive. So welcome to "The Pride" if you got the scars to prove it.
Shinedown said that we don't have to take the bullying for just being who we are and we can change it, by taking a stand together. Volbeat told us to feel the power of a warrior in "A Warrior's Call" and to fight, fight, fight.
We also learned that the world's a gun and that we have been aiming all of our lives, as warriors of youth, we are taking over, with a shot the new world order. WE ARE BULLETPROOF.
Quiet Riot reminded everyone to "Cum And Feel The Noise" again, while AC/DC saluted all of those who wanted to rock'n'roll and Judas Priest became the "Defenders Of The Faith", ramming heavy metal down people's throats. Europe told us to "Rock The Night" while the Scorpions rocked us like a hurricane and Night Ranger told the world that people can still rock in America.
Papa Roach are "Still Swingin" while Motley Crue is "Goin Out Swingin". Like P.O.D we all feel "Alive" with "The Sound Of Madness" on board the "Rock N Roll Train" with those "Saints Of Los Angeles" on our way to "Hell Or Hallelujah".
Dave Mustaine said "What do you mean I don't support your system, why do you think I'm broke" while James Hetfield told us that the "halls of justice are painted green".
The new "Youth Of The Nation" are "Indestructible" as the "Uprising" against "Re-Education" begins. The "Weak And The Powerless" "Minority" are "Here To Stay" as we have a "Second Chance" "Lifeline" to go from being "Kings Of Errors" to "Heroes". So "Boom" to the "World So Cold" as a new "Schism" is made between corrupt democratic governments and its people. Guess the pieces fit after all.
Rush put the "Limelight" on "The Spirit Of Radio" and Van Halen told us to "Jump" which David Lee Roth actually did not that long after.
Now, Sixx AM is driving down Sunset Boulevard, with Sex Pistols on the radio and he must be high because Jesus just walked by.
Bon Jovi summed it up and hit pay dirt by telling us that we are all "Livin' On A Prayer" and that if we believed in each other we would make it. Sort of like how Journey told us to "Don't Stop Believin" and how Bruce Springsteen said that tramps like us are "Born To Run".
We have no "City Limits". We have no "Barricades". "We Are The Highway" and we ride it all day long like "Renegades" ready to "Seize The Day" from the "Bad Company". In the end, this is "Who We Are".
Motley Crue and Stryper proved unlikely allies. Motley Crue shouted at the devil, while Stryper said to hell with the devil. Is it safe to say that Motley Crue had released a Christian Rock record.
We are more segregated than ever. How can we reach for the sky with "Broken Wings"? How can we see the sun when we are dealing with the "Darkness Within"? Guess we are all just "Moths" to the flame, never really learning from our past mistakes and constantly getting burned.
Billy Joel told the world that "We Didn't Start The Fire" and that it was always burning since the world started turning. Judas Priest forewarned us about our own governments spying on us with the "Electric Eye" and Metallica told us that justice was gone, sold to the highest bidder. Queensryche was calling for a revolution and Megadeth was "Setting The World On Fire". Then the "Winds Of Change" came and "The Final Countdown" began.
Look no further than the "New Awakening" from Killswitch Engage.
Run the race that will lead to nowhere fast
Trapped in the haze of this mindless false reality
Wandering a path laid out by fools
That they call "progression" where chaos rules
Alternate Reality, Music, My Stories, Piracy, Unsung Heroes
October 26, 2014 destroyerofharmony1993, Alice In Chains, Anthrax, blue Jeans, Bruce Dickinson, Credit producer Dave Jerden, David Lee Roth, Dio, James Hetfield, Jani Lane, John Bush, John Corabi, June, Kik Tracee, Motley Crue, Oni Logan, Pride and Glory, Rowan Robertson, Scott Ian, Stephen Shareaux, The Scream, The Sound Of White Noise, Tracy G, Vince Neil, Warrant, Zakk Wylde Leave a comment
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.
Technique x (Emotion + Feel) = Angel Of Mercy from Black Label Society
July 14, 2014 destroyerofharmonyAngel Of Mercy, Black Label Society, connection, emotion, Fade To Black, feel, James Hetfield, technique, unbelievable technique, Zakk Wylde Leave a comment
I just finished doing some hard late nights and early mornings watching the FIFA World Cup tournament for the last four weeks.
As a football youth coach, it was great to see a positive attacking mindset employed by the teams. And football coaching is getting better all the time as the modern-day managers and their coaches try to find a balance between technique and understanding the game. I have seen coaches spend a lot of time on technique that the players train in isolation for such long periods that they get lost when it comes to a game.
The problem is that too much focus on technique takes away time spent on the deeper aspects of the game. Players might be great at performing drills. But without understanding how the game is played, they can't use their technique effectively. Sure, they can take on a player and beat them with incredible technique however soccer is a team game. While Brazil has Neymar and Argentina has Messi and Portugal has Cristiano Ronaldo, Germany has a team. And it was that team that won the FIFA World Cup.
Musicians are no different. There are millions of guitarists out there that have unbelievable technique. But how many of them are great songwriters. Because we all know someone with an amazing voice or great guitar talent. And maybe they should have made or could have made it. But they didn't make it. Because the best and the brightest don't make it the top on technical abilities alone. Music is a game and it needs to be played like one.
I just finished watching a YouTube view of Kelly Valleau playing an acoustic cover of "Fade To Black" from Metallica. The technique exhibited at pulling off the arrangement involved him combining the rhythms with the vocal lines and the lead breaks. It's first class. All up the video has had 463,658 views on Youtube. Has anyone else heard of this phenomenal guitar player.
And the thing is, "Fade To Black" was written and arranged by James Hetfield who is the anti-hero of a technical player however his style of fast palm-muted down-picking ushered in a new style of rhythm playing. Look at any Metallica story out there and you will see that James more or less learned/mastered his craft in a band environment instead of spending countless days performing drills on his own. That's not to say that if you woodshed you will not get far.
A favourite of mine is Zakk Wylde and he woodshedded from the age of fourteen, amassing an amazing technique. And no one can say that Zakk hasn't created or being involved in creating some memorable songs. Just listen to "Angel Of Mercy" from the "Catacombs" album and you will see what I mean. It demonstrates unbelievable technique in the solo section while the verses and the chorus show the emotive side.
Hell, listen to his whole career and you will see what I mean. Same goes for a lot of other guitarists.
Great music must contain emotion. That is why "Angel Of Mercy" connected with me. It hits me emotionally and it makes me feel something. All the great songs do? And because I care for the song, I can't stop sharing it and talking about it with people who want to listen. And when music is done right, it sells itself.
I am a great believer that technical abilities are a good tool to have in your arsenal as a musician, however it should be just one tool of many tools that are employed in the creation of your latest masterpiece. Don't lose focus that a song has many moving parts and the vocal melodies along with the actual lyrics go a long way to making that connection with the audience as much as the riff.
Like the new Judas Priest album "Redeemer Of Souls". A lot of the songs have some great musical moments and some cool riffs however the vocal melodies just missed the mark on the majority of the songs. "Halls Of Valhalla", "Sword of Damocies", "Secrets Of The Dead", "Battle Cry" and "Beginning Of The End" are the exception, especially "Battle Cry". And most of these songs are part of the deluxe edition.
Metallica: Hot Metal – June 1992, the "Through The Never" Stage Idea Goes Back To This Period and Staying Power
October 19, 2013 destroyerofharmony1984, 1992, Ace of Spades, Appetite for Destruction, Axl Rose, Axl Rose solo project, be yourself, Black Album, black tour, bootlegs, Cherry Pie, David Lee Roth, dealing with success, Dog Eat Dog, Dr Feelgood, Eighties, fans, Fast Eddie Clarke, Flesh and Blood, Guns N Roses, Hot, Hot Metal, idea, iron fist, James Hetfield, Jani Lane, June, Kill Em All, Lars Ulrich, magazines, mainstream, market, Master of Puppets, Metal Hammer, Metallica, Metallica website, Metallicorporation, middle, Motley Crue, Motorhead, movie, Napster, Native Tongue, Nineties, Open Up And Say Ahh, pop up crosses, Posion, reading, Richie Kotzen, Ride The Lightning, Robyn Doreian, ruse, Sammy Hager, Skid Row, Slave To The Grind, solo project, stage design, Stay Hungry, staying power, Subhuman Race, Success, taping, technologies, Through The Never, Twisted Sister, Use Your Illusion, Van Halen, Vince Neil, Warrant, White Lion 2 Comments
I have been re-reading a lot of the magazines I have accumulated during the Eighties and the Nineties. I just finished reading a story about Metallica from the Australian magazine "Hot Metal". It is the June 1992 issue.
The article is written by Robyn Doreian, who was the editor once however when this story hit the press, she had moved on to Metal Hammer. The story was a combination of two days she spent with the band, plus separate interviews with James Hetfield and Lars Ulrich.
The first part that got me interested was the following answers from James Hetfield;
RD – First up, I ask him about the new stage design, which not only challenges conventional rock shows but also has consider-able advantages for the fans.
JH – "We sat down and talked about what we wanted to do. For instance, Lars has his travelling drum kit that was all his thing. I have to make that clear," he scoffs, "because I find it a little silly. As much as he wants to be in the spotlight, he also gets to travel. He's basically a front man on drums. We should have thought of it earlier in our careers, I guess."
"The snake-pit was a combination of ideas from band members and management. Initially that hole in the middle of the stage was meant to be a special effects area, with things like little crosses rising up, or a blow-up 'Justice' lady or something." sniggers Hetfield.
"We said no' Why not put some kids in there, some fans. That would be cool. We usually put between 40 and 90 kids in there, depending on each city's fire regulations and stuff."
RD – What about the area set aside for taping?
JH – "Fans have to buy a special ticket for the tape section. It's like five bucks more, and there are like 20 or 30 kids who can get in there and video, audio or whatever they want to do. It's a cool thing to do, to flood the market with bootlegs. And it makes it a little more personal."
The above got my interest for two reasons;
1. The stage design.
2. Bootlegs.
First, the stage design. The grand stage design that is seen in the movie "Through the Never" was conceived back in 1991 for the tour in support of the Black album. Of course, an idea is just an idea until it is executed and with the exponential rise of technologies, that idea finally came to fruition in 2012.
The point of this is that no one should ever give up on an idea. If it doesn't work at a particular given point in time, keep it filed away as it could work at a later time.
Second, the bootlegs. The Black tour did something great for the hard core fans that no other band had really done up until then.
Metallica in 1992, wanted to flood the market with bootlegs. Metallica in 2013 has the following disclaimer on their Live Metallica website "Terms of Use";
Any violation of copyright laws may result in severe civil and criminal penalties. Violators will be prosecuted to the maximum extent possible.
Compare the above to the comments from Hetfield. What a difference between Metallica and the Metallicorporation? This is why Metallica messed up big time with Napster by handing over names of fans at the Senate Hearings.
Next up in the interview was Lars Ulrich. Knowing what we know now, words from the past is always interesting.
RD – Seizing the opportunity I ask him whether, seeing as Metallica have now been so firmly embraced by the mainstream, it's possible that they are becoming what they once rebelled against.
LU – "I don't disagree with that, but we were always more into doing our own thing, never about being shocking for its own sake or pissing people off. You should always be yourself."
Lars admits that he and Metallica are becoming the entity that they rebelled against. Is there anything wrong with that? Of course not. Can a band remain the same after they accumulate millions? No chance.
RD – Do you ever think that in years to come there is a danger of Metallica being viewed as a dinosaur band, some sort of corporate rock giant similar to what happened to bands like Zeppelin in the 70s?
LU – "I think there are a lot of people in the States right now who, simply because we have gained confidence in what we're doing, are saying that we are doing the same arena rock clichés that these other bands were doing. My attitude is basically that if people come and see us and think its arena rock crap then that's fine. It doesn't affect me; because I know what we're doing is distinctly different from what everyone else is doing."
RD – With Grammy awards, cumulative record sales in the millions and adulation the whole world over, what is there left for the band to achieve?
LU – "Staying power. In terms of numbers, it's not going to get much bigger but its important not to burn out. A lot of bands don't have the confidence for a long term career, so they try and milk everything while they can. We plan to be around for quite a while, so when this tour is over we're going to have a long period of inactivity."
The above is interesting to me for the following two reasons;
1. Be Yourself / Stay true to yourself
2. Staying Power
I was a fan of Metallica coming before the Black album came out. It was "Ride the Lightning" that did it for me. I cannot recall how many arguments I got into over what is the better album between "Master Of Puppets" and "Ride The Lightning".
Then the Black album comes out and I really liked it. I thought it was perfect. The songs hammered the ear drums from start to finish and the groove was undeniable. Metallica wrote and recorded an album that they wanted to write. It was never designed to have a hit single whereas "Load" and "Reload" to me, feels like Metallica had that single idea in the backs of their mind.
The comments about staying power ring true. As Lars said, in terms of numbers, it wouldn't get any bigger than the Black album. However reaching the top is not the end of the journey. That is when a new journey begins.
Twisted Sister failed after "Stay Hungry" exploded.
Motley Crue fired Vince Neil after "Dr Feelgood".
Guns N Roses became Adler-less after "Appetite for Destruction" and after "Use Your Illusion," Guns N Roses became an Axl Rose solo project.
Motorhead had Fast Eddie Clarke play on one more album ("Iron Fist") after "Ace of Spades."
Skid Row got one more album out in "Subhuman Race" after the massive "Slave To The Grind" and disappeared.
Van Halen released "1984" and then fired David Lee Roth. They are one of the rare bands that changed lead singers and went on to bigger success, with the Van Hager era.
Poison got "Flesh and Blood" out after the mega successful "Open and Say Ahh" and it was curtains, even though "Native Tongue" with Richie Kotzen was a great album.
White Lion never recovered from the mega success of "Pride".
Warrant released the excellent and heavy "Dog Eat Dog", however it was no "Cherry Pie" and they got dropped after Jani Lane left.
Also when a band reaches the top, it opens up the opportunity for some time off. Metallica had been on an album and tour cycle since "Kill Em All" was released in 1983. After 11 constant years, by 1994, they had some time off, before they regrouped for the "Load" albums.
A to Z of Making It, Classic Songs to Be Discovered, Copyright, Derivative Works, Influenced, Music, My Stories
The Derivative Effect In Action with Avenged Sevenfold and Hail To The King.
September 9, 2013 destroyerofharmonyA Flock Of Seagulls, A Tout Le Monde, AC/DC, AC/DC – Back In Back, Acid Rain, Avenged Sevenfold, Beautiful, Billboard charts, Black Sabbath, borrow, broken, Carl Orff, Come Undone, Coming Home, Crimson Day, Cryptic Writings, Dance Of Death, derivative works, Desert Song, Dio – Holy Diver and Black Sabbath – Heaven And Hell., Dirty Deeds Done Dirt Cheap, Disconnect, Django Reinhardt, drum beat, Duran Duran, Enter Sandman, entertainment, evil tri-tone, First Impression, flawless, Gary Moore, Ghost Of Navigators, Girlschool, GNR, Gone Away, Guns N Roses, Guns N Roses – Appetite For Destruction, gypsy jazz guitar, Hail To The King, Heretic, Hey Hey My My, I Ran (So Far Away), I'd Love To Change The World, influences, Iron Maiden, Iron Maiden – The Number Of The Beast and Powerslave, James Hetfield, Judas Priest – Screaming For Vengeance, Kashmir, life is beautiful, Live Wire, longevity, Love To Love, Megadeth, Megadeth – Rust In Peace and Countdown To Extinction, Metal Sucks, Metallica, Metallica – Master of Puppets and Black, Michael Schenker, Motley Crue, Mouth Of War, Muse, music, music is evolution, Music Radar, My Sanctuary, Neil Young, No More Lies, November Rain, number 1, O Fortuna, Ozzy Osbourne – Blizzard Of Ozz, Pantera, Parisienne Walkways, Planets, progress is derivative, Psycho Circus, Refugee, Requiem, Sad But True, Shepherd Of Fire, Showbiz, Sign Of The Cross, similar, Since October, SIXX AM, Somewhere In Time, Staind, Still Got The Blues, Symphony of Destruction, synester gates, Ten Black Roses, Ten Years After, The Cult, The Ghost Inside, The Kashmir effect, The Offspring, The Rasmus, The World Needs A New Hero, The X Factor, This Is It, This Means War, Tom Petty, Trust, UFO, Unisonic, Vah Halen – 1984, Vendetta, virtuoso, WASP, Welcome To The Jungle, Yeah Right, Yngwie Malmsteen, You Could Be Mine 2 Comments
All hail. The King has arrived. Good artists copy, great artists steal is the saying. I am really digging the new Avenged Sevenfold album. A7X said they wanted to make a classic rock/metal album in the vein of AC/DC – Back In Back, Metallica – Master of Puppets and Black, Megadeth – Rust In Peace and Countdown To Extinction, Ozzy Osbourne – Blizzard Of Ozz, Iron Maiden – The Number Of The Beast and Powerslave, Judas Priest – Screaming For Vengeance, Vah Halen – 1984, Guns N Roses – Appetite For Destruction, Dio – Holy Diver and Black Sabbath – Heaven And Hell.
On release, it went to Number 1 on the Billboard charts. Once upon a time going to Number 1 was important, however these days, it is a fad. Longevity is the new importance. Does the album have the longevity? Will it be streamed forever and a day? My answer is YES it will.
On first listen you will hear influences (and on some tracks it is really obvious) from quite a few of the albums and bands mentioned above. They do it so well, it is hard to not like it. The lead breaks are brilliant and very Maiden like. They have gone for that sing along lead break. It will be interesting to see how those lead breaks translate to the very passionate and vocal South American fan bases. Overall, all the songs will work well in a live setting.
In the end A7X has definitely given a "popular band's feel" to all the songs along with their own A7X bits and twists in between.
All metal and rock music and popular music in general has come to exist because of evolution, because of progress being derivative. It is never the result of creating something out of nothing that it is so original, it would blow everyone away.
"Live Wire" from Motley Crue released in 1981 borrowed from Girlschool's "Yeah Right" also released in the same year.
"My Sanctuary" from Unisonic released in 2012 has a vocal melody that is very similar to the A Flock Of Seagulls song called "I Ran (So Far Away)" that was released in 1981.
"The Ghost Inside" from the band Vendetta released in 2012 is very similar to Michael Schenker's "Desert Song" released in 1981. "Desert Song" is then very similar to what Michael Schenker did with UFO on the song "Love to Love" released in 1976.
"Hey Hey My My from Neil Young, released in 1979 is very similar to the song" I'd Love To Change The World" from Ten Years After released in 1971. In addition the riff to Tom Petty's "Refugee" is also very similar to "I'd Love To Change The World."
"Ten Black Roses" from The Rasmus released in 2008 borrows from Muse's "Showbiz" released in 1998.
"Life is Beautiful" from Sixx AM released in 2007 borrows it's Chorus from Duran Duran's "Come Undone" released in 1993. The song "Beautiful" from the band Since October released in 2006 has a verse that is influenced by "Come Undone" from Duran Duran. The chorus riff also borrows from the same song. In addition, the song Come Undone is a derivative work from an earlier Duran Duran song called "First Impression" released in 1990.
The song "This Is It" from the band Staind released in 2011 has the chorus vocal melody that borrows from The Offspring's "Gone Away" chorus melody.
Anyone that listens to the above examples, will be able to note the similarities from beginning to end. This is what I mean by the term progress is derivative.
By taking similar phrasings and chord structures, A7X was able to reinvent a past work with a fresh perspective. They have created new songs that are rooted in the past. That is why we as fans appreciate music so much. It is all built on something that came before. What makes the song unique and great is the musicians ability to express it and play it. If James Hetfield was a flawless virtuoso, I am sure the Metallica songs would have sounded a touch different, maybe less personalised and more sterile. If Motley Crue was a bunch of virtuosos then I am sure it would have been a different band. Good or bad, we will never know, however what we do know is that musicians sound the way they do because they are influenced by emotions and by their technical ability on the instrument.
It is produced by Mike Elizondo. Mixed by Andy Wallace and Engineered by Adam Hawkins.
Management is Larry Jacobson and Alex Reese for World Audience.
Shepherd Of Fire
The rain and the bell at the start and the feedback riff with the evil tri-tone is influenced from the song "Black Sabbath". The main riff is very "Enter Sandman" like and it also has touches of Megadeth like the songs "Disconnect" from "The World Needs A New Hero" and "Trust" from Cryptic Writings. Since Metallica got the "Enter Sandman" riff from a band called Excel, we can safely say that progress is derivative. The drumming in the Intro, After The Solo and Outro is very "Enter Sandman" like, which Lars Ulrich said is based on AC/DC's "Dirty Deeds Done Dirt Cheap". Yep, it's perfect and it is the derivative effect in action.
Synester Gates said the following on the Music Radar website for the track:
"We intentionally wrote it as an intro track. The idea was that the arrangement would evoke a sense of imagery with the tribal yet primordial drums. It seemed to resonate from Hell almost. It's something of an apocalyptic call to arms. I love the arrangement. We wanted to set up the album and foreshadow what was to come, being that it's a groove-based, riff-oriented record. We haven't really done Zeppelin-style or Sabbath-like riffs before, so this is our version of an album that's along those lines."
Hail To The King
From the outset this song has that Iron Maiden vibe. The intro reminds me of "Wasted Years" from the "Somewhere In Time" album. The chorus reminds me of the song "Sign Of The Cross" from "The X Factor" album. Synester Gates said that he was playing a lot of "gypsy jazz guitar – Django Reinhardt and a few others", so for the intro, he took those techniques and metalized it. Yep, it's perfect and it is the derivative effect in action.
"The whole solo is based on minor blues changes. I like it when it transfers to that regal feel, which aligns with the lyrics. A lot of people get confused and think that it's neo-classical, but it's really gypsy jazz."
This song is a Guns N Roses merged with WASP. The whole intro has got that "You Could Be Mine" / "Welcome To The Jungle" vibe. The vocals in the verse remind me of GNR and The Cult. Yep, it's perfect and it is the derivative effect in action.
Synester Gates said the following on the Music Radar website for the track;
"This was a Mike Elizondo suggestion. He was hearing a kind of low vocal, swagger-based rock song, sort of a quintessential '80s or '90s vibe but with a very modern approach. It's a bad freight train that never stops.
"For this solo – and for all of them, actually – I tried to just jam with the songs instead of being overly analytical about what I was doing. I sat with Mike and the rest of the guys, and I would play until everybody was on board with the way it was going. The main thing was that I wanted the songs to influence my playing rather than me imposing a signature style on the music."
Three words. "Sad But True". With each listen I keep on enjoying the album just a little bit more. The songs flow well together and with similarities aside (seriously "This Is War" is a very ballsy song to release due to how similar it sounds to "Sad But True") the album has a pretty epic feel to it. Yep, it's perfect and it is the derivative effect in action.
Synester Gates said the following on the Music Radar website about the track;
"We wanted a really impactful, riff-based intro but one that would also feature our dual lead harmony approach. It's pretty cool how it fits into the slow groove of the track and just hammers through.
"This song is becoming one of my favourites. I've been really enjoying watching people listen to it because it so fits the vibe of the album. When they hear it, they start moving, and they don't stop. Sometimes, with more progressive songs, you lose that feel somewhere along the line, but This Means War never quits – the energy is always there."
"All of my solos were improvised initially – I would go in and get my bearings and see what I came up with. I was hearing something chaotic in the intro, a machine-gun spray that would build into something more melodic."
This is classic Euro metal. It has that vibe. It's got that Yngwie Malmsteen / Swedish metal influence. The choir at the beginning reminds of Carl Orff "O Fortuna". The Metal Sucks website calls this song a "Kashmir" rip off and while I get that aspect, this song is one of those songs that is a little harder to pin down. The vocal part were Shadows screams "In Flames" reminds me of "No More Lies" from Iron Maiden, that came out on the "Dance Of Death" album in 2003. Yep, it's perfect and it is the derivative effect in action.
This is what Synester Gates had to say about the song on the Music Rader website;
"The choir in the beginning is great. I'm very excited about how this song turned out. We wanted the foundation to be a metal band's approach to classical orchestration."
"Matt's vocal is more like a lead violin part, and when my guitar chugs underneath the riff, it's almost like what low brass would do. We layered each element very carefully, and the result is one of the more cinematic tracks on the record."
"The solo was a fun one. I don't do a lot of wah stuff, so I had a great time playing around with that. The wah gave it an added dimension and colours, some new life."
Crimson Day
This is what Synester Gates had to say about this song on the Music Radar website.
"That's a clean-sounding electric guitar on the opening, not an acoustic – there were no mics on the guitar involved, just on the amps. It's one of my favourite clean tones I've ever fucking heard."
"We stumbled onto it by accident, actually. There were a few secrets in getting it, mainly that it's a baritone guitar with a capo on it so I could play it in open E standard tuning. It has a really sick, rich, sparkly sound. Seriously, I'm so proud of how it turned out."
"We wanted the song to have huge drums and be an epic rock ballad. It has a sombre vibe, but it doesn't make you fucking sad all the way through. We were listening to a lot of Elton John, some Ozzy ballads and some Zeppelin. Actually, the lyrics are inspired by my nephew, so the song has a very personal meaning to me."
Like This Is War, the song is very ballsy as it is like Megadeth's – Symphony Of Destruction. Overall it has that Megadeth feel to it and yep, it's perfect and it is the derivative effect in action.
This is what Synester Gates said on the Music Radar website:
"This was probably the first song that we wrote for the album, so there's a bit of a throwback to the old, traditional Avenged stuff. It's a little progressive, but we wanted to maintain some space in the arrangement so the drums could shine and the riffs and vocals could breathe."
"That's a pretty important point, really, because we tend to fill things to the brim with guitar harmonies, vocal harmonies, lead things going in and out. Leaving a feeling of air made a big difference in how all of the parts stood out."
"This is a lot of guitar, though, some big moments. If you're not the biggest groove fan – and it you're not, you should be – there's still a progressive element. So it's a mix, this song, and it worked out really well."
This song is weird. I am getting an overall Iron Maiden feel but its hart to pin point exactly what. I'm sort of getting "Ghost of Navigators" for the verse but there is something else, which might not even by Maiden, maybe WASP? I am starting to sound like a psychic. The Harmony guitars at the end is Megadeth, "A Toute Le Monde." Yep, it's perfect and it is the derivative effect in action.
This is what Synester Gates said about the song;
"Another Mike suggestion. He wanted us to do something upbeat, but we wanted to make sure that it didn't get hokey – we've done upbeat before, and sometimes things can get a little too cutesy and sugary. Our goal was to have a darker, more serious tone, which can get lost when you increase the tempo."
"It's very adventurous, but it maintains that upbeat vibe. There's some great drumming on it, and I'm really excited about the guitar work. The solo is big. Instead of doing a vocal bridge, we decided to do one with the guitar and have it take you places. I think it fits with the imagery of the lyrics, which are very personal but still presented in a way that people can relate to it. The words are very 'storytellery,' concerning travel and endeavours, but they're not necessarily concerned with present time. The guitar stuff goes hand-in-hand with all of that."
The way the drums are in the Intro it reminds me of a song that I cant put my finger on. Kiss comes to mind, something from the Psycho Circus album. Also the riff. Yep familiar, not sure what like though, riff is similar to the outro of "Broken" except heavier, Bridge bit is Pantera: "Mouth of War" for the drums. Yep, it's perfect and it is the derivative effect in action.
This is what Synester Gates had to say about the song on the Music Radar website;
"To me, the last two songs, in addition to being my favourites, make up the best ending to a record we've ever had. Lyrically, Planets is the precursor to Acid Rain; it's about a meteoric, intergalactic war that results in an apocalypse and the human species aligning together to go fight something much better than us, our individual trials and tribulations."
"Musically, the song was incredibly difficult to write and pull off – the elements of dissonance, tension and resolution. We wanted to have that friction throughout, but it still had to be palatable; it couldn't be like listening to Penderecki or Stockhausen. There had to be a relate ability and connect ability to it."
"We really toiled over the track, but it turned out great. I'm so fucking excited about it."
This is Gary Moore – "Still Got The Blues/Parisienne Walkways" merged with GNR – "November Rain". The Solo is definitely "November Rain'ish." Yep, it's perfect and it is the derivative effect in action.
"It's a cool way to end the record – not a typical ballad, but it's not soft or sugary, either. The song takes you to an emotional place, especially if you pay attention to the lyrics, which are some of the best Matt has ever written.
"The song is about coming to the realization that you've lost the battle, but at least you're with that one special person who matters. It's something of an apocalyptic love story, which is pretty unique for us."
In the end what we are hearing is a mish mash of different artists, a verse from one artist, a chorus from another artist, an intro riff from another and with the A7X little elements chucked in.
Of course, it's not a bad form to go with, the only issue here is that some sound so close that they are unmistakably obvious, or perhaps that was the point. I wonder if they are going to see some action over it?
When I first heard the album, the first thing I did was Google, "Avenged Sevenfold copied" and heaps of pages come up. To me, it all comes down to this. Music is a sum of our influences. A person that hasn't heard a piece of music can say that what they created is original as they have not heard anything else before that. However for all of us, music is a sum of what we have heard, mixed in with our style and ability to play those influences.
So will there be any action of these "similarities." I see it as a double edged sword.
Because the bands they are "ripping off" are popular I don't see how those bands can bring some action against A7X. They haven't taken anything away from the original versions of those songs. If anything it's made me interested to go back and listen to those songs to see if I can pick up more similarities. Those bands should be posting things like, "Thanks to Avenged Sevenfold for bringing attention to our song Symphony Of Destruction on the song Heretic from their new album Hail To The King. Check out the Megadeth version here." That is what they should be doing.
However, if they borrowed or where influenced from unknown bands, like how Metallica and Led Zeppelin did, then I am sure that the unknown band/artist would be bringing action to the band, however I still believe it is a stupid idea. Use it to your advantage in other ways. Point to it. Market yourselves like the example above.
In the end Avenged Sevenfold released an album that has people talking about. We are engaged with it, talking about the influences we hear on it and the similarities to other artists. Some are negative, some are positive. In the end we are engaged with the product and we are forming a relationship with it.
For the record, I ripped the CD of the album and then I gave the CD to a few friends to rip on their own computers so that he can listen to it. WHY? I wanted them to listen to it so that we can talk about it.
Nah, people are talking about it on the web. The first thing I did was Google, "Avenged Sevenfold copied" and heaps of pages come up. To me, it all comes down to this. Music is a sum of our influences. A person that hasn't heard a piece of music can say that what they created is original as they have not heard anything else before that. However for all of us, music is a sum of what we have heard, mixed in with our style and ability to play those influences. Show me someone who says what they wrote is "original" and I'll show you a liar. Everything has been written, we are just a sum of our influences and how we interpret those influences through our own individualism, and there is nothing wrong with that in my opinion.
For action against them it's a double edged sword.
Because the bands they are "ripping off" are popular I don't see how those bands can bring some action against A7X. They haven't taken anything away from the original versions of those songs. If anything it's made me interested to go back and listen to those songs to see if I can pick up more similarities. Those bands should be posting things like, "Thanks to Avenged Sevenfold for bringing attention to Symphony Of Destruction on the song Heretic." That is what they should be doing.
However, if they borrowed or where influenced from unknown bands, like how Metallica and Led Zeppelin did, then I am sure that unknown band would be bringing action to the band, however I still believe it is a stupid idea. Use it to your advantage in other ways. The same way the big bands should use it. It's always better to enforce positive approaches in order to take advantage of whatever scenarios are encountered.


a late response to Living More with Less and the chapter called "Nurturing People." thanks again to Mrs. Pivec for keeping the conversation going. even when i'm not writing here, her words are on my mind and that's a nice thing.
this chapter reminded me of two seemingly small decisions that we made early on in our life as Mabel's parents. not big philosophical choices, not hard choices. quiet choices that have made such a difference.
we chose not to get the popular baby carseat that snaps out and becomes a carrier. mostly it was an aesthetic decision–people look so silly all bent over to balance the weight of the poorly designed carrier. but that meant when we were out, we had to hold Mabel. there was no place to put her. we couldn't put her down and get on with dinner or whatever else was calling for our attention. we had to make space for her too. we had to keep her in mind. we had to care for her. so we held her in our arms or she slept snuggled in a sling. and just being mindful of her and her needs, her rightful place in our family life, opened me up. from the beginning she wasn't an intrusion on my better plans. she was a part of us.
the other choice was to not use a pacifier. partly because i was breastfeeding and wanted her to breast as often as possible in the early days to establish my milk supply. but again, pacifiers just look silly. then we read something about babies finding comfort through nursing or sucking on a little finger instead of a pacifier, in part because we want our children to find comfort in people, not things. and that resounded so deeply with me. it was a way to hold a larger intention for the kind of person i want to be, the kind of child i want to raise in this world, in the midst of my mundane life with a small baby. it reminded me of what was important.


text:
Claridge is a surname. Notable people with the surname include:

 Bruce Claridge, Canadian football player
 Christie Claridge, American beauty pageant contestant
 Dennis Claridge (1941–2018), American football player
 George Claridge (1794–1856), English cricketer
 George Frederick Claridge (1852–1931), South Australian philanthropist
 Gordon Claridge, British psychologist
 John Thomas Claridge (1792–1868), British lawyer and judge
 Manuela Kasper-Claridge (born 1959), German journalist
 Captain R. T. Claridge (Richard Tappin Claridge) (c. 1797–1857), English pioneer in asphalt production and hydrotherapy
 Ryan Claridge (born 1981), American football player
 Shaaron Claridge, American voice actress
 Steve Claridge (born 1966), English footballer, coach and pundit
 Travis Claridge (1978–2006), American football player
 Michael Claridge (born 1934), British entomologist.

See also
 Claridge Hi-Tec/Goncz Pistol
 Claridge Hotel (disambiguation), various hotels
 Claridge Records, a New York-based record label
 Claridge, Pennsylvania
 Clarridge (surname)

redpajama_set_name: RedPajamaWikipedia


Enrique Olvera's Cosme is one of the best restaurants in the city, and the duck carnitas and husk meringue are two signature dishes that I've raved about to others. But the high price points and fine dining atmosphere at Cosme don't allow for frequent visits. Things are about to change now that Olvera has introduced a more accessible, casual Mexican concept called Atla in Noho. I can now enjoy Michelin-caliber cooking at reasonable prices at any time of day, and as a result, Atla is fast becoming my favorite everyday, neighborhood standby.
The last time I checked, Atla offers its breakfast menu until 1 pm, and then it switches over to its lunch / dinner menu. There isn't that much overlap between the two, and there are great things about both, so you just need to find an excuse to come here at least twice. And it won't be that hard to find one, because the food is excellent. For breakfast, an ideal meal would consist of the ranchero eggs, a wonderful bowl of eggs resting in a warm, earthy stew that just fills you up with content inside, or the chilaquiles, a platter of crunchy and crisp corn chips that never wilt under the spicy pressure of the green or red sauce. Round that out with a sweet, lemony concha pastry and the bubbliest michelada that you've ever come across, and your brunch will be perfect.
Everyone's been talking about Atla's guacamole, with some calling it the best guac in town. It's certainly a different style compared to the smooth, mashed puree that we've come to expect. The avocado slices are left largely intact, as are the basil and onion, which results in two bites of the guacamole never being quite the same. One might be a little more spicy, another might have some more texture. One thing's for sure is that this guac will always keep you guessing. If you like your dips a little more traditional, then the white ayocote hummus might be more up your alley. Of all the hummus dips you've ever tried in your life, this might quite possibly be the best.
If you've arrived too late and missed your chance for some ranchero eggs, then not to fear, you'll be more than happy with a meal of the arctic char tostada and the chicken enchiladas in green sauce. The tostada's a bit on the small side, but the rich and fresh flavors of the char, along with the creamy dollops of cheese, will more than fill you up. And the chicken enchiladas come in an amazing sauce that you can eat on its own for days. Luckily they give you some tortillas so that you can make that happen, until the sad moment when all of it is gone. But then you have an excuse to come again next week to pick up from where you left off. Which is no skin off your back since the no-reservation policy and the fair price points make a meal here open to everyone.


A dear friend of mine flew across the Atlantic Ocean last night to begin her summer in Italy. Tonight, she is in Siena.
What's great about having friends who like to travel is that you're never short of travelling companions. And what I love about this particular friend is how comfortable we both feel at inviting ourselves along when the other is making travel plans. Case in point: when I told her last summer that I had arranged a week-long home exchange in New York City, and then asked her what she was doing the third week of August, she didn't hesitate.
"It looks like I'm spending the third week of August in New York," she said.
I've never spent a summer in Italy (someday!), but I once spent a week in Siena. I invited myself to visit this same friend (do we see a pattern here?) while she was studying art through the University of Toronto's Summer Program in Siena.
After spending a sleepless night on a train from Vienna to Florence and a hot day wandering Florence feeling slightly ill, I boarded the bus to Siena and promptly fell asleep. When I woke, I thought I'd died and gone to heaven. The Tuscan countryside I was looking at through my window was more beautiful than I ever imagined it could be.
I waited for my friend on the steps of the Basilica of San Domenico, which, back in those days, was where the buses from Florence dropped you off. I was far too early, but I happily spent the next few hours relaxing and people-watching in the shade of the cathedral.
My friend showed up at the hour we agreed to meet, and in no time at all we had deposited my bag in her room and were seated at an outside table of the nearest trattoria, sharing a bottle of Chianti and digging into two heaping plates of pasta, Tuscan style. Italian teenagers whizzed by us on scooters. Through the course of the evening, my friend's classmates, one after the other, joined us at our table. It was the best arrival I've ever experienced in a foreign city.
This photo was the view from her room in the student residence of the University of Siena. Can you imagine waking up to that vista every morning for five weeks? I sure can.
Some twenty years ago, Frances Mayes bought an abandoned villa near Cortona, Italy. She and her husband spent three summers renovating it, and then she wrote a book. The travel memoir genre has never been the same since.
Published in 1996, Under the Tuscan Sun was on the New York Times Best Sellers List for over two and a half years. In 1998, I spent a week with a friend who was studying art in Siena for the summer. She was reading the book. All of her classmates were reading the book. Every bookstore I walked by that week had Under the Tuscan Sun on display in its window. In the aftermath of the book's success (as well as that of Peter Mayle's A Year in Provence a few years earlier), there's been a rush to publish hundreds, if not thousands, of memoirs about ex-pats buying and restoring houses all along the Mediterranean. The saturation of the genre may be the reason for some of the criticism levied today against authors like Mayes and Mayle. The truth is: ex-pats were buying up property in southern Europe long before these two authors. They simply came up with the idea of writing about it ― and they did it brilliantly.
… cooking seems to take less time because the quality of the food is so fine that only the simplest preparations are called for. Zucchini has a real taste. Chard, sautéed with a little garlic, is amazing. Fruit does not come with stickers; vegetables are not waxed or irradiated, and the taste is truly different.
Under the Tuscan Sun has a little bit of everything: interior design, recipes, gardening, history, travelogue. If you're looking for lots of detail on any one of those subjects, this is not the book for you. But if you think you might enjoy reading how an American poet and creative writing teacher fell in love with a crumbling villa in the middle of Tuscany, then this book is worth a read.
I once watched a TV mini-series about Leonardo da Vinci with my mother when I was far too young to stay up so late. She sometimes let me do that — watch TV with her long after my younger siblings had been sent to bed — but only if she saw I was genuinely interested in what she was watching.
This time, I was. That mini-series planted the seed of my life-long interest in the art and history of Renaissance Italy.
I was also captivated by the landscape. "Where's Tuscany?" I asked.
I knew then that one day I would go to Italy. It was the first time I was motivated to travel by images I saw on-screen, but it certainly wouldn't be the last.
Every time I watch Stealing Beauty, I want to book myself on the next flight to Florence. Liv Tyler, in a break-out role, plays Lucy, a 19-year-old American visiting friends of her late mother. They live an idyllic life in a renovated farmhouse somewhere near Siena. Lucy has travelled to Tuscany to have her portrait done by the resident artist, although she suspects it's really just an excuse for her father to send her to Italy for the summer.
Her mother's friends have opened their home to all sorts of hangers-on: Jeremy Irons plays a dying playwright, Jean Marais a former art dealer gone senile, Rachel Weisz and Joseph Fiennes — before they became Rachel Weisz and Joseph Fiennes — play the adult children of Sinéad Cusack's character, the matriarch of the place. Her husband, played by Donal McCann, is the artist. When he explains why he has forsaken wet, damp, chilly Ireland for Tuscany, he says it's all about the work, the "great tradition of art in these hills" — a homage to the artists of the Italian Renaissance if there ever was one.
All of the characters talk about Lucy — and her dead mother — behind her back. Lucy, however, is interested in only two things: reconnecting with the neighbour boy she fell in love with four summers earlier, and learning the identify of her real father. This last undertaking comes about because Lucy discovers a cryptic entry in her mother's journals that hint at Lucy's conception through a one-night affair one summer in Italy when her father was elsewhere.
Film critics didn't think much of Stealing Beauty, particularly in comparison to some of Academy Award–winning director Bernardo Bertolucci's other ground-breaking work (including Last Tango in Paris and The Last Emperor). I saw the film only a few months after my own mother's death and first thought that's why it resonated with me so loudly — in particular, a short scene involving an ambulance that caught me by surprise when it made me burst into tears in the middle of the dark theatre.
But every time I watch the film I am awestruck, so I think my enthusiasm for it is much more than simply being able to relate to the film's portrayal of grief. Stealing Beauty is a film with an affecting but realistic screenplay, first-class acting, great music, seductive cinematography, and one of the most beautiful settings possible. In short: it's a picture-postcard of Tuscany. If you want to find out how enchanting a summer in Italy can be, watch this film.


text:
Joan Minuart i Parets (Barcelona, 1693-1768) fue un botánico y farmacéutico español. Ingresó en el ejército como boticario militar, y viajó extensamente por España, Francia, Italia y el norte de África (tomó parte en la operación de captura de Orán), preparando con José Quer i Martínez un gran herbario con multitud de semillas y plantas vivas, con las que establecieron un primitivo jardín botánico en Madrid. Con él contó Fernando VI para la fundación del Real Jardín Botánico de Madrid en 1755, transladando el primitivo jardín de Aranjuez, fundado por Felipe II, a un emplazamiento en el soto de Migas Calientes, del que fue nombrado Segundo Catedrático (con José Quer i Martínez como Primer Catedrático) y donde empezó la enseñanza de la Botánica.

Fue amigo y correspondiente del genial Linneo.

Obra
 1700. Cerviana sub auspiciis illustrissimi viri D.D. Josephi Cervi. 2 pp.

Eponimia
Género botánico honrando la memoria del botánico
 (Caryophyllaceae) Minuartia L.
 Calle Minuart, ciudad de San Celoni

Véase también
 Historia de la ciencia y la tecnología en España

Referencias

Bibliografía
 J. M. Camarasa. El botànic Joan Minuart (1693-1768), Sant Celoni, reed. Ajuntament de Sant Celoni, 1986
 María del Carmen Calleja. La farmacia en la Ilustración, AKAL, 1992 ISBN 978-84-7600-986-4
 Miguel Colmeiro. La botánica y los botánicos de la Península Hispano-Lusitana, 1858

Botánicos de España del siglo XVIII
Nacidos en Barcelona


text:
package ua.yet.adv.java.annotation.services;

import ua.yet.adv.java.annotation.Init;
import ua.yet.adv.java.annotation.Service;

/**
 * Service that is loaded lazily. That means that the object won't be created
 * right away.
 *
 * @author Yuriy Tkach
 *
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@Service(name = "Lazy service", lazyLoad = true)
public class LazyService {

    /**
     * Init method that will be executed only when service is loaded
     *
     * @throws Exception
     *             If something happens :)
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    @Init
    public void init() throws Exception {
        System.out.println("I was lazy inited");
    }

    /**
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     */
    public void hahaMethod() {

    }

}

redpajama_set_name: RedPajamaGithub


Teachers use the Australian Curriculum content and achievement standards first to identify current levels of learning and achievement and then to select the most appropriate content (possibly from across several year levels) to teach individual students and/or groups of students. This takes into account that in each class there may be students with a range of prior achievement (below, at and above the year level expectations) and that teachers plan to build on current learning.
Teachers also use the achievement standards, at the end of a period of teaching, to make on-balance judgements about the quality of learning demonstrated by the students - that is, whether they have achieved below, at or above the standard. To make these judgements, teachers draw on assessment data that they have collected as evidence during the course of the teaching period. These judgements about the quality of learning are one source of feedback to students and their parents and inform formal reporting processes.
Students in Kindergarten participate in PIPS testing during Term 1 and Term 4. Students in Year 3, 5,7 and 9 participate in the NAPLAN national testing.
This is encouraged between teacher and parent whenever it is considered necessary by parent or teacher. Parents are very welcome to see their child's teacher at any time. Please make an appointment by phoning the office.
Term 1 -Parent/Teacher interviews are held at the start of term as a "getting to know you" session. Students in Year 7-10 receive a short written mid semester report on progress to date at the end of Term 1.
Term 3 – Student Led Conferences. Student, teacher and parent meeting. Year 7-10 receive a mid-semester report at the end of Term 3.
Term 4 - A-E and Student Reports are provided at the end of Term 4.


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New York is in the MotherF**king building! If the comments are any proof of its success people love New York and she and Maddie have great chemistry! Should she become the permanent co host or should Madison continue to have a different guest host every week?


text:
Fourth Hispanic Convention set for June 19-22 in Ann Arbor
The fourth triennial National Lutheran Hispanic Convention will be held June 19-22 at Concordia University, Ann Arbor, Mich. The theme for the convention is "Celebrating Our Vocation."
The "family friendly" event — which will be conducted primarily in Spanish — includes a children's program as an option for attendees and their families.
All ordained and commissioned church workers and laypeople who serve a Hispanic ministry — as well as seminary students enrolled in the Center for Hispanic Studies at Concordia Seminary, St. Louis, and LCMS mission executives — are encouraged to attend the conference.
"Of course, any person interested in Hispanic ministry in the LCMS is welcome to participate," said the Rev. Aurelio Magariño, president of the convention and a staff member of the Hispanic Lutheran Mission Society of Metro Washington, D.C.
Organizers of the event include Magariño; the Rev. Dr. Leopoldo Sánchez, vice-president of the convention and director of the Center for Hispanic Studies; Deaconess Teresita Rodriguez, secretary and treasurer of the convention; and Deaconess Ligia Morales de Borges and the Rev. Laerte Tardeli Voss, convention members at-large.
The convention will provide opportunities to discuss issues that are relevant to those who serve Hispanic ministries and will offer worship, fellowship, networking, plenary sessions and workshops sponsored by the Center for Hispanic Studies. Voting delegates also will elect officers for the Fifth National Hispanic Convention in 2015.
Plenary speakers — who will share their perspectives on the convention's vocation emphasis — include Lorna Virgili, owner of the National Hispanic Communications Group in Washington, D.C.; the Rev. Giacomo Cassesse, pastor of Hope Lutheran Church in Miami; and the Rev. Dr. Douglas Rutt, director of International Ministries for Lutheran Hour Ministries in St. Louis. LCMS President Rev. Dr. Matthew C. Harrison will address the convention during its opening worship service.
"At the end of the convention, participants will return to their ministries refreshed and empowered to continue their mission," said Magariño.
In reference to the convention children's program, Magariño said, "Hispanics value family and community. Children are very important in the life of the Latino church. We believe they need to have educational and recreational programs that will enrich their spiritual lives, even as their parents participate in the convention." Plans for the children's program include Bible study in the morning and outings to local attractions in the afternoon.
Convention planners say they are grateful to the Synod's Michigan District for inviting the convention to use the campus of Concordia University, which allowed them to keep registration costs low. The convention also received funding from the LCMS Office of National Mission and the Synod's Texas and Michigan Districts.
Registration is $50 for each Hispanic church or mission, which includes two voting delegates and their family members. Lodging and meals are extra. Registration for nonvoting attendees is $35.
For more information about the convention, visit www.facebook.com/4cnhl or send an email to convencionhispana@att.net. For a preliminary agenda, visit http://4cnhl.wordpress.com. To download a PDF of registration materials, click here.
Church's mock raid leaves teen traumatized
Global Lutheran church bodies' representatives meet

redpajama_set_name: RedPajamaCommonCrawl


2checkout has been down for three days. their forums are still up, and merchants are howling their frustration there and all over the place, but no one from 2checkout has uttered a peep. if I were worried (which i'm too apathetic to be), i'd be more worried about their silence than the downtime.
I didn't do anything i'd scheduled for today. lethargic. I slept for about 2 incredibly restless and uncomfortable hours this morning. I think i'm catching something. coming down with something.
so very, very many people are lonely.


· 30ml Pumice Scrub to exfoliate dry, rough feet and reveal soft replenished skin.
· 30ml Enriched Balm to deeply nourish and hydrate the feet, infused with Sweet Almond Oil, Kiwifruit to provide deodorising and soothing support.
· 30ml Heat Rub to promote circulation and ease sore tired feet.


Stratford Sherman is a Senior Vice President of Executive Coaching Network, Inc. During the early 1990s he earned his global reputation with the publication of Control Your Destiny or Someone Else Will, the first serious study of Jack Welch's transformation of GE. He has lectured extensively, delivered seminars on six continents, taught at GE's Crotonville School, and appeared as a commentator on many TV shows, including The News Hour and Charlie Rose.
Stratford Sherman's coaching practice is dedicated to helping successful senior executives and high potentials expand their capabilities in the context of change. The skills of adaptation and responsiveness are critical success factors in a fast-moving, intensely challenging business environment. Developing adaptive skills, however, requires more sustained focus and effort than many active executives can muster by themselves.
Stratford Sherman's approach is based on the Executive Coaching Network's Strategic Executive Coaching Process. It synthesizes at least three categories of understanding: business dynamics; organizational change; and individual development.
The coaching process takes time: rarely less than 4 months, usually between 6 and 12 months. In addition to the usual 360-degree evaluation and personality tests, Stratford prefers to interview key stakeholders in the coachee's career, presenting the feedback to the coachee. Next, a plan of action is developed based on the information gathered. The intended outcome must be important to both coachee and employer, and it must be definable and observable.
© 2005 50 Top Coaches. All rights reserved.