It wasn’t until many years later I heard the Sabbath version and Iommi is down tuned to C#. I love the way Randy plays the C#m riff on the 4th fret on the 5th string. “Children Of The Grave” was the next song I tried to learn after “Mr Crowley”. And the live tempo is much better than the studio tempo. “Revelation (Mother Earth)” has a finger picked part at the start which is breathtaking, the interlude is subdued and relaxing but that outro is breathless. And the outro lead is just one of those songs within a song lead breaks. It has two shred leads and the way Randy combined those guitar lines into one definitive track for the “was he polemically” section is brilliant. “Mr Crowley” was the first song I got stuck into. For any guitarist, new or old, this is it. The way he re-imagines his multi-layered guitar riffs from the studio versions and turns it all into one definitive guitar cut is brilliant. And when I couldn’t pick it all up, I shelled out $50 on Wolf Marshal’s transcription of the “Tribute” album and I spent a lot of hours woodshedding to it.Įven though Ozzy re-cut his vocals for the release there is no denying Randy Rhoads and his love for his instrument. I played the cassette tape to death trying to learn every riff and lick. We live in the era of connectivity and virality and hits and streaming that pays forever.īut artists need to release a continuous stream of product to win. We don’t live in 1989, where mediocre stuff on the radio gets some traction because of the marketing/hype dollars invested into the promotion. “Fear Of The Dark” or “Hallowed Be Thy Name” or “Creeping Death” or “Fade To Black” or “Master Of Puppets” didn’t set the charts alight but the fans made those songs hit’s. To me a hit isn’t the song that takes the number 1 slot on a chart. And like it or not, it’s always been about the hits. But the artist wouldn’t know that behaviour.ĭata tells us what’s hot and what’s not. Maybe that fan played the album a million times. That fan could have purchased the album, taken it home, played it once and traded it. Isn’t that better than the one off transaction between the record store and the fan? YouTube, Spotify, Apple Music and all the rest will pay forever. But it pays the organization who controls the rights. If investment firms are cashing in, it’s because streaming pays. Control your rights, have a song that people connect with and you will be paid well and forever. Those numbers will show you if the fans care for the music or if only the press (that the marketing team has paid to promote your product) cares.Īnd people will complain about streaming revenue and how it doesn’t pay enough. Then the third, then the fourth and so on. The first week sales that might look great on paper are irrelevant.Ĭheck the second week streaming numbers. That’s how fast new albums disappear from the conversation in the current environment. The 8 week lead up to the release is too much these days especially when the LP run could be over in a month after it’s released. When we laid out cash for the 10 to 15 albums we used to buy a year, we had time to digest and live with the music for a long time so we were okay with the lead up. I started this post with “Just put out the damn album”. It was many years later that she asked what happened to those tapes. Secretly the dance tapes ended up in a draw in my room. The next day, I had the rock and metal mix tapes ready for indoctrination.Īt first it was the more commercial sounding rock and metal. I asked her if she would be okay if I introduced some new music in the car. When I first got together with my wife, I had a Posion T-Shirt with the sleeves cut off and she had dance music playing in the car. When they say “Take the Black” in “Game of Thrones”, a metal/rock head says, “pffft, we’ve already done that”.Īll though I’ve morphed to plain black tees as I have gotten older, I still break out the metal and rock t-shirts now and then. In the drawing he had me drawn with a black T-shirt and black shorts. My then five year old had to draw his family in kindy class.
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