Guitarist Erik Martensson once aspired to have a career in motocross. But after being involved in a crash and during his subsequent recovery, he began focusing his time on guitar and soon discovered his true calling.
Today, Martensson not only splits his time between his own hard rock band Eclipse and the “super-group” W.E.T; a project which also features Robert Säll (Work of Art) and Jeff Scott Soto (Talisman), but he’s also written and produced songs for a variety of artists.
After providing material for a Jimi Jamison (Survivor) and Bobby Kimball (Toto) project, Martensson was asked to write songs for a Jamison solo album. The result of which, “Never Too Late” has received critical acclaim both here and abroad. With catchy hooks and melodies that not only emphasize Jamison’s vocal prowess, it’s also an album that sounds fresh and new.
I spoke with Martensson from his home in Sweden about “Never Too Late” as well as his guitar laden new Eclipse album, “Bleed and Scream”.
How did this collaboration with Jamison take place?
I had originally written a few songs for the Bobby Kimball / Jimi Jamison duet album. Following the success of that, Frontiers records asked me to work on a solo record with Jimi.
When you approach a project with Jimi Jamison, what kind of writing process do you go through?
I had Jimi’s vocal range in mind when we started. I knew the sound that would fit him and also suit the fans. That was something that was really important to me. I have the Survivor ‘Vital Signs’ and ‘Too Hot To Sleep’ albums so I know the style. But I didn’t want to just re-make an album from the 80’s. I wanted it to sound fresh. I wanted it to have one foot in the 80’s and one foot in the now.
Read the rest of my Guitar World Interview with Erik by clicking here.
Today we do a little something different on goJimmygo. Jim and I, Kat from Kat’s Theory of Music, thought it would be a kick to both review the same album, but guest post on each other’s blog. We have been anticipating the release and have been pushing each other to do the review. In the end we decided to both do it. The CD to be reviewed is “Never Too Late” by Jimi Jamison.
Jimi Jamison, is best known as the frontman of Survivor, Cobra and Target, as well as a veteran solo artist. This latest album, released through Frontiers Records, was written expressly for him by Swedish wunderkind Erik Martensson. As a member of the European groups Eclipse and W.E.T., Martensson has gained a reputation as the go-to guy when you want your record to be well written, well produced and basically, well done.
Full disclosure: Jim and I are both fans of Jamison and we’ve had the pleasure of meeting him on more than one occasion. If this album was really bad…well I don’t think either of us would be writing the review. But it’s good, real good. I haven’t read a bad review of it. With that being said, it’s still fun to break it down track by track. Since Jim is a musician, his take on it will be different from what I absorb as a writer/music lover only. So read my review, then jump over to my blog and read Jim’s.
Here we go:
Everybody’s Got A Broken Heart: Bang…right out of the gate. Great tempo. Martensson has created a huge wall of sound. After listening to the album a few times, the one word I feel defines his producing technique is precision. Clean, clearly defined producing…it seems every note, every riff is thought through. This opening track is well put together, the vocal suits Jamison to a tee. It would be hard to find a reason not to like this song or why it’s not in the running to be released as a single down the road.
The Great Unknown: The opening notes of this song remind me a bit of Survivor’s “Can’t Give It Up.” But then Jamison voice explodes into all grit and fire…time to catch a ride. I’ve always enjoyed listening to how he interprets a vocal…this is a really nice example. The song itself has a great hook, from start to the real fun ending, it’s all good.
Never Too Late: Ultimate uplifting song. Caution: you will have the chorus in your head all day. Along with a great video, it has a great vocal, great hook, it’s just an overall spot-on balance of vocal and music production. Good choice as a first release, as it’s easily the most commercially viable song on the album. Has everything a hit should have…getting airplay is another thing.
Can’t Turn Back: If this was the 80’s, this song would be blaring out of radio stations non-stop. In this, Martensson has written a song for Jamison that plays to his strong suit…a ballad where he bounces between power vocal and marked restraint. Great haunting fadeout to the song.
Street Survivor: An electronic start into a rock anthem. It’s an interesting insertion to the CD. The rest of the album focuses mainly on the love found/love lost theme, with a few inspirational tracks thrown in, and I guess this might fit into the inspiration group, but it gives me the feel of one of Survivor’s finer songs, “Rebel Son.” The feeling of doing what you need to take on the world. A gutsy and strong rocker.
The Air That I Breathe: More of a traditional ballad, it starts with a easy feel and clear vocal before letting Jimi’s vocal chops shine through. Former Survivor bandmate Jim Peterik once commented about Jamison’s range when he’s really zoned in. He called it the Jamison yodel. As he hits some of the notes in “The Air I Breathe”, you can hear the yodel in full force. A real nice ballad.
Not Tonight: “Someday I might miss you, but not tonight.” Yeah, so who wasn’t felt that way. An underlying infusion of pop, but you can’t beat the chorus. The only issue I have on the album’s production is the backing vocals on this track. And honestly, that’s a little picky. The second half of the song sees the backing vocals become a little heavy handed. That being said, it’s still one of my favorite songs on the album.
Calling the Game: Although I’m sure it was his intent, but the writer in me hears a few too many clichés in Martensson’s lyrics. Musically, the song works. It’s well paced, catchy and Jamison’s vocal brings it all together.
Bullet in the Gun: Beginning with a beautiful piano intro, it quickly jump starts into full rocker mode. Interesting reverb ending creates and eerie fadeout….really well done.
Heaven Call Your Name: Haunting is the only word I can use to describe this. Jamison fully interprets the pain of loss. The stripped down organ intro only fuels the desperation of the lyrics. The kind of song where after you hear it you think…whoa. The use of Jamison’s younger daughter on background vocals adds to the ethereal quality; adding a female voice really provides the perfect sensitivity.
Walk On (Wildest Dreams): No doubt right from the start, this one is gonna punch it out. It finishes off the album repeating the theme of reaching for more in your life. A strong end to what is one fine album. As a whole, there isn’t a bad track on the album. Everything that was promised by having Erik Martensson command the project, was delivered. There is a reason he works non-stop on successful projects, one after another…he’s that good. To write an entire album where the material so acutely matches the singers’ ability is not an easy thing to do. To further produce and play most of the instruments, and not lose sight of the big picture is brilliant.
But aside from having good material and an intuitive producer, you still need the guy to deliver the goods. After all these years, Jimi Jamison is still at the top of his game. The voice has naturally morphed into a richer tone. And while he can still hit the high notes, as a singer he has learned that phrasing and reserve creates a much more solid and interesting vocal. In other words, he still rocks and rocks hard. If melodic rock is your passion, give in to the desire and buy the album. It’s exciting as all hell.
For Jim’s review, go to Kat’s Theory of Music
I’m looking for someone, and I hope you can help me find him. He’s the last piece of the puzzle I need to complete my musical journey.
Back in 1984, I purchased my very first record album; Survivor’s “Vital Signs”. You know, the one the that has “I Can’t Hold Back”, “High On You” and “The Search if Over” on it, among other great songs.
By now, you all should know about my love of this particular album but if not, you can read about it here.
The music of Jimi Jamison, Frankie Sullivan, Jim Peterik, Stephan Ellis and Marc Droubay quickly became the soundtrack of my life.
Over years of repeated listenings, the album eventually wore out and soon found itself a new home (along with other items of reckless teenage abandon) in a box in the farthest reaches of my basement. Hell, by that time I had already moved on to having a copy of Vital Signs on cassette tape and CD anyway. (I have it on iTunes now, for those keeping score).
When I finally built my own music room/office area seven years ago, I decided to take the album out of the darkness, put it in a nice frame and hang it on a wall. It would become a beacon of youth; a reminder of all of the good times and great music I enjoyed in high school. Nail soon met wall and before I knew it, the music of my teenage years was on full display.
As I stood back to admire my new wall decor, it quickly became apparent that something was missing; and that’s when the idea hit me. I thought, what if I could take the album that meant so much to me nearly thirty years ago and try to get the entire band to autograph it? The only caveat was, five signatures were needed and only two of the guys from the album were still touring with Survivor. It was no small challenge, but one that I was up for.
The search began.
Guitarist Frankie Sullivan and drummer Marc Droubay signed it for me after a Survivor concert at Hershey Park in 2009.
Two Down… Three To Go
Three Down…two to go!
A few weeks ago, after doing an interview with Jim Peterik for Guitar World, I made arrangements to send the album out to Chicago for a signature. An album that had not been out of my possession since 1984 was gone and left in the hands of fate. Yesterday, I received the album back in the mail, signed by Jim.
Four down… ONE to go.
The call now goes out to you, oh faithful reader! If anyone can help me locate and connect with bassist Stephan Ellis, please let me know. Because when Stephan signs Vital Signs…. (as the song says)… the search is over!
Nearly 10,000 days. That’s the duration of time between when I first saw the band Survivor perform at Stabler Arena in Bethlehem, PA and the day I took my daughter Jillian to see them for the very first time this past Sunday at Penns Peak.
Oh sure, we went to Hershey Park a few summers ago when the band was there but let’s be honest: when you put an 8-year-old girl in an amusement park surrounded by chocolate it’s damn near impossible to get her to sit still for an audio assault of classic rock.
So, while Mom and child made their way around the park Dad took one for the team. I know, it’s a tough job.
But Sunday night was the ideal night. It had been almost seven years since Jimi Jamison fronted the band and it would be Jillian’s first time to see and hear the band her Dad’s been clamoring about since she first wondered what that “Vital Signs” album was doing hanging on the wall in his office.
If you are a classic rock, hair-metal or country music lover Penns Peak is the absolute best place to see a show. It reminds me so much of the intimacy that Stabler Arena had. A venue that when you first walk in you can literally read the band’s name on the drum header without the need of binoculars. As far as I’m concerned a concert isn’t just a band playing for you. You need to be part of the experience. A concert is when the band is playing WITH you.
As Jillian and I stood in the second row the band ran through a gambit of hits and even a few surprises as well. Truth be told, it’s been a long time since I’ve heard them sound this good. And this was only their fourth show together with this new line-up. A sign of good things to come!
We were extremely fortunate to get back stage passes for a quick meet and greet with the band after the show.
Jillian, an aspiring singer herself, asked Jimi (one of the greatest male rock vocalists of all time) if he had any advice for her. This is what he said:
Persistence. Just keep singing. The more you do it, the better you get. That’s the best advice I can give you!
That was until a friend showed me a picture she had taken of Jillian and me after the show was over. Then I figured it out.
After the band said goodbye and got into the van to take them back to the hotel Jillian and i stood there for a minute basking in the glow. It was at this point that a simple song lyric came to mind:
We will remember this first night together. After all the songs fade away and the stage fades to gray.
After she told him that she didn’t he took one that he had gotten from the stage and handed it to her as if it might mean something.
Truthfully, it did.
I still remember it like it was yesterday. It was a hot summer night back in 1982 when my neighbors took my brother and me to the movies to see the third installment of the Rocky Balboa franchise. An experience I’ll never forget.
Rocky III may have introduced the world to the fool pitying Mr. T but for me, what was even cooler than seeing Rocky lose and then regain his boxing title to Clubber Lang was hearing that now infamous guitar riff for the first time: “Eye Of The Tiger” by Survivor.
Written by Frankie Sullivan and Jim Peterik the theme from Rocky III is still as popular as ever three decades later. Along with winning a Grammy the song was also nominated for an Academy Award, became the #1 song of 1982, has been used to promote everything from sporting events to coffee and ranks as the #3 best song to work out to according to Men’s Health magazine.
Survivor is currently in the midst of a new tour of the US with Jimi Jamison, the first with the “classic” voice of the band since 2006.
I sat down for a quick Q&A with guitarist Frankie Sullivan to get an update on the tour and his thoughts on the milestone anniversary of one of the biggest songs ever.
goJimmygo (gJg): What’s it like for Survivor being back on tour again with Jimi Jamison?
Frankie Sullivan (FS): This whole experience has been good for everyone. I’m really enjoying it. It’s a cool thing and it’s good to have Jimi back.
gJg: How do you guys determine which songs you’ll perform on this tour?
FS: What we’ve done is prepared a bunch of songs from our entire catalog. That way we’re able to change-up the set list every night on the fly. It’s also cool for the fans too. They’ll get to hear something different.
gJg: What’s your favorite song to play live?
FS: I don’t think I have a favorite one. Whatever makes the fans happy makes me happy. I have a lot of songs that I like but it changes. It depends on the gig. Why bother picking one? I enjoy them all!
gJg: What are your thoughts on this being the 30th anniversary of “Eye of The Tiger”?
FS: You know, I can’t believe it’s been that long. Even today, there are still a lot of cool things going on with it. I’m hearing that Sylvester Stallone wants to go LIVE and take it to Broadway among other things.
We’ve recently received a plaque from Sony in recognition of 2.8 million downloads. I don’t have the updated official number but I know it’s the 8th most downloaded song on the Internet right now.
gJg: What’s the story behind how it was written?
FS: Stallone was looking for songs for his new movie and the president of our record company at the time just happened to be friends with him. He had the Queen song “Another One Bites The Dust” but Stallone wasn’t really happy with it. So he said “Well you know, I have this band.. “
I think Jim and I wrote the music for it in about a half an hour and it took us three days to write the lyrics only because we couldn’t come up with the punch line at first. But we kind of had it down in half an hour. That’s what started it all.
People love the song. They can really identify with it.
gJg: What are your plans after the tour is over?
FS: Ideally, I’d love to stay on and off the road for the next few years. Maybe taking enough of a break in between to record and then go right back at it. We’ve got a lot of new material we’re working on.
We’re just taking it a day at a time.
Article first published as Eye Of The Tiger: Still Surviving After Thirty Years on Technorati.
This is a repost of a blog I wrote from last December. I will be seeing the band on Sunday with the classic voice for the first time in many years. It will be a surreal moment. If they come to your town, you NEED to see them.
It was a hot summer night almost thirty years ago when my neighbors drug my brother and I to the movies to see the third installment of the Rocky Balboa franchise. Not that we went kicking and screaming mind you. Any opportunity for teenage boys to get out of the house was most welcome. No, it’s just that we would have much preferred to see “Poltergeist” or better still, sneak into see the R-rated “Fast Times At Ridgemont High”. Looking back now though I’m glad we chose to consume large quantities of popcorn and Coke with Sly Stallone instead of Jeff Spicoli.
Rocky III was the film that first introduced me to Mr. T, the mo-hawked muscle man who would go on to pity fools for the remainder of the 1980′s and beyond. But Rocky III also introduced me to something else: something even more powerful than Mr. T’s gold chains or feathered earrings. It was also the film where I first heard the now infamous guitar riff for a song from a band that would change my life: Eye Of The Tiger by Survivor.
Written by Frankie Sullivan and Jim Peterik and sung by Dave Bickler (who would later achieve great fame as the singer on the Real Men Of Genius Bud Lite commercials), the theme from Rocky III is still as popular as ever three decades later. Along with winning a Grammy the song was also nominated for an Academy Award, became the #1 song of 1982, has to date over 2.5 million downloads on iTunes and ranks as the #3 best song to workout to according to Men’s Health magazine.
The band would strike Rocky gold again a few years later when the song “Burning Heart” was released as part of the Rocky IV soundtrack. Although this song didn’t fare quite as well as Tiger, the music from Survivor continues to be both inspirational and motivating to me. As you’ll soon discover, the seed planted with Eye of the Tiger would not only begin my admiration for the band but would ultimately become the spark that would fuel my life and music for years to come.
When I first started playing guitar in 1984 a new Survivor album was already making its way up the charts. Vital Signs was the first album to feature new singer Jimi Jamison on vocals and was the very first record I ever purchased. (Jamison would later go on to sing the infamous theme from the television show Baywatch). Songs like “I Can’t Hold Back“, “High on You” and “The Search is Over” were getting tremendous airplay on both radio and the early days of MTV (back when they used to play music videos). These were songs with melodies and lyrics that really spoke to me. Words of encouragement in my love less adolescent youth. Songs I wanted to learn how to play.
So while most other aspiring guitarists were locked away in lesson rooms with their guitar teachers learning Van-Halen and Def Leppard solos I was dragging my butt in with a menacing jet black Gibson Explorer asking my teacher to show me how to play “I See You In Everyone“, the final song on the Vital Signs album, note for note.
Now that I think about it I can still recall the puzzled look on my teacher’s face when I brought the album to lesson for the first time. And I can still picture him saying: “What, no RUSH?….No AC/DC?…No Bon Jovi?” and I’d just smile and think to myself, “Nope, even better!” For how could I possibly tell a man who grew up watching artists like The Rolling Stones and Led Zeppelin that the absolute best concert I ever saw in my life was Survivor and REO Speedwagon in 1985? But it was, and quite frankly still is, true.
By 1986 my longing for a new Survivor record was finally appeased. When Seconds Count was released and immediately consumed me. Songs like “How Much Love” and “Rebel Son” inspired a then seventeen year old boy to reach higher and the ballad “Man Against The World” made me want to track down keyboardist Jim Peterik himself and make him show me how to play its beautiful melody. By this point I think most of my friends knew that my whole Eye of The Tiger/Survivor phase wasn’t just a passing fad. In fact, one of my best memories of graduating high school was the post grad party my parents held where me and a bunch of other musician friends all set up our gear and played half of the Vital Signs record.
It wasn’t long before college came calling and once again Survivor was there with me. This time with 1988′s Too Hot To Sleep. I can’t begin to tell you how many trips across the miles of campus I made with “Didn’t Know it Was Love” and “Desperate Dreams” blaring on my Sony Walkman. Although the band themselves consider this to be their best album the fact that it didn’t achieve big commercial success didn’t bother me one bit. For me, much like them, it’s always been about the music and this one delivered the goods.
Once college life was over the job of real “work” began. While playing my part in the 9-5 crowd over the years I’d keep myself busy in the musical groove by writing and performing in various bands. All the while I’d find myself writing songs that were influenced by the amazing songs from those Survivor records. Unfortunately it would be quite a while before I would hear any new music from the band other than from compilation albums. Unless of course you count that hilarious Starbucks commercial.
Finally in 2006 a brand new album, Reach was released and listening to the first song and title track was a much welcomed slap in the face. The blaring guitars and drums told me that at long last the Tiger was back. I immediately proclaimed, to myself anyway, that this song should be the one they start every show with. This record not only featured guitarist Frankie Sullivan singing lead on few tracks but also contains the song “Fire Makes Steel”, yet another inspirational anthem which, go figure, was almost and should have been included in the film “Rocky Balboa”.
As you can see, I’m a huge fan of this band. I also know that the band has gone through several line-up changes over the years. Different singers, bass players and drummers have come and gone. There’s no need for me to know all the reasons why. I can personally attest to there being drama in every band so line-up changes are not at all that surprising. But it was unfortunate that Jimi Jamison, the voice that became synonymous with Survivor for me had left the group shortly after this record was released. Robin McAuley, most known for his work with McAuley Schenker Group would take over on lead vocals for subsequent tours over the next few years.
Flash forward to 2012: A surprise announcement was made that Jimi Jamison, who had released several well received solo albums since his departure five years ago, would once again be rejoining Survivor for a new album and tour. Having suffered for years listening to robotic voices and synthesized loops in what’s being peddled as “music” these days my prayers for real new music and songwriting from my favorite band is about to come true once again! To say that I’m excited is an understatement.
Ironically enough, it all seems to have come full circle for me. This “new” Survivor is going to happen nearly thirty years to the day since I first heard that guitar riff in the darkened movie theater. The summer night that changed everything for me. And the message of the song couldn’t be more true today:
Just a band and it’s will…to survive.
With artists like Michael Jackson, Madonna, RUSH and some up and coming band called U2 all vying for attention, it definitely was a time of great consideration as to where to put your money.
But not for me. For me there was no doubt.
The first album I ever purchased was Vital Signs, the fifth studio album from the band Survivor. Nine killer songs written by guitarist Frankie Sullivan and keyboardist Jim Peterik. Nine songs sung by Jimi Jamison, one of the greatest rock vocalists of all time.
I spent many months in guitar lessons eagerly dissecting this record with my teacher learning all the nuances and theory behind the music contained on it. In the end, I wound up learning most of the album note for note.
Frequent readers of my blog no doubt already know about my love for this record but might not know why. So, to fill in the gaps I’ve decided to again dissect the record track by track to show you why this was such an influential record for me. An album that today is now framed and holds a coveted spot on my wall. Right alongside the very first Beatles record.
Track 1: I Can’t Hold Back: This was first song I heard Jimi Jamison’s voice on. Actually, it was the video for it if you really want to know. Back when MTV was in its infancy and actually played videos.
I remember watching the guys standing around in the library as the intro played and thinking, “Oh that’s cool”. But once Jimi started singing “There’s a story in my eyes” that was all it took.
This one song is the single reason I wanted the album. And that was without even hearing anything else. It just goes to show you how big a deal the first single released from an album is.
I especially love it when Jimi sings “This Love Affair Can’t Wait” for the final time. You really feel the emotion of what the song is trying to convey. It’s the final powerful exclamation: You know what girl?…I Can’t Hold Back.
From a technical perspective one of the things that really hooked me in on this song was guitarist Frankie Sullivan’s use of feedback. Right when the song starts picking up in the first verse you hear it.
Most of the time feedback is annoying but in this case its controlled and it actually brings the whole song together.
Oh, and looking cool in the video helps too.
Track 2: High on You: Ah, the black and white video with the blue light bulbs. And another love interest for Jimi to sing to. This song hooked me with the cool keyboard sound and the little guitar lick in between verses. Of course, the powerful chord change to minor in the pre-chorus also was killer:
“Now I’m higher than a kite, I know I’m getting hooked on your love”.
Track 3: First Night: This beautiful song begins with nothing more than piano and Jimi singing: “We will remember this first night forever, after all the songs fade away and the stage fades to gray”. Then just as you think the song is heading one way it kicks into high gear.
After still being on a high from the last song (no pun intended) this track was a refreshing change of pace. It settled things down for what was to come.
“Emotions run wild, are we on the verge?
We’ve got a hotline to satisfaction.
I’ve got the answer if you’ve got the urge”.
Track 4: The Search is Over: Taking on the world was just his style. Hey, wasn’t this the third different girl Jimi Jamison had in as many videos? That guy gets around.
After Eye of The Tiger, this song was the one that really put Survivor back on the map. And fortunately for me, it’s a song that was just reaching its peak when I saw them on tour with REO Speedwagon back in 1985.
“Now at last I hold you, now all is said and done
The search has come full circle
Our destinies are one.”
As a hormone raging teenager, this song and I Can’t Hold Back were my refuge when the days of school and girls were tough.
Track 5: Broken Promises: Again, the lyrics in this song. The imagery. Magic. “Summer and smoke, diamonds and dust.”
I still remember all the weekend nights I’d spend up in my room in silence just listening. This song made me think: “Is it really written in stone that we wind up alone?”…
Or how about these lyrics:
I remember those songs on the radio
The jasmine, the wind in your hair
And how it hurts to remember those
Track 6: Popular Girl: Another great track and the opening one to Side B of the album. I swear, every time I listen to this song I hear something new.
Just the other day I gave a listen to it again and really caught for the first time the moving guitar part in the chorus. A whole lot is going on there and yet out of the hundreds of times I’ve heard the song I somehow over looked it.
There’s so much more to music than just three chords.
She walks down the street, knocks ‘em dead on their feet
With a casual nonchalance
When she’s breaking your heart, she’s the state of the art
With license to take what she wants
Here’s another thing I love about the Peterik/Sullivan songwriting combination: They always take obscure words you’d probably never use and some how find a way to make them work. Like “nonchalance” from this song, “Spire” from Burning Heart, “Reverie” from Desperate Dreams…. the list goes on.
Track 7: Everlasting: The message in the song says it all. Something I was really looking for in 1984 even if I didn’t fully understand what love was at the time.
“I’m looking for a love that’s everlasting, I wonder if the feeling’s strong enough?”.
This is the one song from the record that in my opinion best showcases the vocal combination of Jimi and Frankie. When you hear the chorus it’s hard not to sing along with it.
Track 8: It’s The Singer Not The Song: Take a message from me and I promise not to come on strong: this song kicks. It’s raw and in your face as soon as it begins.
This is the one song on the record where I think producer Ron Nevison just told Frankie to shred on guitar. And shred he does. I can just imagine Ron sitting back in the studio, pushing record on the console and listening to this tasty outro solo that goes on for at least 45 seconds.
Yet another example of a Survivor song containing positive messages about looking inside yourself and never giving up. Sure, sometimes it’s all about love but on a track like this it’s more about self-contemplation. It poses the question: Am I good enough?
And the answer of course is YES.
Secondly, it had a guitar solo at the end that I needed to learn…and immediately.
This was the first song from the album I learned at guitar lesson. I had no problem learning the chord changes, it was that damn two-part guitar solo that gave me fits.
Thankfully, there’s a keyboard solo before the final chorus so I had a enough time to get my bearings together before tackling it.
It took this young guitarist weeks to learn how to play the final song from Vital Signs correctly but it was well worth it.
Because I’ll never forget the first time I placed the needle down on vinyl for this song and played the whole solo along with Frankie. It was one of the first real accomplishments I had as a new guitarist.
The day I mastered See You In Everyone.
Now you would think that as a musician The Grammy Awards would be something always on my agenda of things to watch. To see the best of the best get their due. But sadly, the ceremony, much like the AMA’s, CMA’s and any other “MA’s” I may have missed, seems to have become nothing more than just a lackluster showcase for the music industry to pat itself on the back instead of awarding real talent.
Don’t get me wrong, this year Adele easily deserved to sweep everything. She is a true diamond in a sea of the same old same. But outside of her obvious and most deserving win, every year the awards seems to turn more and more into something that can’t be taken seriously.
Consider the way Chris Brown was graciously accepted back onto the stage again and won a pair of awards after his most recent shenanigans. Or the way Dave Grohl of The Foo Fighters was blatantly cut off during his acceptance speech when he started telling the truth about how music should come from the heart and not a computer. And lets not forget the fact that a group of “old men” (The Beach Boys) schooled everyone who hit the stage before them with true vocal harmony.
But I’d really like to focus the meat of this blog on the list of artists from the “Rock Performance” and “Metal” categories. Because, you know me, it’s all about the Rock and Metal.
First, here’s a list of winners from thirty years ago:
Record of the Year: Rosanna: Toto
Album of the Year: Toto IV
Song of the Year: Always on My Mind: Willie Nelson
Best New Artist: Men at Work
Best Rock Vocal Performance, Female: Pat Benatar-“Shadows of the Night “
Best Rock Vocal Performance, Male: John Cougar Mellencamp -“Hurts So Good”
Best Rock Performance by a Duo or Group with Vocal: Survivor-“Eye of the Tiger”
Best Rock Instrumental Performance: A Flock of Seagulls – “D.N.A.”
And now, here is a list of Grammy winners for 2012:
Record of the Year: “Rolling in the Deep,” Adele
Album of the Year: “21,” Adele
Song of the Year: “Rolling in the Deep,” Adele Adkins & Paul Epworth
New Artist: Bon Iver
Pop Solo Performance: “Someone Like You,” Adele
Rock Song: “Walk,” Foo Fighters
Rock Album: “Wasting Light,” Foo Fighters
Rock Performance: “Walk,” Foo Fighters
Hard Rock/Metal Performance: “White Limo,” Foo Fighters
Look at the variety of artists from three decades ago. All with hit songs and all deserving. Where is that variety today?
Please don’t misunderstand me, I love the Foo Fighters. Really, I do. But three different songs winning Grammy awards? And one Grammy for Best “Metal” performance? The Foo Fighters aren’t “Metal”.
It really upsets me that there seems to be a lack of true nominees in these categories whether by accident or deliberate intention. Every time you see the list of nominations you pretty much know who is going to win. And why is it that groups you’ve never heard of always seem to get a nod and bands that have Grammy history and new albums get ignored?
Consider artists like Journey, Foreigner and Night Ranger for example. Ok, I agree that it’s been years since any of them had songs that topped the charts. But all of these bands have released albums of brand new music, most of it very good and all within the time frame of nomination, but their body of work wasn’t even acknowledged by the academy.
Now I’m not saying any of these artists should win. Hardly. All I’m saying is that wouldn’t it be nice to at least recognize the efforts of bands that have stood the test of time and continue to deliver music for their fans? But instead, true musicianship gets over shadowed by the need for computer generated beats and auto-tuned vocal performances.
I guess I shouldn’t really be surprised though. I mean lets face it, this is the same awards show that gave the very first Grammy in the Hard Rock/Metal category to Jethro Tull instead of Metallica.
And don’t get me started on that whole Milli Vanilli incident.
I remember being a teenager and going to my first dance. It was one of those events where I wanted everything to be perfect. My brother, who was a few years older than me, had his own room and a bottle of cologne that he had bought with his own hard-earned money sitting in his dresser drawer.
Even though I had already showered, I still remember wanting to make a big impression with the “ladies” that night. I certainly didn’t want to take the chance of coming across smelling like teenage sweat and gasoline from mowing the lawn earlier in the day.
My brother was away so I secretly crept into his room, donned some of the essence of manhood, resealed the bottle and was on my way. “He’s got so much of it, he won’t mind if I use it”, I said to myself.
Of course, when I came home from the dance and my brother smelled the remnants of his cologne on me well, needless to say my arm hurt for weeks from the punches I had received.
My point is: there are consequences for doing things without permission.
The same can be said for politicians who decide to use artists songs without permission for rallying cries and campaign themes. As was evident most recently when Newt Gingrich decided to use the song “Eye of The Tiger” by the band Survivor as the entrance theme for his political events. An author himself, and probably more knowledgeable in the area of copyright laws than the average person, Newt should have known better.
Consider this: What if someone were to raise money for their own cause at some conference by reading verbatim one of Newt’s books? If large amounts of cash started pouring in, how long would it be before Mr. Gingrich would send a registered letter with a cease and desist order attached to it?
We’ve seen this before. In 2011 Congresswoman Michele Bachman tried to use Tom Petty’s “American Girl” without permission. In 2008 then republican presidential candidate John McCain tried to use the song “Running on Empty” by Jackson Browne without permission.
Even as far back as 1984 President Reagan attempted to use the Bruce Springsteen anthem “Born in The USA” as part of his re-election campaign . In each case the candidate was eventually, and sometimes embarrassingly denied.
But unauthorized use of songs isn’t just restricted to republicans. in 2008, then candidate Barack Obama started using the song “Hold On! I’m Comin'” made famous by R&B group Sam and Dave. That is of course until Sam Moore, the songwriter, requested he stop using it.
All of these are good songs and ones that would be a no brainer for use at rallies and campaign events. But the people using them all forgot to seek permission to use them first.
Now some may think to the contrary but I personally don’t believe songwriters choosing to sue or have cease and desist orders sent out are based on personal politics. What most people don’t understand is that songwriters put their heart and soul into their material.
Songs aren’t just something you create like a paper airplane. The words and music contained in songs are the thoughts, pains and struggles of the writer. They’re actually living, breathing works of art and as such, it’s the writers duty to protect their copyright. As a songwriter myself, I can relate to this.
But whether or not a songwriter chooses to allow a political candidate, or anyone for that matter, to use their material is irrelevant. Maybe they will let you use it and maybe they won’t. But to avoid consequence, much like the lesson I learned using my brothers cologne, you should always remember to do one thing:
Get permission first.