On the Seventh day.

My brother Louie recently posted a Paul Elliott article from Classic Rock, Is Heaven and Hell Black Sabbaths Finest Hour? I read the article, and absolutely understand why someone would make that statement. It is a very fine hour indeed, just not for Black Sabbath.

I would argue this is not a Sabbath record at all.

When we are all gone and the world looks back at our generation, explaining post Ozzy Sabbath won't even be much of a footnote. They were the creators, the guys that started it all. In hindsight, history will only discuss one true Black Sabbath. No one will care about the 5th bass player or that one guy who kinda sounds like the other guy (with all due respect to Tony Martin).

Ozzy and Sharon got it right when they made Iommi change the name. It truly is something else entirely, and deserves its own accolades. Heaven and Hell and Mob Rules may be Dio's finest hour. It is absolutely Iommi's finest hour. A directional shift away from blues based horror rock, and overhaul into a completely separate entity. His playing is phenomenal, and the writing is watershed.

I have always felt calling Iommi's bands post Ozzy, Black Sabbath, is a discredit to the original band, and calling "Heaven and Hell" "Black Sabbath" is just not accurate. Especially in hindsight. I will give Tony credit for keeping it somewhat barely alive after Dio, but as someone who was there, Iommi seemed to be lost from a fans perspective. Sabbath wasn't chasing the Ozzy years during the 80's, they were chasing the Dio material, and save a few memorable tracks, not doing it justice.

I look at Sabbath as 4 bands. Black Sabbath, Heaven and Hell, Red Devil Baby, and Headless Cross.

Heaven and Hell was an amazing band and probably my favorite of the 4. Dio/Iommi/Geezer/Bill/Vinnie made two amazing records in the 80's, and showed the world how metal should sound.

Rip Ronnie.

On and on. And on. And on.

Nago.

Ocean Born

I have been writing about the songwriting process, off and on, for a long time. I leave hints at being a songwriter on occasion as well. The reality of writing, for me, is that I never stop learning and evolving. If anyone asks what my best work is, I usually say "the next one."

This is the story of the evolution of my latest work: Ocean Born.

This song has had me perplexed for months. It started as an idea, 2 chords, and a lyric. The idea was to write about a codependent relationship. The chords were G and C, and the lyric was about drinking too much tequila. The issue was that I couldn't get past the starting line. I hovered there for months thinking "will this song ever flow?"

The struggle was visionary and structural. I don't really wish to come across as promoting a drunken lifestyle. However, for the sake of the song, it almost needed start there.

I had some early help with a friend who has assisted me in the past with concepts, but we wrote it on the fly, and I was not convinced the treatment was true to how I felt. After writing the first draft, the question came up: does this work as a codependent song? Is that really where it needed to go, or could I take advice and lighten up? It almost seemed too dark. My gut was saying "rewrite."

The next issue was in the chord selection and strum pattern. There is nothing special about a G,C,G pattern, but the original sounded too familiar. I am still not completely sure what it sounded like, but it was definitely something. After strumming around, I instead chose a  more natural (to me) strum and moved the C chord to a slightly generic D/F#. It felt a little better that way. I also added a little ear candy to the riff to break up the monotony.

From there I need to actually structure the verses. This was a huge struggle. I actually liked the words I had already written, but again, for the sake of the song, I knew I needed to get over myself and re-write. Originally, there were references to sleeping through church (due to hangover), lines about leaving a lonely girl alone (had to be modified), and many other lyrical quips I slaved over.

So, conceptually, I messed around and settled on an old idea. Everyone I know, at one time or another, has thought about living at the beach. I even had a title, Ocean Born (lifted from a Nightwish LP, Oceanborn ). I liked the idea of using the title as symbolizing a new beginning.

I probably asked too many opinions about this song early on, but I did find them valuable. I did not want to settle. The issue is that others will hardwire an unfinished work as gospel for a minute. It eventually corrects itself with time. I may continue to ask for opinions, as it pushed me to really work out a complete concept versus just another bleeding heart cry for attention.  The result, for me, is a story of hope.

The chorus, and its country fried Thunder Road concept, solidified the message of hope. The cherry on top was accidentally pulling a stop/start pattern by muting all the strings. Its something I have unconsciously done for years, but I recognize its potential after learning an acoustic version of Brantley Gilbert's Bottoms Up. Its a pretty solid effect when placing emphasis on a lyric.

This song was inspired by modern country music, there is no doubt. I am learning new things from paying attention. There seems to always be a conceptual noun or phrase a song is written around. It's very counciously done in Country. I maybe did this in the past, but it was more about feeling, and if a concept emerged, great. I can be a bit more of a storyteller than a romantic writing this way, and its opening my mind to new ways to hone this craft. The use of the word "Country" was planned, and executed, because I needed to give a middle finger to my beloved peeps busting my balls about "going country," and a nod to the genre inspiring it. Also, I do what the hell I want.

Play Me Daisy, my last dive into this genre, was a bit the same. However, I was absolutely writing that song from my gut for my friend and fellow songwriter, Mary Lou Scherder. I was engrossed in massive amounts of Punch Brothers at the time also, which is probably why it sounds bluegrassy. I look at Play Me Daisy and Ocean Born as equals and opposites, but maybe my coolest acoustic work to date (in my mind). They both are rewarding in the challenge of how they made me push my limits.

In conclusion, I feel like a new LP is inevitable, and these two songs will act as cornerstones. If they are any indication of things to follow, I am really gonna love the next song, which I hope will be my best song.

Nago

(Cry Out) I'm trapped underwhelmed.

It's been a Metallica week for me. Last weekend, I caught snippets of Some Kind of Monster on Netflix. That movie is the thing that should not be. Drama from 40 year old multi-millionaires struggling with remedial art? It's a train wrecking into a flaming bus, and it's good fun.

Of course the recent Grammy fiasco during the performance with Lady Gaga possibly put the band into my frontal lobe. Thats how these little musical digressions start, folks. For those not aware, James mic was unplugged.

Metallica is an entity that has always been there in my life. I was 9 when Kill 'Em All came out, making the release of Master of Puppets smack dab in the middle of my influential preteen years. I grew up (and old) with them. I watched every triumph and misstep as a fan from the sidelines. They are part of my DNA.

Like so many other fans, for me, Metallica has 3 masterpieces, 2 great LP's, and one pretty badass EP. From 1983 till 1991 they could do no wrong. The forged a legend that is pay dirt 35 years later. They are the U2 of Heavy Metal because of their early work. They became the biggest metal band that ever was.

But from there, they kinda phoned in a couple of LP's (I secretly love Re-load), did a bunch of covers (I'm sorry, but they all suck! Turn the Page? Whiskey on the Jar?), and a song for a movie soundtrack. They sued Napster (they were right in doing so) and shit out the unlistenable St Anger.

Now, I did enjoy 2008's Death Magnetic. My bro Snyder and I both geeked out about it in a major way. It felt good to hear Metallica sound metallic. DM was well received and breathed new life into the band. It's been 8 years, and now they follow it up with an ever better LP worthy of the brand. I listened to Hard Wired today in its entirety. I had heard the singles, and the one that blew me away was "Spit out the Bone."

It's safe to say that Metallica is finally aging well. They play to their strengths, have learned from mistakes and just about killed it this time. Good show! They could have made another shit LP and toured, but they pushed themselves forward. I dare say it's really good.

So forgive me for this late (and kinda vague) review. I guess I have blown off so much Metallica over the years it has become habit. But take LuLu out of the equation and the last 8 years have been pretty stellar. Death Magnetic is ok, Through the Never is cool, and Hard Wired is the best we can expect from Metallica. Dayum, they even hosted the infamous "Big Four" shows. Not too shabby of a run.

I do have an old bone to pick though. Am I the only one who cares that Enter Sandman is loosely about Peter Pan? Not very metal.

Rufio > Pan.

Nago

Songwronging.

I like to believe I write good songs. Its really a passion and sometimes my favorite thing about me. I've blogged at length about the process and how unrewarded it can make you feel. When it's good, and for no other reason than to write, it can be most rewarding.

As someone who writes, I can appreciate a great song regardless of genre, as long as its not too disingenuous. Because of the business of Pop Culture, an entire industry of songwriters compete for the next major hit more often than performers do. Being a starving singer songwriter bears no accolades 98% of the time. For every Taylor Swift, there are 7 Million talented songwriters who will never date John Mayer and express their thoughts in song for the world to actually hear. Taylor writes good songs. She also has the luxury pool of talented people to assist, but her knack for ear candy is perfect for this day and age.

There are some who look under rocks and in smoky underworlds to find great talented songwriting. I fall somewhere in between. I am just as likely to freak out of a jam on Liquid Metal as I will on Coffee House, but know enough to find other sources to feed my hunger for fresh material.

Country Music surprises me more often than I admit. There is some great original art coming out of the sticks. Eric Church, an artist I cannot confirm actually writes at all, has some very good song selection beyond the scope of, yet with respect to, the Country genre on whole. A compliment from me to him, yeehaw.

Everything I write, regardless of genre, is me and a guitar. Its a raw form of writing, but it's perfect for me. It's honest. Just strings and my voice.

I've been tooling around with a song for months now. It's gone through a couple of transformations over the course of time. Every time I believe I am on the right track, the focus shifts. It's proving to be a challenge, but an accepted one. I have asked for, and received, opinions from the outside world, but it's my recipe to phuck up, so Imma stop that, stat. Also, this new song is not about anything other than a story. My new mantra adopted from the process: "Sometimes shit just rhymes."

It's a good thing, actually.  I'm in a good place. I'm not heartbroken, desperate, mad or crazy. Life is definitely on a upward climb right now. The people around me are happy, and I choose to be happy as well. So, no desperate pleas of longing, no "Let Out" lyrics, and no crying from me this week. I am writing about a daydream of sorts: running away with a girl to the beach.

Why? Because sometimes shit just rhymes.

Kill a word.

Nago

Let me help you, out of the chair, Grammy.

Ohhhhh, Grammys....

I haven't really given one actual phuck about the Grammys in a very long time. I don't pine over watching them. It's never a priority.  It's entertaining and all, don't get me wrong, but not much changes in the world of popular music year over year, and the most interesting awards are not televised.

Yesterday morning I awoke to the news of Megadeth winning the Best Metal Performance category for their song Dystopia. Wait, what? Who else was nominated? Wasn't Gojira? Baroness was up for the prize also, right?

For those of you who knew me at 14, this may come as a shock, I believe Baroness and Gojira got screwed. Why? Consider both bands. Both are pushing the genre to new and interesting places.

Baroness was nominated for their horribly underrated "Shock Me," a song that is melodic, fresh, heavy and yet still has a throwback feel. Baizley and Co nailed it on this track. It sounds huge, and progresses Baroness beyond their already stellar catalog.

Gojira's "Silvera" is also a palatable turn against the normal fist pump. It could be said these guys are on the edge of the current experimental phase the Metal genre seems to be flirting with. Guitar trickery turned riff badassery, this French troupe is making an impact in todays strange market.

Megadeth should have won a Grammy in 1991, when Rust In Peace was up against Metallica's cover of Queen's Stone Cold Crazy. Megadeth was still fresh and pushing Metal forward then.

Looking back at the Metal category in general, the Grammy typically goes to legacy bands. Sabbath, Ozzy, Metallica, Judas Priest, Motorhead, etc... have all won this prize. Seeing how a Metal Grammy didn't come into existence until 1989, one can easily call it a joke anyway. No Pantera? In the 1990's? Huh?

Dystopia is a good song, I'm not shitting on it. Megadeth consumed my teenage years, so I am happy for them. But, Baroness deserved the win Sunday night. Listen to Baroness. Do it now.

Nago

A very Bad, Nationwide blog

With all due respect to my cool friends who grew up in the 70's, I found myself humming this classic ZZ Top tune whilst boarding a plane home from a business trip, and imagining the weirdness of you actually saying this to each other.

Q. Hey man, how's it hanging?
A. I'm bad, I'm nationwide.

Just then I am once again thinking way too much about a lyric in a 40 year old song. So, in typical form, I'm going to completely nerd out about it.

Lets break it down on a remedial level. "I'm nationwide," in the context of the song, is meant to emphasize the feeling of being "Bad." Feeling "Bad," in this environment, means feeling cool, or maybe cooler than others. Its a case of a negative becoming a positive to have an impact. Michael Jackson was "Bad," and I'm sure he wasn't talking about leaving the toilet seat up, nor did he have a headcold. Michael's ode to being cool could have easily been followed up by "I'm global," if put into the same light as the ZZ Top tune.

So, the lyrics go on about having swagger: "With my New York brim and my gold tooth displayed," it easy to assume these guys were taking a piss at 70's fashion and culture. If this is the case, this song is horribly underrated. Personally, I feel like 70's ZZ Top is underrated anyway. They were heavy groove, loud guitar, distorted and yes, bad and nationwide. They attacked hard rock with swing. 

Or, maybe it's the classic rock equivalent to a bragging hip-hop tune. Either way is good for me. I think the only issue with the song is the constant rotation on classic rock radio. A kiss of death for me, as the format tends to make album rock nothing more than background noise. It's the same playlist, over and over, every day, month, year, and so on. No bueno.

In conclusion (this plane is landing soon anyway), I am going to try to bring this term back. Be warned. If you see me, and ask how I am doing, don't be surprised if I put a spin on it. I'm thinking, "I'm always bad, I"m nationwide after all."

Not even remotely sorry.

Nago

A singer in a smokey room...

This past weekend, I was reminded the power of song.

I love my life. I never know where I will end up on any given day. Last Friday, I found myself in State College at a Brantley Gilbert concert. Now, before anyone gets all butt hurt about my attendance, I ask you to go to a bro-country concert, and see if you don't walk away with the satisfaction of a great rock show. His band even launched into a medley that included Kashmir and Beautiful People (no lie). Also, I have been covering Bottoms Up for a few months now, and it's my favorite cover at the moment.

As interesting as that was, this blog has to circle back to a previous installment for some sweet vindication of another sort. Between acts, before the headliner (Brantley Gilbert), the soundmen had the intuition to play Journey's "Don't Stop Believing" over the PA.

The crowd responded by singing every word. My best guess on attendance is around 8,000. Next best guess is 70% of the floor was singing Journey. Maybe 1000 people? It was loud enough to give me goosebumps and make note of it.

The country night was an extreme about face in comparison to the art night at the Carnegie Library in Munhall last Wednesday. As promised, we went to see Post Modern Jukebox. The Carnegie in Munhall kind of blows as a venue. Worse than the shite seating was the Muppet who sat in front of me. I named him Q-Tip. Q-Tip was uncomfortably moving in and out of my personal space with no regard to his actual area assigned to him. I believe he may have been on pills or something.

Update: 08/23/2017.
I drafted this blog back in February, and just saw it again today. It made me laugh, so I'm gonna post it. No fan fare, just words in a q.

Nago.