Well a few days have past since the passing of Amy Winehouse. I deliberately put off writing about her untimely death I wanted to wait until the whole celebrity aspect of it died down. Now I'm not gonna speculate on what caused her death. It was most like due to drugs, but you never know. Maybe it was a murder. Maybe it was a suicide. Maybe it was due to sobering up that caused other complications in her health. It is endless and not a debate that we need to go into at this point.
From a historical stand point just another number added to the list of 27. Another victim of the Curse of 27. Joining the ranks of Jim Morrison and Kurt Cobain, she's in good company (Joplin would be a better example but whatever). Many have speculated on the Curse of 27 and tried to answer why 27 is so significant. Ultimately, I believe it is just a stastical anomaly. No good reason. It's just because. Maybe except for Kurt Cobain, since he was so enchanted by the allure of the curse, 27 really holds no signficance. Regardless it is a sad time, when we as musciains have another number to add to the curse.
Now to the music, the legacy that Amy Winehouse leaves. 2 really, really influencial albums. Well maybe 1 influencial regardless music would not be where it is today without her. Back to Black won her 5 Grammys in one night, which is incredible. Now I don't place much significance in the Grammys (actually I loath them) but something must be said by the dynamics of winning that many awards. I'm not going to into the discussion of the level of artistry or musical maturity that this album has simply because I know very little of her music. However, what is important to note (in my mind) is the influence she has had on modern music. That throw back style to early swing and big band music, with that very old soul voice - modernizing it and bringing it to the 21st century. That spawned a large industry shift. The old was new and the new was old. Right now on the radio I hear that Cee Lo song, Fuck You... I think is what it's called. Don't worry I'm not listen to it by choice, I just happen to be at work right now, and it's on the radio. Regardless, I listen to it, and think could this really be possible without Amy Winehouse. Look at the top female charters today, Lady Gaga to Duffy. They all cite her as influences and some even say the reason they even decided to pursue a career in music. That's huge. Regardless of how daft I think Duffy is or blatently Gaga is a copycat, it still a huge thing to influence a whole scene.
So with all that said, it is very tragic that she pased away. We all knew that it was inevitable, but that does not take away the shock or saddness of the event. But what is inportant after death, is to celebrate their life. Celebrate the music she left us. That hopefully will be her legacy and not all that garbage in the tabloids and such.
On a sidenote, apparently she's one of Geezer's favourite musicians. Who would have thought eh?
Friday, July 29, 2011
Wednesday, July 27, 2011
Payola
What is payola?
"The illegal practice of payment or other inducement by record companies for the broadcast of recordings on music radio, in which the song is presented as being part of the normal day's broadcast." - Wiki
At first glance, payola seems immoral and wrong but if you think about it, what's wrong with it? Music is not only art, but it is also a product. The airwaves and TV channels are just mediums in which you promote your product. The internet works in such a way. Paying for adverts in digital space, paying for placement in certain sites, etc. I personally find nothing wrong with Payola. Although if it is publically funded then there is a problem, but let's just work with privatly owned firms and corporations. This is just simply how things the private sector should work. Paying money for prime advertising time/space is the same as paying money for a prime location of a business. And yes I realize the implications of this if it becomes a legal process). It will mean musicians need a large financial backer to be able to acquire prime advertising options. But this is how the private sector works. You need to invest money and hopefully come up with a profit. This is the pure business logistics of the issue and I see no point in making it illegal in the private sector. The public sector is a different issue because that is paid by the public and should not be influenced by some company to shove music down thier throats. But the private sector should be what it is.
I was reading an article in The Economist about payola issues in the K-pop industry and relating it to the legal troubles of the America industry in the 50's and 60's. This is not surprising to see that payola is an issue in an industry that is over saturated with plastic manufactuered crap. It's not much of music industry, rather it's more of an idol/celebrity industry. Regardless, I'm not surprised. What I'm surprised by is how much the author is surprised by such a revelation that payola is still an issue in South Korea. No one should be so stupid as to think that payola doesn't occur in North America/UK. There's no way this practice doesn't happen. I care not what Spitzer does in New York. In happens and you can't stop it. You pay so low paid jokey 10,000 bucks and get a possible return of 1,000,000 record sales. It's pretty simple math. Even if you get caught, the fine can't be anywhere close to the money you would make from a million sales + all the other publicity that comes with it. The industry today is the same as the industry of the 50's and 60's in that regard. Nothing has changed. It's just done more in the shadows now instead of out in the open.
Now, why is payola not really an issue that everyone should be concerned with. Ultimately, the product needs to be good. No matter how much someone forces me to listen to a song, it will not change my opinion of how good or how bad it is. Yes, yes extra publicity will = more people hearing your song. But if no one likes your song, no matter how much money you throw at it, it makes no differenece. Good is good. Now I'm not naive enough to think that people listen to music for the artistic element but rather they just listen to it because it's entertaining or background noise or *gasp popular. And to that I say, should we really care. Should, we as musicians really care, what drones such as them really listen to. Yes, yes it is a market of music buyers but it is also a market that we have no place in. We can make a quick buck in that market, but in the long run, there is no place. Should we really care about what drones listen to. Should we really care that they are being spoonfed a setlist that was paid by a corporation. They are not taking any of our marketshare, people looking for real music will not listen to the radio or the TV, they will listen to their heart. They will listen to the pulse of the song and find the true spirit of the artist who wrote it. Those are the people that you must reach out to. Those are the people that we really care about. If the radio station chooses to take payola offers, those people will leave and never listen again to that station. They will move on and find the music that can be felt by the heart. Real music will reach the masses soon enough, it may not be immediate, but the underground will hear and they will listen. So is payola that important? No, because it really does not affect us in any way.
**unless in the extreme case, all music that comes out is actually real music. Then those without a big cheque book are screwed. But seriously, that's not gonna happen. There's only one Bob Dylan. So I don't expect 1000 Bob Dylans one day to show up and flood the charts.
"The illegal practice of payment or other inducement by record companies for the broadcast of recordings on music radio, in which the song is presented as being part of the normal day's broadcast." - Wiki
At first glance, payola seems immoral and wrong but if you think about it, what's wrong with it? Music is not only art, but it is also a product. The airwaves and TV channels are just mediums in which you promote your product. The internet works in such a way. Paying for adverts in digital space, paying for placement in certain sites, etc. I personally find nothing wrong with Payola. Although if it is publically funded then there is a problem, but let's just work with privatly owned firms and corporations. This is just simply how things the private sector should work. Paying money for prime advertising time/space is the same as paying money for a prime location of a business. And yes I realize the implications of this if it becomes a legal process). It will mean musicians need a large financial backer to be able to acquire prime advertising options. But this is how the private sector works. You need to invest money and hopefully come up with a profit. This is the pure business logistics of the issue and I see no point in making it illegal in the private sector. The public sector is a different issue because that is paid by the public and should not be influenced by some company to shove music down thier throats. But the private sector should be what it is.
I was reading an article in The Economist about payola issues in the K-pop industry and relating it to the legal troubles of the America industry in the 50's and 60's. This is not surprising to see that payola is an issue in an industry that is over saturated with plastic manufactuered crap. It's not much of music industry, rather it's more of an idol/celebrity industry. Regardless, I'm not surprised. What I'm surprised by is how much the author is surprised by such a revelation that payola is still an issue in South Korea. No one should be so stupid as to think that payola doesn't occur in North America/UK. There's no way this practice doesn't happen. I care not what Spitzer does in New York. In happens and you can't stop it. You pay so low paid jokey 10,000 bucks and get a possible return of 1,000,000 record sales. It's pretty simple math. Even if you get caught, the fine can't be anywhere close to the money you would make from a million sales + all the other publicity that comes with it. The industry today is the same as the industry of the 50's and 60's in that regard. Nothing has changed. It's just done more in the shadows now instead of out in the open.
Now, why is payola not really an issue that everyone should be concerned with. Ultimately, the product needs to be good. No matter how much someone forces me to listen to a song, it will not change my opinion of how good or how bad it is. Yes, yes extra publicity will = more people hearing your song. But if no one likes your song, no matter how much money you throw at it, it makes no differenece. Good is good. Now I'm not naive enough to think that people listen to music for the artistic element but rather they just listen to it because it's entertaining or background noise or *gasp popular. And to that I say, should we really care. Should, we as musicians really care, what drones such as them really listen to. Yes, yes it is a market of music buyers but it is also a market that we have no place in. We can make a quick buck in that market, but in the long run, there is no place. Should we really care about what drones listen to. Should we really care that they are being spoonfed a setlist that was paid by a corporation. They are not taking any of our marketshare, people looking for real music will not listen to the radio or the TV, they will listen to their heart. They will listen to the pulse of the song and find the true spirit of the artist who wrote it. Those are the people that you must reach out to. Those are the people that we really care about. If the radio station chooses to take payola offers, those people will leave and never listen again to that station. They will move on and find the music that can be felt by the heart. Real music will reach the masses soon enough, it may not be immediate, but the underground will hear and they will listen. So is payola that important? No, because it really does not affect us in any way.
**unless in the extreme case, all music that comes out is actually real music. Then those without a big cheque book are screwed. But seriously, that's not gonna happen. There's only one Bob Dylan. So I don't expect 1000 Bob Dylans one day to show up and flood the charts.
Friday, July 22, 2011
Visual Kei Metal
Without going to specifics of any particular band, today's topic will be Visual Kei Metal.
Now you have to realze that the Japanese culture is very different from North American culture. Just as British tastes (Oasis, Muse) is much different from American tastes (Van Halen, Bon Jovi). So a big reason why bands become the way they are. What may seem strange to us, isn't so strange to them and vice versa. This is akin to the early days of The Beatles (around that time). This is a time where full albums were not made, this was the day of singles. 2 tracks on the A side, 2 tracks on the B side, maybe not even. If you look at the scope of 70s to 00s and artist that just released singles would have been seemed as odd. Much of this is due to industry reasons, I know, but a standard was put in place that expected an artist to have full album, 16 track releases. It seems these days, we're slowly trending back to those olden times, but that is a seperate topic. The main point of this is that bands (with their industry) cater to an audience. The majority of bands will do what is expected of them.
Now with that in mind Visual Kei Metal hails from Japan. A certain type of metal that takes what hair metal did and puts it to the extreme (no allusion intended). The better your band looks, the better your band is. Quite literally. It's similar to the Black Metal Argument, where the more evil you are the better your band is. Which obviously doesn't make sense, but whatever this is norm. Visual Kei is all about dressing in crazy costumes, putting on crazy makeup, crazy anime hair, etc. Styles in Visual Kei in itself are quite varied. They sound like anything from Dimmu to Mr. Big. But the nice thing about Visual Kei metal is that they're not afraid to be heavy. You have to understand that Visual Kei metal is a mainstream form of music, much a kin to Iron Maiden-esque crowd draws, but only within the country of Japan. That's a lot of people. They are part of the pop culture there... just imagine if Slayer was a part of our pop culture. Kerry King will be so pissed all day. So it's interesting that, as a personal hater of hair metal, that such a form of metal is able to exist in such a legitimate metal environment. I think their redeeming quality is due to their music. Not afraid to throw in death growls, not afraid to put in black metal shrieks, not afraid to be heavy. Yet a lot of it stinks of formulas.
I think the bottom line is, Visual Kei metal isn't really all that bad as individual bands. As a whole it is just another cookie cutter. But really and truely there are awesome Visual kei bands. You cannot disregard the meaning or passion that some of these musician's have for the visual arts. Because a lot of these bands the music is a part of the costumes as much as the costumes are a part of the music. Just because these musicians don't look like the musicians we usually see around here, doesn't mean they aren't real musicians. For a different culture a musician just doesn't make music, they combine music with visual presentations. Because at the end of the day this is enteratinment, people come to be entertained. And there is nothing entertaining about Eddie Veddar in a flannel shirt.
Now you have to realze that the Japanese culture is very different from North American culture. Just as British tastes (Oasis, Muse) is much different from American tastes (Van Halen, Bon Jovi). So a big reason why bands become the way they are. What may seem strange to us, isn't so strange to them and vice versa. This is akin to the early days of The Beatles (around that time). This is a time where full albums were not made, this was the day of singles. 2 tracks on the A side, 2 tracks on the B side, maybe not even. If you look at the scope of 70s to 00s and artist that just released singles would have been seemed as odd. Much of this is due to industry reasons, I know, but a standard was put in place that expected an artist to have full album, 16 track releases. It seems these days, we're slowly trending back to those olden times, but that is a seperate topic. The main point of this is that bands (with their industry) cater to an audience. The majority of bands will do what is expected of them.
Now with that in mind Visual Kei Metal hails from Japan. A certain type of metal that takes what hair metal did and puts it to the extreme (no allusion intended). The better your band looks, the better your band is. Quite literally. It's similar to the Black Metal Argument, where the more evil you are the better your band is. Which obviously doesn't make sense, but whatever this is norm. Visual Kei is all about dressing in crazy costumes, putting on crazy makeup, crazy anime hair, etc. Styles in Visual Kei in itself are quite varied. They sound like anything from Dimmu to Mr. Big. But the nice thing about Visual Kei metal is that they're not afraid to be heavy. You have to understand that Visual Kei metal is a mainstream form of music, much a kin to Iron Maiden-esque crowd draws, but only within the country of Japan. That's a lot of people. They are part of the pop culture there... just imagine if Slayer was a part of our pop culture. Kerry King will be so pissed all day. So it's interesting that, as a personal hater of hair metal, that such a form of metal is able to exist in such a legitimate metal environment. I think their redeeming quality is due to their music. Not afraid to throw in death growls, not afraid to put in black metal shrieks, not afraid to be heavy. Yet a lot of it stinks of formulas.
I think the bottom line is, Visual Kei metal isn't really all that bad as individual bands. As a whole it is just another cookie cutter. But really and truely there are awesome Visual kei bands. You cannot disregard the meaning or passion that some of these musician's have for the visual arts. Because a lot of these bands the music is a part of the costumes as much as the costumes are a part of the music. Just because these musicians don't look like the musicians we usually see around here, doesn't mean they aren't real musicians. For a different culture a musician just doesn't make music, they combine music with visual presentations. Because at the end of the day this is enteratinment, people come to be entertained. And there is nothing entertaining about Eddie Veddar in a flannel shirt.
Wednesday, July 20, 2011
2 Topics: Paramore and Blood Stain Child
So topic 1 for today,
Paramore has finally released their single Monster for the Transformers movie.
There's only 3 members left... hmmmmm... plus hired hands I guess.
The video looks like a scene out of Left for Dead the video game.
Regardless, this is a lot darker than the Paramore of Riot era but it does seem a more natural progression from Brand New Eyes.
The song is mediocre at best.
There was a time when I thought Paramore would be the next No Doubt, unfortunately things don't always work out how you want. It's important to note the importance of Hayley Williams however, there will be a new generation of female musicians because of Hayley. That can't be understated. However the leaving of the Farro brothers is an important indication of the state of affairs within this band. Paramore has turned into a corporate machine rather than a band. Regardless i wish these guys well because I'm still hoping that they become the next No Doubt, but I have no expectations for their next album.
Blood Stain Child is a band you should check out. Not really anything that revolutionary. But a good case study for metal. Metal isn't afraid to push boundaries, actually it's a staple of the lifestyle. Melodic death metal + dance/trance. Sounds like Rammstein minus the melodic death. If you took In Flames and added Visions of Atlantis this is what you would get. Probably not a useful comparison since Visions of Atlantis isn't that well know, but it is the closest thing I can think of.
Paramore has finally released their single Monster for the Transformers movie.
There's only 3 members left... hmmmmm... plus hired hands I guess.
The video looks like a scene out of Left for Dead the video game.
Regardless, this is a lot darker than the Paramore of Riot era but it does seem a more natural progression from Brand New Eyes.
The song is mediocre at best.
There was a time when I thought Paramore would be the next No Doubt, unfortunately things don't always work out how you want. It's important to note the importance of Hayley Williams however, there will be a new generation of female musicians because of Hayley. That can't be understated. However the leaving of the Farro brothers is an important indication of the state of affairs within this band. Paramore has turned into a corporate machine rather than a band. Regardless i wish these guys well because I'm still hoping that they become the next No Doubt, but I have no expectations for their next album.
Blood Stain Child is a band you should check out. Not really anything that revolutionary. But a good case study for metal. Metal isn't afraid to push boundaries, actually it's a staple of the lifestyle. Melodic death metal + dance/trance. Sounds like Rammstein minus the melodic death. If you took In Flames and added Visions of Atlantis this is what you would get. Probably not a useful comparison since Visions of Atlantis isn't that well know, but it is the closest thing I can think of.
All this talk of Japanese metal gives me an idea to do a post on Visual Kei Metal. I'll get on that tomorrow
Tuesday, July 19, 2011
My Stupid Pedalboard
My stupid pedalboard is not co-operating with me. Although you really should into the mindset of the pedalboard should fit the pedals not the other way around, I'm trying to keep thing as compact as possible. delay or distortion? Compressor or EQ? arg arg arg
need to choose wisely.
need to choose wisely.
Wednesday, July 13, 2011
Nothing Much Today
For the past two days, have been going a little British on my playlists. Oasis and Radiohead have been on constant rotation.
If there are two songs (one from each band) I'd have to choose, it would be
Slide Away - Oasis
15 Step - Radiohead
Pure bliss
If there are two songs (one from each band) I'd have to choose, it would be
Slide Away - Oasis
15 Step - Radiohead
Pure bliss
Friday, July 8, 2011
Album Review: Gold Cobra - Limp Bizkit
Ok, so Limp Bizkit released Gold Cobra and it's been out for a little bit now but I wasn't too compelled to go listen to it to be honest. To say that Limp Bizkit wasn't an important band when i was growing up would be a flat out lie (sometimes I wish it was true though). It's a combination of the times and the feeling of being an outsider that drew me to the band. I grew up in an era where rap and metal were being combined to make Nu-Metal. From the Linkin Parks to the System of a Downs there were thousands of Nu-Metal bands popping out everywhere. But what made Limp Bizkit different was that everyone hated them. Limp Bizkit relished in that hate and embraced it. They even had the slogan "It's Cool to be a Hater". Regardless, looking back now most of it was dribble.. HOWEVER, unlike general consensus I still LOVE "Results May Vary" . The one album without Wes on guitar, replaced by Mike Smith of Snot. It's the one album in Limp Bizkit's catalog that actually holds some level on intelligence. (Closing track, Drown, is an awesome song).
Anyways, to the review of the album.... well what can I say.... bad bad bad. They went too heavy. Which is a strange thing to say coming from a metalhead but Limp Bizkit basically thought heavy heavy heavy and muddy watered so much of their album with distortion that it just sounds ridiculous and boring. Take for example Napalm Death's first album, incredible, but no one wants to sit through that album from start to beginning. Not comparing these albums in any way but this album sufferers from bullheadedness.
With that said, Wes sounds amazing, guitar riffs are absolutely original and ripping. Lethal still has it, he still knows how to just beef up the rest of the band. Sam and Otto are still ripping rhythm players. And Fred sounds really good on this album, he usually does, but just saying there's a new fire in this one. So after all that it's hard to believe this album could suck so much.
Fred didn't lie, all I can remember from his mouth is "it's going to be heavy as shit"
or at least something to that extent. It's so heavy that the whole thing just sounds like one dribbling song. There's no uniqueness and there's no difinitive focus. It's just heavy as shit. This is the equivalent to a metalcore album but Nu-Metal. Just bland and childish. Another problem with this album are the lyrics, they're very very weak. Fred's delivery is good because he sounds so good but the lyrics are stupid. They are on a lower IQ level than stuff on Chocolate Starfish.
They took the good elements of Three Dolla Bills, Y'all (the heavy) combined it with the good elements of Significant Other (Rap) and tried to make this album. It failed.
There isn't much to say about this album after that, except that it is terrible but there are some finer points on this album.
The thing that makes this album not a complete disaster is Wes. Wes is one of those guitarists that just doesn't get the credit he deserves. All his licks are completely original and awesome. He plays like no one else and no one plays like him. It really is a shame that he hasn't gone beyond the Limp Bizkit moniker.
This album deserves a 1/10.
It's a shame really, everyone sounds and plays so well but really all the songs are boring and undefinitive. The +1 is for the interlude right before Autotune, where Fred starts singing Nookie with autotune. Quite funny, very nostalgic.
Anyways, to the review of the album.... well what can I say.... bad bad bad. They went too heavy. Which is a strange thing to say coming from a metalhead but Limp Bizkit basically thought heavy heavy heavy and muddy watered so much of their album with distortion that it just sounds ridiculous and boring. Take for example Napalm Death's first album, incredible, but no one wants to sit through that album from start to beginning. Not comparing these albums in any way but this album sufferers from bullheadedness.
With that said, Wes sounds amazing, guitar riffs are absolutely original and ripping. Lethal still has it, he still knows how to just beef up the rest of the band. Sam and Otto are still ripping rhythm players. And Fred sounds really good on this album, he usually does, but just saying there's a new fire in this one. So after all that it's hard to believe this album could suck so much.
Fred didn't lie, all I can remember from his mouth is "it's going to be heavy as shit"
or at least something to that extent. It's so heavy that the whole thing just sounds like one dribbling song. There's no uniqueness and there's no difinitive focus. It's just heavy as shit. This is the equivalent to a metalcore album but Nu-Metal. Just bland and childish. Another problem with this album are the lyrics, they're very very weak. Fred's delivery is good because he sounds so good but the lyrics are stupid. They are on a lower IQ level than stuff on Chocolate Starfish.
They took the good elements of Three Dolla Bills, Y'all (the heavy) combined it with the good elements of Significant Other (Rap) and tried to make this album. It failed.
There isn't much to say about this album after that, except that it is terrible but there are some finer points on this album.
The thing that makes this album not a complete disaster is Wes. Wes is one of those guitarists that just doesn't get the credit he deserves. All his licks are completely original and awesome. He plays like no one else and no one plays like him. It really is a shame that he hasn't gone beyond the Limp Bizkit moniker.
This album deserves a 1/10.
It's a shame really, everyone sounds and plays so well but really all the songs are boring and undefinitive. The +1 is for the interlude right before Autotune, where Fred starts singing Nookie with autotune. Quite funny, very nostalgic.
Tuesday, July 5, 2011
Monday, July 4, 2011
Don't Go Away MAD (Just Go Away) should be his theme song
Slow day in music so let's talk about something unrelated to today...
I could talk about why Mutt Lange is the world's biggest idiot.... OHHHH.... speaking of idiots
that brings us to today's topic
Vince Neil
Vince Neil lead singer of Motley Crue, but more notably the guy who killed his friend in a car crash because he was drunk driving. When we talk about Tommy Lee we think drummer for Crue, sex tape with Pamela Anderson. When we talk about Nikki Six we think douchebag but talented song writter for Crue. When we talk about Mick Mars we think guitarist with a spinal disease who is able to stand on his own two feet and still play. I'm sorry, this band might look like a bunch of rowdy holligans but every single one of these guys is attributable to some level of musicianship or some level of respect... except for Vince Neil.
What a testament this dog leaves, as the man that killed his friend in a car crash due to drunk driving. When you compare him to Mick there are strides of differences. Yes, yes one mistake in life should not define who you are. But my disgust for this animal is not solely based on this horrific event. Vince Neil to this day continues to drink and drive. WTF!!!
I can understand doing it once, I can understand doing it twice, I can even understand doing it until you fucking kill someone; but what I don't understand is why the fuck you do it after killing someone. No ladies and gentlemen, Vince Neil is no person to look up to. He is something to be looked down upon. He is a representation of the scum that exists on this earth.
Motley Crue still holds second place on my list of most hated band ever in my opinion. However, there is still a certain level of respect for Tommy, there is a whole lot of respect for Mick, and I have a tinnie tiny ounce of meh for Nikki. But Vince Neil has no such respect. Does he contribute anything to Motley Crue? Hardly, co-writing two song per album doesn't cut it. Replaceable and dismissable. He is no David Lee Roth, he is no Ozzy Osbourne, he is no Axl Rose.
Forever, his legacy will be not the lead singer of Motley Crue, rather he'll go down as that guy who killed his friend in a car crash while drinking and driving; and continued to do so after murdering his friend.
I could talk about why Mutt Lange is the world's biggest idiot.... OHHHH.... speaking of idiots
that brings us to today's topic
Vince Neil
Vince Neil lead singer of Motley Crue, but more notably the guy who killed his friend in a car crash because he was drunk driving. When we talk about Tommy Lee we think drummer for Crue, sex tape with Pamela Anderson. When we talk about Nikki Six we think douchebag but talented song writter for Crue. When we talk about Mick Mars we think guitarist with a spinal disease who is able to stand on his own two feet and still play. I'm sorry, this band might look like a bunch of rowdy holligans but every single one of these guys is attributable to some level of musicianship or some level of respect... except for Vince Neil.
What a testament this dog leaves, as the man that killed his friend in a car crash due to drunk driving. When you compare him to Mick there are strides of differences. Yes, yes one mistake in life should not define who you are. But my disgust for this animal is not solely based on this horrific event. Vince Neil to this day continues to drink and drive. WTF!!!
I can understand doing it once, I can understand doing it twice, I can even understand doing it until you fucking kill someone; but what I don't understand is why the fuck you do it after killing someone. No ladies and gentlemen, Vince Neil is no person to look up to. He is something to be looked down upon. He is a representation of the scum that exists on this earth.
Motley Crue still holds second place on my list of most hated band ever in my opinion. However, there is still a certain level of respect for Tommy, there is a whole lot of respect for Mick, and I have a tinnie tiny ounce of meh for Nikki. But Vince Neil has no such respect. Does he contribute anything to Motley Crue? Hardly, co-writing two song per album doesn't cut it. Replaceable and dismissable. He is no David Lee Roth, he is no Ozzy Osbourne, he is no Axl Rose.
Forever, his legacy will be not the lead singer of Motley Crue, rather he'll go down as that guy who killed his friend in a car crash while drinking and driving; and continued to do so after murdering his friend.
Subscribe to:
Comments (Atom)