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  • OZZY OSBOURNE Says 'The Ultimate Sin' Is His Least Favorite Solo Album
    on August 24, 2019 at 22:41

    Ozzy Osbourne says "The Ultimate Sin" is his least favorite album he has ever released as a solo artist. Although it's currently out of print physically (but available on streaming services), the 1986 LP contains one of his biggest hits, "Shot In The Dark", and has been certified double platinum. "[Producer] Ron Nevison didn't really do a great production job," Ozzy tells Rolling Stone in a new interview. "The songs weren't bad; they were just put down weird. Everything felt and sounded the fucking same. There was no imagination. If there was ever an album I'd like to remix and do better, it would be 'The Ultimate Sin'." "The Ultimate Sin" reached No. 6 on the Billboard 200 chart and was certified platinum in the United States on May 14, 1986, by the RIAA and and double platinum in October 1994. It was the follow-up to "Bark At The Moon", which was the first Ozzy album to feature Jake E. Lee on guitar following the tragic death of Randy Rhoads. The writing sessions for "The Ultimate Sin" were by disagreements over songwriting, with Lee, who claimed he had been cheated out of the credits he deserved on "Bark At The Moon", later telling Ultimate Classic Rock that he demanded a revised contract before agreeing to contribute. Bassist Bob Daisley was dismissed during the making of the LP and Phil Soussan was brought in as is his replacement. Ozzy later invited Daisley to come back to help with the lyric writing, which Bob had shouldered the bulk of since the start of the singer's solo career. In a 1986 interview with Guitar World, Lee stated about about the writing process for "The Ultimate Sin": "While Ozzy was in the Betty Ford clinic, I got a drum machine, one of those mini-studios, a bass from Charvel — a really shitty one — and I more or less wrote entire songs. I didn't write melodies or lyrics because Ozzy is bound to do a lot of changing if I was to do that; I just write the music. I write the riff and I'll come up with a chorus, verse, bridge and solo section, and I'll write the drum and bass parts I had in mind. I put about 12 songs like that down on tape, and when he got out of the Betty Ford clinic, it was, 'Here ya go. Here's what I've got so far.' And I'd say half of it ended up on the album." Daisley, who is credited with all the lyrics on "The Ultimate Sin" apart from "Shot In The Dark" (which is credited to Soussan and Osbourne), later said he was also heavily involved with the music writing on the LP. "I did write the album with Jake and then Ozzy and I had a falling out and he fired me and he was going to fire Jake as well," he explained in an interview. "I've never been a 'yes' man. So a few weeks later, he called me and he had Phil Soussan on bass but I'd already written a lot of the music with Jake, so they knew they had to credit me on the songs anyway, so I guess he thought he may as well get his money's worth and asked me to come back and write the lyrics also. I did that as sort of a paid job. I write it, you pay me and take it and go. So I spent a few weeks writing the lyrics for the whole album. Then they recorded it. In a way, I am glad I am not on that album. It's the one album I didn't really like." Earlier this week, it was announced that Ozzy will be celebrated with the first-ever definitive vinyl collection of all his original solo material. Due out November 29 on Sony Legacy, "See You On The Other Side" contains each of his studio albums on multi-color splattered, 180-gram vinyl, as well as otherwise out-of-print rarities like his "Mr. Crowley" and "Just Say Ozzy" EPs. It also features a collection of rarities, "Flippin' The B Side", a seven-inch flexi disc containing the previously unreleased "See You On The Other Side" demo, 10 posters, 12 augmented-reality experiences that allow fans to interact with the singer, and an autographed certificate. […]

  • SLIPKNOT's COREY TAYLOR Blasts Music-Streaming Payouts: 'They're Chucking Crumbs At People'
    on August 24, 2019 at 17:43

    SLIPKNOT and STONE SOUR singer Corey Taylor has once again blasted Spotify for the the paltry payments the music streaming service pays out to music rightsholders. This past January, the Copyright Royalty Board ruled the royalties songwriters receive from on-demand subscription streaming would jump 44 percent over the next five years. Spotify, Google, Pandora and Amazon — four of the major U.S. streaming services — later appealed the ruling, saying that it "harms music licensees and copyright owners." Asked by SiriusXM's "Trunk Nation" if he is conflicted about music streaming predominantly because of how "shitty the royalties are" for him, Taylor said (hear audio below): "Oh, absolutely. People get the wrong idea. I am not against streaming. I'm not that asshole. I don't care how people get the music. My whole concern is the fact that you are supporting a platform that is putting artists out of business — unless you can get millions upon millions upon millions of streams. They're chucking crumbs at people. I'm fortunate enough to be able to… I can go out on the road and earn a living. We sell merch; I can earn a living like that. But what about these bands that can't do that? How are they supposed to do that? "For me, I don't care if you stream the music," he continued. "My problem isn't with the fan. My problem is with the streaming services themselves — the fact that artists are not being compensated for the work that they busted their ass to record, to create, and then put themselves in hock to a record label that is getting paid first from streaming services, before the arist. Which is really crazy, because then the artists have to pay the money back that it took to go in and record this thing in the first place. There's so many things that are against the artist these days now. That's the problem I have. It seems like we are trying to run a marathon in quicksand. And the fans get it wrong. I don't care how you get the music — we care that people are not being compensated. That's the whole point of this." According to Corey, SLIPKNOT wasn't given an opportunity to decide whether it wanted its music to be on the major streaming platforms. "We didn't get a choice in it, basically," he said. "It's one of those things where the cards were definitely in the label's favor, so they just kind of threw us up there along with the rest of the roster." Asked if SLIPKNOT was able to use some of its leverage as one of the biggest bands on Roadrunner to negotiate a better deal for itself with regard to music-streaming payouts, Taylor said: "I think we can the next time we go to renegotiate. Unfortunately, we didn't do it this time around, because we were in a situation where we hadn't renegotiated… The last time we did it was a couple of albums ago — let's put it that way — and at the time, we didn't take that into consideration. For whatever reason, whoever was doing the negotiating, it was one of those things that at the time, it wasn't a huge concern. And now, unfortunately, we find ourselves in a different climate. So next time it happens, we have to think about that. So who knows if we're gonna be in the same position. I'm hoping we will." Taylor reiterated that he is not speaking out against streaming itself, but is voicing his concern that, with album sales in perpetual freefall, streaming services are only paying out fractions of a cent in royalties for each song played. "Once again, I'm more concerned about people who are not in my position," he said. "I'm more concerned about the fact that up-and-coming bands aren't being able to make a living. They can't take some time off the road to spend time with their families, because maybe there's some publishing coming in or royalties coming in. It's insane what's going on right now. I've seen bands who have been doing it for a while have to hang it up because they don't make anything anymore on the back end. And that's just sad, man. You bust your ass for 15 years, and you've gotta hang it up because of that? That's not right." SLIPKNOT's sixth album, "We Are Not Your Kind", was released on August 9 via Roadrunner Records. […]

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