Producer TOM WERMAN Accuses DEE SNIDER Of ‘Embellishing’ Facts Surrounding Their Collaboration On ‘Stay Hungry’ Album

Producer TOM WERMAN Accuses DEE SNIDER Of ‘Embellishing’
Facts Surrounding Their Collaboration On ‘Stay Hungry’
Album, Shop Ticket Snatchers

Veteran hard rock producer Tom Werman has once again fired
back at Dee Snider over the TWISTED SISTER singer’s
comments regarding their collaboration on the triple-platinum
“Stay Hungry” album. During a recent appearance on “The
Jasta Show”
, the Internet program hosted by HATEBREED
frontman Jamey Jasta, Snider said had “begged”
Werman to put the songs “We’re Not Gonna Take It” and
“I Wanna Rock” on the LP. “[Tom] didn’t want those
two tracks on the record,” Dee said. “I was on my knees in
front of him… I wasn’t begging on my knees, but because he was
sitting and there was noise going on… And he’s going, ‘Eh,
‘We’re Not Gonna Take It’, it’s a little [hums melody
mockingly
]’ I go, ‘Trust me. It’s gonna be edgier when we do
it. That’s the thing. It’s catchy.’ And his answer was, ‘All right,
if you really want it.’ Okay, that was ‘We’re Not Gonna Take
It’
. And ‘I Wanna Rock’, he goes, ‘Eh, I’ve done that
thing already with MOLLY HATCHET. [hums galloping
rhythm
]’ He was mocking my song. He actually presented me with
SAXON songs to put on the ‘Stay Hungry’ album from
[SAXON‘s] ‘Strong Arm of The Law’. He goes, ‘Check
this out.’ I go, ‘Yeah, it’s SAXON.’ He goes, ‘It’s really
good.’ I said, ‘Yeah, it’s SAXON.’ He goes, ‘Nobody really
knows them.’ I said, ‘We’ve toured with them. It’s SAXON.’
… He wanted us to cover SAXON songs. And I love
SAXON, but in my community, it was current. It was their
album that came out last. And he had this attitude, like, they were
European, they weren’t really big.” After Snider‘s comments
were
published on BLABBERMOUTH.NET
, Werman spoke to Full In Bloom about
Dee‘s criticism, accusing the singer of “embellishing” the
facts and denying that he had the power to singlehandedly pick the
songs that were going to be include on the album. Tom said:
“It’s kind of a mystery [as to why Dee is complaining about
it now]. Here it is 36 years since we made that record. There are
several things he’s ignoring or avoiding [or] omitting. One is that
no producer — maybe Quincy Jones — could have that kind
of influence, that kind of power. “When an independent producer is
hired by a label or a band, he is not given the authority to decide
which songs are recorded,” he continued. “It’s a cooperative
venture, Now, there’s probably a very good chance that when they
played me the demos of ‘We’re Not Gonna Take It’, I said,
‘Well, it sounds a little bit like a nursery rhyme.’ Definitely
catchy. But I probably needed a little bit of convincing. Getting
down on his knees and begging? No. No. “It’s the dramatization and
the embroidering and the embellishment of the actual facts —
that’s really sleazy, and it’s very Trumpian. That’s the way he
operates. “Dee Snider was there for the mixes. Dee
Snider
approved every single mix. So, really, if he doesn’t
like the album, it’s just as much his fault as it might be fine.
So, he blames somebody else… “Who else blames somebody else for
everything that’s happening? Dee seems like a Trump
disciple. He does everything that Donald Trump does that’s
despicable. Well, not everything, but there you go. “There’s no
question that my approach to recording music was more pop, but
that’s what worked,” Werman explained. “That’s what got
people on the radio. That’s why [CHEAP TRICK‘s] ‘Surrender’ was a hit. That’s why [Ted Nugent‘s] ‘Cat Scratch Fever’ was a hit. That’s why I made hit
singles. That was the only way to sell millions of albums, which
would have been confined or restriced to FM play only. “He’s got
one of the most licensed songs in the history of recorded music
probably, and he’s bitching and bitching and bitching… It is
mysterious to me.” Tom also addressed Dee‘s claim
that Werman suggested having TWISTED SISTER cover a
SAXON song on the LP. “I committed the terrible crime of
saying, ‘Hey, I like this song. Maybe you could do it,'” Tom
said. “[Dee] said, ‘Woah, it’s SAXON.’ ‘That’s right.
That’s right. It’s SAXON. I really like this.’ And I think
it was ‘Strong Arm Of The Law’ or something like that.
SAXON was a good band. He said, ‘We’ve toured with them. We
know them.’ But the way he put it, it was, like, ‘What, in God’s
name, is a producer doing, suggesting to me, Dee Snider, who
writes songs, that I should do a song that somebody else wrote?’ We
do it all the time. I’ve done cover songs with everybody.
MÖTLEY CRÜE did ‘Smokin’ In The Boys Room’.
POISON did ‘Your Mama Don’t Dance’ — a Top 10
single. So I said it, I recommended it. And he goes nuts: ‘He
wanted me to do a SAXON song, for God’s sake.’ That’s right,
Dee. I wanted you to do that. And he said no. Did I force
you to do it? No. Because I can’t. “If I had the power to keep one
of Dee‘s songs off the album, then I would have had the
power — the same power — to force him to put another song on
the album. Obviously, I don’t have that power as a producer, and I
never did, nor do many other producers. The producer is a hired
gun; you fire him if you don’t like him. In their case,
[Dee] was pissed because he was forced to work with me by
Doug Morris, who was a fairly successful record guy,
songwriter, number two or three guy in the recorded music history,
behind Clive [Davis] and Ahmet
[Ertegun]. And he called me up and he said, ‘Tom, you
are the only producer I can think of who I think can make a hit
with this band. And I really want this band to break a million in
the United States.’ So, of course, I said yes, and, of course, I
knew that my job was to make them a commercial success. “I really
don’t know what I could have done different to satisfy this guy,”
he added, referring to Dee. “I mean, the record that he made
with the band, the re-record [of ‘Stay Hungry’], that he
said, ‘That’s the way we should have sounded,’ I don’t know who
marketed it, but I understood that in the beginning, after it was
released, it sold about 25 thousand records. CHEAP TRICK did
the same thing. “Years later, you’re not so good. But at the time,
you’re great. They’re selling millions of records — we love you.
We love you, Tom. You’re the best. And then, 20 years later,
nah, he didn’t get our sound right. He wasn’t focused. He barely
gave a damn about us. He tried to keep our best songs off the
record. Whatever you like. It’s just, like, I think I’ll revise
history here a little bit.” In a 2004 press release announcing the
release of the re-recorded and expanded version of the classic 1984
album — under the new title “Still Hungry” — guitarist
Jay Jay French said, “‘Still Hungry’ is ‘Stay
Hungry – The Way It Ought to Be’
. It has an ultra-heavy sound,
which is the way we wanted ‘Stay Hungry’ in the first place.
But at that time rock records had a thin, very midrange kind of
sound and so ‘Stay Hungry’ was recorded very lightly. We
battled Atlantic Records and producer Tom Werman
about it, but we lost. These re-recordings are faithful to the
original arrangements but they sound much heavier.”

Veteran hard rock producer Tom Werman has once again fired
back at Dee Snider over the TWISTED SISTER singer’s
comments regarding their collaboration on the triple-platinum
“Stay Hungry” album. During a recent appearance on “The
Jasta Show”, the Internet program hosted by HATEBREED
frontman Jamey Jasta, Snider said had “begged”
Werman to put the songs “We’re Not Gonna Take It” and
“I Wanna Rock” on the LP. “[Tom] didn’t want those
two tracks on the record,” Dee said. “I was on my knees in
front of him… I wasn’t begging on my knees, but because he was
sitting and there was noise going on… And he’s going, ‘Eh,
‘We’re Not Gonna Take It’, it’s a little [hums melody
mockingly]’ I go, ‘Trust me. It’s gonna be edgier when we do
it. That’s the thing. It’s catchy.’ And his answer was, ‘All right,
if you really want it.’ Okay, that was ‘We’re Not Gonna Take
It’. And ‘I Wanna Rock’, he goes, ‘Eh, I’ve done that
thing already with MOLLY HATCHET. [hums galloping
rhythm]’ He was mocking my song. He actually presented me with
SAXON songs to put on the ‘Stay Hungry’ album from
[SAXON’s] ‘Strong Arm of The Law’. He goes, ‘Check
this out.’ I go, ‘Yeah, it’s SAXON.’ He goes, ‘It’s really
good.’ I said, ‘Yeah, it’s SAXON.’ He goes, ‘Nobody really
knows them.’ I said, ‘We’ve toured with them. It’s SAXON.’
… He wanted us to cover SAXON songs. And I love
SAXON, but in my community, it was current. It was their
album that came out last. And he had this attitude, like, they were
European, they weren’t really big.” After Snider’s comments
were
published on BLABBERMOUTH.NET, Werman spoke to Full In Bloom about
Dee’s criticism, accusing the singer of “embellishing” the
facts and denying that he had the power to singlehandedly pick the
songs that were going to be include on the album. Tom said:
“It’s kind of a mystery [as to why Dee is complaining about
it now]. Here it is 36 years since we made that record. There are
several things he’s ignoring or avoiding [or] omitting. One is that
no producer — maybe Quincy Jones — could have that kind
of influence, that kind of power. “When an independent producer is
hired by a label or a band, he is not given the authority to decide
which songs are recorded,” he continued. “It’s a cooperative
venture, Now, there’s probably a very good chance that when they
played me the demos of ‘We’re Not Gonna Take It’, I said,
‘Well, it sounds a little bit like a nursery rhyme.’ Definitely
catchy. But I probably needed a little bit of convincing. Getting
down on his knees and begging? No. No. “It’s the dramatization and
the embroidering and the embellishment of the actual facts —
that’s really sleazy, and it’s very Trumpian. That’s the way he
operates. “Dee Snider was there for the mixes. Dee
Snider approved every single mix. So, really, if he doesn’t
like the album, it’s just as much his fault as it might be fine.
So, he blames somebody else… “Who else blames somebody else for
everything that’s happening? Dee seems like a Trump
disciple. He does everything that Donald Trump does that’s
despicable. Well, not everything, but there you go. “There’s no
question that my approach to recording music was more pop, but
that’s what worked,” Werman explained. “That’s what got
people on the radio. That’s why [CHEAP TRICK’s] ‘Surrender’ was a hit. That’s why [Ted Nugent’s] ‘Cat Scratch Fever’ was a hit. That’s why I made hit
singles. That was the only way to sell millions of albums, which
would have been confined or restriced to FM play only. “He’s got
one of the most licensed songs in the history of recorded music
probably, and he’s bitching and bitching and bitching… It is
mysterious to me.” Tom also addressed Dee’s claim
that Werman suggested having TWISTED SISTER cover a
SAXON song on the LP. “I committed the terrible crime of
saying, ‘Hey, I like this song. Maybe you could do it,'” Tom
said. “[Dee] said, ‘Woah, it’s SAXON.’ ‘That’s right.
That’s right. It’s SAXON. I really like this.’ And I think
it was ‘Strong Arm Of The Law’ or something like that.
SAXON was a good band. He said, ‘We’ve toured with them. We
know them.’ But the way he put it, it was, like, ‘What, in God’s
name, is a producer doing, suggesting to me, Dee Snider, who
writes songs, that I should do a song that somebody else wrote?’ We
do it all the time. I’ve done cover songs with everybody.
MÖTLEY CRÜE did ‘Smokin’ In The Boys Room’.
POISON did ‘Your Mama Don’t Dance’ — a Top 10
single. So I said it, I recommended it. And he goes nuts: ‘He
wanted me to do a SAXON song, for God’s sake.’ That’s right,
Dee. I wanted you to do that. And he said no. Did I force
you to do it? No. Because I can’t. “If I had the power to keep one
of Dee’s songs off the album, then I would have had the
power — the same power — to force him to put another song on
the album. Obviously, I don’t have that power as a producer, and I
never did, nor do many other producers. The producer is a hired
gun; you fire him if you don’t like him. In their case,
[Dee] was pissed because he was forced to work with me by
Doug Morris, who was a fairly successful record guy,
songwriter, number two or three guy in the recorded music history,
behind Clive [Davis] and Ahmet
[Ertegun]. And he called me up and he said, ‘Tom, you
are the only producer I can think of who I think can make a hit
with this band. And I really want this band to break a million in
the United States.’ So, of course, I said yes, and, of course, I
knew that my job was to make them a commercial success. “I really
don’t know what I could have done different to satisfy this guy,”
he added, referring to Dee. “I mean, the record that he made
with the band, the re-record [of ‘Stay Hungry’], that he
said, ‘That’s the way we should have sounded,’ I don’t know who
marketed it, but I understood that in the beginning, after it was
released, it sold about 25 thousand records. CHEAP TRICK did
the same thing. “Years later, you’re not so good. But at the time,
you’re great. They’re selling millions of records — we love you.
We love you, Tom. You’re the best. And then, 20 years later,
nah, he didn’t get our sound right. He wasn’t focused. He barely
gave a damn about us. He tried to keep our best songs off the
record. Whatever you like. It’s just, like, I think I’ll revise
history here a little bit.” In a 2004 press release announcing the
release of the re-recorded and expanded version of the classic 1984
album — under the new title “Still Hungry” — guitarist
Jay Jay French said, “‘Still Hungry’ is ‘Stay
Hungry – The Way It Ought to Be’. It has an ultra-heavy sound,
which is the way we wanted ‘Stay Hungry’ in the first place.
But at that time rock records had a thin, very midrange kind of
sound and so ‘Stay Hungry’ was recorded very lightly. We
battled Atlantic Records and producer Tom Werman
about it, but we lost. These re-recordings are faithful to the
original arrangements but they sound much heavier.”

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