RECORD STORE TALES MkII:
Getting More Tale
Music, Movies, and more
This may have been the first thrash metal album I ever bought. I was late to the mosh pit, but I think I chose a good first thrash. Lead video “Electric Crown” was in rotation on the Power 30, and I loved the speed combined with melody and a virtuoso guitarist. To me, “Electric Crown” blew away any of the Metallica singles I’d heard so far. It was way superior to the overly simplistic “Enter Sandman”.
One of the coolest sounds I ever heard came from Alex Skolnick’s guitar. In that melodic, four-note descending lick, the fourth note…just shakes. I sat there in my bedroom with my guitar, trying to make the same sound, failing every time. Skolnick was increasingly interested in jazz, and you can hear that in some of the soloing and tubey tone.
The Ritual is the most commercial Testament album. That made it an easy gateway to thrash. Did they sell out? By all accounts, The Ritual is the album on which Alex Skolnick stepped up in terms on contributions. As a schooled musician he wanted to try some different things, and indeed he left the band shortly after to grow as a player. This isn’t a sellout, but it’s the album on which the guy who was trained by Joe Satriani had a lot more influence. (After he left, the band went hard back to the extremes of thrash with Low and Demonic.)
Not a sellout, then. But there are definite parallels to the contemporary Metallica album. The slower metal chug of “So Many Lies” is this album’s “Sad But True”. The Ritual also has a modern, crisp production (by Tony Platt) though not as fully stuffed as Metallica.
Immediately after “So Many Lies”, drummer Louie Clemente goes into a gallop on “Let Go Of My World”, an angry testament to independence. See what I did there? The longest song on the album is the title track, an anti-drug anthem that rocks it slow and forboding. “Kill yourself, killing time.” Vocalist Chuck Billy has a mighty set of lungs, the kind that make you listen up. These lungs are put to great effect on “Deadline”, the mid-tempo banger that finishes side one. There’s something just slightly different about the beat and there’s nothing equivalent on the Metallica album. “Deadline” is arresting, kickin’ and menacing all at once.
“As the Seasons Grey” continues the blistering metal, not as fast as yesteryear but more measured. Dig that false ending. “Agony” and “The Sermon” offer some variety, but Testament are best when served fast. Right? Right? No – check out the ballad “Return to Serenity”! Testament were of course no strangers to ballads. “The Ballad” and “The Legacy” worked out well for them previously, but “Return to Serenity” blows them away. Alex Skolnick’s clever, echoey guitar hook is spellbinding. This incredible ballad really should have been a hit. That’s why they included it again on 1993’s Return to the Apocalyptic City EP. It should be as well known as hit ballads by another big name thrash band. The Ritual closes on a stampeding “Troubled Dreams”, an album highlight and as persistent as the wandering nomad in the lyrics.
There are more important Testament albums than The Ritual, such as their landmark Practice What You Preach. It still remains a high water mark in the catalogue.
“Sabbath are heavy, but Priest are metal.” – K.K. Downing
Like Iron Maiden before them, Judas Priest pulled off a successful reunion tour before venturing into the studio to record a new album. When the new music finally came, a deluxe package was made available featuring live videos from the reunion tour. In this deluxe-sized review, we’ll take a close look at both the CD and DVD content.
Pure anticipation preceded the arrival of the Angel of Retribution. Two underwhelming albums with Tim “Ripper” Owens on lead vocals caused Judas Priest’s star to diminish in the 90s and 2000s. The return of the Metal God, Rob Halford, meant a reunion of the successful 1990-1991 Painkiller lineup. The new album cover even featured the return of the Painkiller character, now the Angel of Retribution. But a long time had passed. Could Priest hope to live up to the hype, and their legacy?
The answer is mixed. While Angel of Retribution contains enough classic Judas Priest metal to consider it a success, it also has some truly legendary filler, of sub-Ram It Down quality. Instead of running through the album track by track, let’s break it down in terms of song integrity.
Priest wrote a natural sounding album, with elements from virtually all eras of Priest past. They say it came about organically, and it does sound that way. Some of the best material are the songs that sound like variations of classic Priest.
The opening song “Judas Rising” brings it back to 1976’s Sad Wings of Destiny with that fade-in opener inspired by “Victim of Changes”. Then it transforms right into the Painkiller era, with something that sounds like a far more intense “Hell Patrol”. Solid 5/5.
The slightly psychedelic first single “Revolution” ranks among the better songs, although perhaps it’s actually most similar to “Little Crazy” by Rob Halford’s Fight. It has flavours of Rocka Rolla and Killing Machine, and is far from what anyone expected Priest to put out for a first single. Dig that slide guitar bit in the solo! Solid 5/5.
“Worth Fighting For” isn’t a ballad; it’s a little harder edged than that. It’s the one song that is unique in the Priest catalogue, and remarkably strong. The riff has a nice chug to it, while Rob ably carries the melody to a higher place. A special song, and a 5/5.
“Demonizer” is Jugulator meets Painkiller, faster than a hellriding devil dog (whatever that is), but “the Painkiller rises again!” So testifies Halford. It’s so ridiculously over the top that it can only be worth a solid 5/5. Likewise the similar “Hellrider” on side two. Both feature double bass so fast that it’s almost a parody of itself, but both rock so hard you’ll break your neck keeping up. “Hellrider” is also notable as the song where Rob Halford inexplicably name drops “Megatron”. Similar songs, both solid 5/5’s.
The ballad “Angel” is a little soft, unexpectedly so on an album with so much heavy metal. Yet, Priest can do anything. The acoustic “Angel” could be the quietest ballad since the early days. “Put sad wings around me now,” sings Rob to the angel, an appropriate callback. As his voice aged it acquired more depth. That helps make “Angel” a respectable 4/5.
“Deal With the Devil” and “Wheels of Fire” fall in a netherworld of pedestrian Priest. These both feel like filler from Point of Entry or Ram it Down. Less explosive, less memorable. The autobiographical “Deal With the Devil” is amusing for its many lyrical callbacks: “Under blood red skies”, “Took on all the world”, references to razor blades. Likewise the short one, “Eulogy“, which is really an intro for another song that we’ll get to. “They remain still as stained class”, “Guarded by the Sentinel”, and so on. 3/5 each.
The worst of all songs is “Loch Ness“, a mess so atrocious that we had to devote an entire entry just to that one song. Combined with its intro “Eulogy”, it’s over 15 minutes of mire that has no reason to exist. Many people simply stop the album after “Hellrider” and leave this foul turd to rot unheard. “Loch Ness” could very well be the worst Judas Priest song of all time. A flaming turd to extinguish all flaming turds. The worst of all putrid, rancid filler songs ever foisted upon the faithful. 0/5.
It’s worth getting a copy of this album with the bonus DVD. For one, there’s a documentary from the Priest Reunited tour. Secondly, there are seven uncut live songs here for you to enjoy, and it’s the only official video release from the Reunited tour. The live footage is something to see, especially if you own the robotic Rising in the East DVD. In that concert, Rob Halford was a stiff mannequin instead of a frontman. Here, he comfortably in charge and engaged. The entire lineup is energized. “Breaking the Law” sees them powered up and working hard.
But how did the seemingly unlikely reunion begin? According to the documentary, the band and Halford met to discuss the forthcoming Metalogy box set. Glenn Tipton states that they decided to reunite later the same day. It was like they’d never been apart. Terribly British, says Rob. “Have a cup of tea, see you later.” Rob does express regret for his actions (reportedly he gave Judas Priest his notice in 1992 by fax), but it seems all was forgiven over time.
Beware which version you buy. This CD/DVD combo set contains the documentary plus the full live songs: “Breaking the Law”, “Metal Gods”, “A Touch of Evil”, “Hell Bent for Leather”, “Eletric Eye:”, “Diamonds & Rust”, and “Living After Midnight”. The DualDisc version does not; it only includes edited fragments of those tracks. Which is a shame, because the band sounded fantastic and Rob was in full-lunged form. This is probably the best live version of “A Touch of Evil” available, for example. Not everyone likes the acoustic version of “Diamonds & Rust”, but it’s certainly different. The only bonus to DualDisc is that you also get the album in “enhanced stereo”. Avoid that; get this.
Although Angel of Retribution is overall a very strong Judas Priest album, “Loch Ness” is impossible to ignore. It does serious damage to an album that was otherwise an impressive listen. In the included DVD, K.K. Downing says they had to pick and choose from an overabundance of songs. Can you imagine how bad the leftovers are if “Loch Ness” made the album?
GETTING MORE TALE #779: “Loch Ness” – A Lyrical Analysis
Judas Priest are known not just for their incendiary riffing, but also vivid lyricism. It’s often a winning combination. Witness such metal concoctions as “Blood Red Skies” or “Metal Gods”. When it works, it works. When it fails, it fails gloriously. Let’s have a look at Judas Priest’s most epic failure. That would be the 13:28 long “Loch Ness”, from 2005’s reunion album Angel of Retribution.
Musically, “Loch Ness” is utter garbage; lethargic rock for the sleepy. The lyrics are a little better, though not enough to save the song.
Judas Priest usually create their own mythology. Characters such as the Painkiller, the Sentinel and the Jugulator are three such examples. This time, Priest dipped into cryptozoology and Scottish legends for their subject matter. Today, the general consensus is that there is no monster in the depths of Loch Ness. It’s still fun to speculate and imagine what might have been.
The first verse of “Loch Ness” sets the scene. The loch is the largest (by volume) in the UK, with an incredible depth of 755 feet. Because of the loch’s depth and murkiness, long has there been uncertainty about what may be down below. Using sonar and other modern technologies, nothing of any great size has ever been found. Though legends remain strong today, it is highly unlikely that a large monster lives in Loch Ness. What say Judas Priest?
Grey mist drifts upon the water,
The mirrored surface moves,
Awakened of this presence,
Dispelling legends proof.
Stories of a beast in the loch date back almost 1500 years. A definitive modern day sighting would indeed be the proof needed to move the monster from legend to reality. Rob Halford references the grey mists, and how the movements of the “mirrored surface” can look like a creature is swimming beneath. This is how most sightings begin. Then “Nessie” rises from the water:
A beastly head of onyx,
With eyes set coals of fire,
It’s leathered hide glides glistening,
Ascends the heathered briar.
Physical descriptions of “Nessie” the monster vary wildly. A head attached to a long neck is a defining characteristic. It is usually described as dark, which Halford here exaggerates as “onyx” (black) in colour. It’s eyes being “coals of fire” seems to be a Halford invention. Likewise the hide, which is usually not described in much detail. Out of necessity, Rob had to elaborate on the myth in order to describe the beast. An interesting line is “ascends the heathered briar”. Indeed, in some of the older sightings, the beast is seen climbing onto land – once even crossing a road. When seen in full, the creature is often described as similar to a plesiosaur.
This legend lives through centuries,
Evoking history’s memories,
Prevailing in eternities,
On and on and on.
More interesting than the physical descriptions of the beast are the old legends. Water beast legends were not uncommon. Why was Loch Ness always such a hotspot for such tales? There is no simple answer. Recently, large eels were filmed in the loch. A mistaken sighting of an eel could account for many of the stories. With the advent of modern media in the 1900s, tales of the monster spread worldwide and stories were reported with more frequency. Proponents of the monster theory point to the oldest legends as proof that there was always something mysterious about the loch, though there is no proof that there is any connection to the “Nessie” of today.
Loch Ness confess,
Your terror of the deep,
Loch Ness distress,
Malingers what you keep,
Loch Ness protects monstrosity,
Loch Ness confess to me.
The speaker is addressing the loch itself; asking the loch to give up its secrets. But “Terror of the deep”? Few today find the idea of the Loch Ness monster to be terrifying . True, early sightings would have been quite scary. Even if the creature spotted was only an otter or an eel, in the dusk or fog it could have been startling. As you’ll see, however, it is implied this song takes place in the modern age.
The most interesting word choice here is “malingers”, meaning to pretend to be sick in order to avoid something. It’s possible the word is being intentionally misused because it simply sounded good. Insofar as meaning goes, “distress”, “malinger” and “protect” all imply the creature isn’t actually threatening. Perhaps it or its young need protection. Halford begs the beast for the truth, but the truth is not to be found.
Somehow it heeds the piper,
From battlements that call,
From side to side it ponders,
In passion in the skirl.
Scottish imagery here, implying that the monster will appear if a piper plays its song. “Skirl” refers to the shrill sound of bagpipes. “From side to side it ponders, in passion in the skirl” is a variation of the old saying that music soothes the savage beast. Otherwise, the connection between the pipes and the monster seem to be a Halford construction. There is also an old joke: “Bagpipes and the Loch Ness Monster have two things in common – they both attract tourists and terrify little children.”
This highland lair of mystery,
Retains a lost world empathy,
Resilient to discovery,
On and on and on.
“Resilient to discovery” isn’t the most accurate phrasing. “Resilient” means to recover quickly. The Loch Ness monster is more “resistant” to discovery than “resilient”, though the legend certainly is resilient. It goes on and on regardless of a narrowing scope of possibilities. “Retains a lost world empathy” probably refers to the age of the beast. It is so old that it comes from a simple time when people had more empathy than today.
This legend lives through centuries,
Evoking history’s memories,
Prevailing in eternity,
Your secret lies safe with me.
These lines simply refer to the age of the old legends, which will live forever. Rob assures the beast that if it reveals its secrets, he will not tell.
This creature’s peril from decease,
Implores to mankind for release,
A legacy to rest in peace,
On and on and on.
Finally the last verse goes back to the idea that the creature is in some sort of distress. It’s unclear what the peril is, but mankind is a part of it. Is it the call of the pipers? The monster simply wants to be at peace. Perhaps this is a hint of an environmental message, for conservation.
The lyrics to “Loch Ness” are not overly complex. Their simplicity, combined with slow monotonous music, make the 13 minute song seriously drag. A few unusual word choices tend to obscure meaning, but “Loch Ness” is otherwise a fairly straightforward Judas Priest lyric. When sung aloud, it begins to sound a little foolish. “Loch Ness, confess, your terror of the deep” is not poetry. It’s something you would have written in highschool English class. While the words mostly stand up to analysis, they are not resilient to singing aloud. In this manner (perhaps the only manner in which rock lyrics really matter), “Loch Ness” flounders.
“Loch Ness” has never and will never be played live. It’s a shame that one of the greatest cryptids in all of legend has been given such a weak heavy metal song!
Alice Cooper wanted to do a Detroit garage rock record and pay homage to his roots. And so we have The Breadcrumbs EP, six tracks of stripped down goodness, ironically produced by Bob Ezrin. The 10″ vinyl is limited to 20,000 copies. Somehow, by the grace of the black widow, we scored #48!
For these special songs, Alice is backed by the MC5’s Wayne Kramer, bassist Paul Randolph, Grand Funk’s Railroad Mark Farner, and Detroit Wheel Johnny “Bee” Badanjek. A remake of Alice Cooper’s “Detroit City” (from The Eyes of Alice Cooper) is an appropriate starting point:
Me and Iggy were giggin’ with Ziggy and kickin’ with the MC5,
Ted and Seger were burnin’ with fever,
and let the Silver Bullets fly,
The Kid was in his crib, Shady wore a bib,
and the posse wasn’t even alive.
That’s some rock and roll poetry right there. Not one of Alice’s finest songs but worthy of a second chance. Then “Go Man Go” is a new original composition co-written by Wayne Kramer. It’s punk rock Alice, as authentic as the bands he’s paying tribute to. Bob Seger’s “East Side Story” closes the side on a steady groove, right out of Hendrix’s version of “Gloria”.
A really funky “Your Mama Won’t Like Me” (Suzi Quatro) is the centrepiece of the EP. Horns blastin’, Alice hasn’t been this funky since his dance-oriented Alice Cooper Goes to Hell in 1976. “Devil With a Blue Dress On” (Mitch Ryder and the Detroit Wheels) is the soulful side that Alice occasionally shows. It’s merged with “Chains of Love” (J.J. Barnes) which pulls everything back to rock. Finally “Sister Anne” by the MC5 puts the snot on the nose and the grime in the rock. Kramer’s simply awesome riff is perfectly complemented by Cooper.
If copies are still available, get one. Cooper fans will love the change of pace, while rock and rollers will adore the authenticity.
Ric Ocasek was cool. Whether it was the sunglasses, or the black hair and leather jacket combo, he was just cool. The Cars were birth attendants to MTV. “You Might Think” was arguably the greatest music video on this side of Michael Jackson. And The Cars were far, far more than just a one hit band. This Cars Anthology proves just how much gas they had in the tank. With 40 songs including a number of rarities, this anthology is just what YOU needed.
The first four songs in a row, all from the Cars’ self-title debut, are radio staples. “Just What I Needed”, “My Best Friend’s Girl”, “Let the Good Times Roll” and “You’re All I’ve Got Tonight” still rock the airwaves, proving their timelessness. The Cars could write a song, and whether it was Ric Ocasek or Benjamin Orr on vocals, the hits kept rolling in. It’s a combination of choppy guitar hooks, keyboard candy, and plain ol’ songwriting ability.
The Cars were also consistent. There is no dry spell for hits, not until we get to 1987’s Door to Door. When you listen to a cross section of material in chronological order like this, it’s quite noticeable when Robert John “Mutt” Lange takes over production duties. Heartbeat City and its synthetic drums are the prototype for Def Leppard’s Hysteria album. The backing vocals, the bass tones, and impeccable production all foreshadow the sound of things to come in Mutt-ville. Roy Thomas Baker didn’t put so much of his own fingerprints on the Cars (although you can definitely hear a Cars influence via Baker on Alice Cooper’s Flush the Fashion). Mutt sounds like Mutt, for better or for worse. The album sold four million copies. Whatever Ric learned from Mutt and Baker, he put to good use as a producer himself.
There are some songs that are just special. Even though their fellow tunes are unique, important and classic, some rise even higher. One is the legendary ballad “Drive”, written by Ric and sung by Benjamin. Soft and gentle, “Drive” has been our companion for decades now, through lonely nights and happy days alike. Another immortal song is the aforementioned “Just What I Needed”, for all it’s pop-punk perfection, before that was even a term. I believe they just used to call it “New Wave”. Finally “You Might Think” must be remembered as not only an important video, but also an ageless pop song that still grabs you today.
Rarities in this set include single B-sides, demos and previously unreleased songs. Some have since found homes on the Cars’ deluxe reissue CDs, but some seem to still be exclusive to Just What I Needed. One interesting outtake is a bang-on cover of Iggy Pop’s “Funtime”. The liner notes are also exemplary, as Rhino usually do. You could consider this to be a miniature box set for all the care put into it. While buying The Cars by the album will not lead you astray, there is much to be said for a really good anthology. You’re looking at one right now.
Rest in peace Ric, rest in peace Benjamin.
Sad news this morning, as we wake to find Ric Ocasek of the Cars has passed away at age 75. Hard to believe the tall, jet-haired singer was in his 70s at all. He always looked like a punk misfit.
The Cars formed in 1976 and had a steady stream of hits through the late 70s and early 80s. When the cars folded he moved on as a producer and solo artist. Ocasek produced such diverse albums as Bad Brains Rock for Light, and two of the most popular Weezer albums, Blue and Green. Through these productions, his impact on modern rock cannot be overstated.
I always liked the Cars best, and so we’ll remember Ric today with one of his catchiest songs ever: the summer anthem “Magic”.
Rest in peace Ric Ocasek.
This baby can be expensive to acquire on CD, so let’s give ye olde cassette tape a spin. It’s not been played in over 20 years. This review is with fresh ears.
The backing band on this tribute to Deep Purple consists of: Deen Castronovo (Hardline/Journey – drums), Jens Johansson (Yngwie Malmsteen – keys), Todd Jenson (Hardline/David Lee Roth – bass) and Russ Parish (Fight/Steel Panther – rhythm guitar). Each track has a featured singer and lead soloist. Let’s dig in.
First up: “Speed King” by Yngwie J. Malmsteen with Kelly Keeling on vocals. Keeling is on the sandpapery side of Joe Lynn Turner here, while Yngwie gets to jizz fanboy style all over the fretboard. The star might actually be Jens Johansson’s keyboards but this is an unfortunately very cheesy version of “Speed King”. Woah, Keeling just nailed an Ian Gillan scream! Nice.
Kip Winger and Tony MacAlpine team up for “Space Truckin'”. Tony goes his own way with the solos, innovating as he goes. This is…pleasant? There’s some kind of spark that’s missing, and when you’re playing “Space Truckin'” you need to put accelerant in the tank or you’ll fall flat. Studio sterility has replaced spontaneity.
You gotta hope Glenn Hughes and John Norum can shock some life into “Stormbringer”. They can! Of the guitarists so far, John Norum (Europe) is the one who has the right feel for Deep Purple. Glenn’s great, but doesn’t get to play bass, and here’s part of the problem. You can hear that the backing band recorded the songs and then the featured players recorded their parts over them. In a perfect world you’d have Glenn plotting the way on bass too, gelling with the backing band in a united groove. That can’t happen when you record this way.
One guy who manages to inject his song with personality is Richie Kotzen. He’s got the funky “Rat Bat Blue” and is granted both the lead vocals and guitars. Yngwie returns on “Lazy” and he’s teamed with former Deep Purple singer and his own former bandmate, Joe Lynn Turner! Yngwie plays appropriately on this strong but fairly bland track. And that’s the cue to flip the tape over.
Paul Gilbert (Mr. Big) gets the vocal and guitar honours on “Maybe I’m a Leo”, which frankly is too slow and lacks groove. Paul’s vocals, however, absolutely nail Gillan’s on the original. Things turn stale quickly when it’s time for “Smoke on the Water”. Russ Parish takes the guitar slot while Robert Mason (Lynch Mob/Warrant) sings. Far more interesting is “Fireball” with Don Dokken and his future Dokken bandmate Reb Beach. Don sounds a bit overwhelmed by the demanding song, but hits all the requisite notes. The brilliant Jeff Scott Soto takes the driver’s seat on Mk I’s “Hush”. This veteran vocalist (Yngwie/Journey/man more) makes mincemeat of your ears, absolutely killing it. Soto is absolutely the vocal star on this album (one that includes Glenn Hughes)! The final song goes to Tony Harnell (TNT) and Vinnie Moore (UFO). They busy-up “Woman From Tokyo” a bit too much with unnecessary fills, but Moore does some really cool picking during the quiet section.
Though interesting, Smoke on the Water is far from an essential addition to your Purple collection. There are already so many tributes out there. The most interesting was T.M. Stevens’ Black Night which re-interpreted Deep Purple according to his New York sensibilities. He had Joe Lynn Turner, Vinnie Moore and Richie Kotzen on his album too! Then there is the more recent Re-Machined, featuring Iron Maiden, Metallica, and more Glenn Hughes. Considering the CD prices these days, place Smoke on the Water fairly low on your priority lists.
A Sunday Chuckle about Hitler? What the…?
Sure, why not? This is an old game that goes back to the 40s.
In a previous video, I mentioned that my dad and his friends used to play a game during World War II, called “Hitler’s House”. You’d get a box, call it “Hitler’s House”, and set it on fire! I decided to pay tribute to my dad and his stories by building the ultimate “Hitler’s House”. It’s three storeys with two big bay windows and patios, a front garage, a rooftop swimming pool, and a crow’s nest complete with armed guard! It burned pretty awesomely. Join in our fun by watching the video below!
GETTING MORE TALE #778: Bi-curious
You could tell Mrs. Powers didn’t like Elton John, and why.
I was just beginning my exploration of rock and roll, at a very young age. I knew who Elton John was. He had at least two songs that I knew and liked: “Sad Songs Say So Much” and “I’m Still Standing”. Although in the 80s he had toned down his image, my mom explained that he used to be known for his crazy hats and glasses.
I don’t know how Elton John came up, that day in Catholic school. It was grade 7 or 8, so 1985 or 1986. Powers was strict and believed in public shaming. Like the time she said “Shame on you!” to me for choosing a non-Catholic highschool, in front of everyone. My sister had Powers a few years later, and got in shit in front of the class because she wasn’t as good at math as (presumably) her dad, who was a bank manager. She was just a nasty teacher.
However Elton’s name came up that day, it doesn’t particularly matter. What I remember was what Mrs. Powers said about him: “And I don’t care that he’s BI-SEXUAL.” Emphasis on that “BI-SEXUAL” part. The immediate undertone was that she did care, very much, or she wouldn’t have brought it up. And her feelings on the matter were in the negative.
Questions swirled in my head. Elton John, the guy with the glasses and hats — was bisexual? Most importantly, what the fuck did that even mean?
If you think Catholic school sex-ed curriculum covered things such as bisexuality, or even homosexuality, you’d be sorely mistaken. She dropped that word, “bisexual” in a sentence and didn’t elaborate. My immediate assumption (and you can see how I got there in my thinking) was that Elton John probably had both genitalia. It’s not like I was going to raise my hand and ask.
I don’t know how many years I went about my life, thinking that Elton John had both a wiener and a vagina. But I did, and it was because of a Catholic school teacher. Nice, eh? In many regards, although I went to class every day like anyone else, I think I was largely homeschooled until I got to highschool. I learned more about history, science, and the arts at home thanks to my mom and dad. At a young age, I was watching Carl Sagan’s Cosmos with my dad, and listening to early Canadian rock and folk music with my mom.
The second takeaway from this story is the negative tone when Mrs. Powers said “BI-SEXUAL” like that. I don’t need to explain how that just reinforces negative stereotypes.
The irony of course is that, bisexual or not, Elton John has been with his husband David Furnish for over 25 years, and they have proven to be model parents to their two kids. I wonder if Mrs. Powers has since changed her tune on Elton John.
Edward Mahoney was a cop. As Eddie Money, he was a star. “Take Me Home Tonight” and “Two Tickets to Paradise” will be played on radio stations forever. Thank you for the music Eddie Money.
At age 70, Eddie succumbed to cancer of the esophagus. A long hard struggle. We hope his family finds peace in this difficult time.
Rest in peace Eddie Money.