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WTF SEARCH TERMS XXXIII: Trailer Park Life edition
They’re baaaack! Unusual search terms that somebody typed into a search engine only to find themselves here! This time however I can answer some of your questions. There were groupings of numerous Trailer Park Boys search terms this time out. We’re fans here at LeBrain HQ, and we can answer each of them.
1. super double bunk bq episode
Season 3, episode 6: “Where in the Fuck is Randy’s Barbeque?” The Super-Double-Bunk-B-Q is stacked to include two barbeques with two propane tanks, a toaster oven, and an electric stovetop with two burners. There is even a side attachment with a shelf for condiments and a bolt-on television set.
2. what tpb episode did ricky build the hockey rink
Season 8, episode 5: “Whore-A-Geddon”.
3. what episode does ricky have orangie in the bong
Season 8, episode 1: “Money Can Suck My Cock”.
4. what happened to ray in tpb
Ray faked his own death in the movie Don’t Legalize It (2014).
Then, we have a couple musical inquiries here. Yes, Steve Perry once had really pretty long hair.
5. did steve perry have long hair once
6. okay do you can you tell me how much an aerosmith box of fire album is
7. joey tempest obsession
8. why spaghetti incident sucked
And finally, a couple head-scratchers. I have no idea how these led to me:
9. filoplume feathers
BONUS SEARCH TERM:
11. amanda seyfried ted 2 hot
See ya next time for some more search terms!
“You know, Sean Connery was the best Roger Moore they ever had.” — Frank C. Starr
THE FOUR HORSEMEN – Left For Dead (1988-1992) (2005 CD/DVD set)
“Nobody said it was easy…and they were fucking right!”
The final review in this Four Horsemen series is a valuable live album/DVD set. The CD was put together from “a box of old tapes”, all from 1992 gigs (one of which was Toronto), and there are ample liner notes discussing the band’s history and the songs herein. It’s a brilliant live set, loaded with energy and Frank C. Starr’s unmistakable charisma. Every track sweats whiskey. With an opening one-two punch of “’75 Again” and “Moonshine”, you know you’re in for an action packed ride. “Moonshine” is particularly cool, because the album version featured an authentic over-the-phone lead vocal, but the live one is full-on. Throwing in a couple extra screams, Frankie added the icing on the cake. Man, we so miss Frank C. Starr.
It’s a noisy affair, which actually suits this band just fine. It’s appropriate that a Four Horsemen live album isn’t an overdubbed and glossed collection. What it sounds like is a live band in a tiny club. All three of the Horsemen’s singles are included in live form. The slide-drenched “Tired Wings” goes down a treat. “Nobody Said it Was Easy” and “Rockin’ is Ma Business” are both electrifying; the latter especially so. You don’t hear a singer with a voice like Frank’s very often. He had the grit, the power and the ability, wrapped up in a rock star-sized bottle of Jack. Frank Starr has to be one of the greatest unsung losses in modern rock.
And what a band behind him! There is a constant and very hard-hitting beat at the back, courtesy of the man-mountain Ken “Dimwit” Montgomery. According to the liner notes, Dimwit was a psychiatric nurse in addition to being a hell of a punk rock drummer. The name Dimwit was clearly a joke, but there is a dark side. The rigors of his work and the amount of care and emotion that went into it may have contributed to the depression and substance abuse that eventually took his life. It’s sad really, but thankfully these live recordings exist.
One non-album cut is included in this set, a slow raunchy one called “Can’t Get Next To You”. The AC/DC influences are obvious as this one is clearly in the musical mode of “The Jack”. The fans wouldn’t have known this song, but Frank wants to see how many people know the album. Introducing “Hot Head” he announces, “Let’s see if some of you fuckers actually went out and bought this shit!”…right before an equipment breakdown! And it’s all there, documented for history. Leaving in things like amp troubles makes for a more authentic listening experience.
All told, only two songs from the legendary first Four Horsemen record are not on the live CD: “Can’t Stop Rockin'” and “Homesick Blues”. Although unlisted, “I Need a Thrill” does contain the “Something Good” coda, just like the album. It’s even longer, with some absolutely consummate playing from lead guitarist Dave Lizmi. The low grade sound quality perhaps enhances the overall experience. This was a dirty rock and roll band and that’s how the live CD sounds. That seems right. With almost the entire first album plus an unreleased song, any Horsemen fan worth his or her salt should probably get their ears on this. But there is still the DVD to feast our eyes upon!
Interspersed with rare footage and interviews, you get all the original Horsemen music videos, starting with “Rockin’ is Ma Business”. The stark music video for “Nobody Said it Was Easy” is a previously unseen version with some risque shots. An interesting clip from MTV has the band mistakenly called “Four Horseman”. (Apparently it was Riki Rachtman’s first show. But then MTV got the name wrong on a later episode too! MuchMusic got it right though.) A rare live bootleg of “Hard Lovin’ Man” is audio garbage but video gold. “High School Rock and Roller” is a blast to watch, especially the moving mountain that was Dimwit on drums. There is big stage action from October ’91, opening for Lynyrd Skynyrd (“’75 Again” and “Rockin’ in Ma Business”). Perhaps most interesting are some rejected music videos that didn’t see the light of day. An early version of “Tired Wings” (with a pre-fame Kate Moss) is pretty crap and rightfully hated by the band. Better than this is a rare “Mexican version” of “Nobody Said it Was Easy”. The intro borrows liberally from “The Old Man Down the Road” by John Fogerty, but it’s cool watching the band mime in a hot dusty town in Mexico. Then there is a never before seen $2000 budget video for “Welfare Boogie” from the original EP. This video was rejected by MTV because the band were “too ugly”.
DVD special features are sparse but cool. There is an exclusive acoustic demo version of “Tired Wings”. What a different spin this is! In demo form it was a slow acoustic drawl, laid back with angelic band harmonies. The lyrics and melodies are identical but the arrangement is completely different. This is set to a nostalgic slide show of rare band photos. There is also a band commentary track for the main feature (Haggis, Dave Lizmi and Ben Pape). Lots of laughs, memories and anecdotes. And making fun of “Dave Lizmo’s” hockey stick-style guitar neck. Mostly they poke fun of each other’s clothes. It’s a lot of fun to hang out with the Horsemen. The audio commentary track is a highly recommended shambles.
The CD/DVD set can be ordered straight from the band, and it comes autographed. I think mine is signed by Haggis but I cannot be sure!
Haggis was itching to make some music again, but not with Frank C. Starr. When the original Horsemen split in 1992, Haggis cut off contact with Starr, and the two never spoke again. Instead Haggis hooked up with a singer and harmonica player named Tim Beattie, who did some mouth organ on “Homesick Blues” from the first LP. Tim could sing too, with a slight southern drawl as a contrast to Starr’s AC/DC shred. Guitarist Dave Lizmi and bassist Ben Pape were not interested in rejoining the band, so Haggis brought in two new members: Rick McGhee handled the guitar leads, and Duane D. Young held down the bottom end. Dimwit Montgomery flew down from Canada to complete the lineup.
It wasn’t to last long. Even without the explosive Starr, the volatile band began to melt down shortly after writing a batch of new, soulful rock tunes. Rick McGhee quit. Dimwit too; Les Warner ex-of The Cult came down to record the drums. Even Dave Lizmi came back briefly, but left after recording an album’s worth of demos. Lizmi was replaced by a new guitarist named Mike Valentine before it all hit the wall again.
The album that became Daylight Again was recorded in 1994 (with Lizmi) and shelved. According to Haggis, the fate of the band was “an inevitable outcome. We had evolved to the point of being unrecognizable from the group that had been signed five years previously. We started out as card-carrying members of the Bon Scott fan club, and ended up sounding like the house band at an Arkansas chicken ranch.” The label lost patience and dropped them. Haggis quit music completely, while up in Toronto, Lizmi decided to give the Horsemen one more try….
Daylight Again wasn’t intended for release as-is. These are cassette and DAT recordings, cleaned up as much as possible for CD. Hiss and noise are part of the deal, so buyer beware, this is not the gloss of a Rick Rubin production. You can taste the rawness; not even blue-rare, just pure raw blues unfettered by mixing consoles. The sound is modified by banjos and pedal steel. The location is somewhere in the deep south. You can feel the humidity in the rehearsal space and sense the hot tube amps humming away. Somewhere in between the Allmans and Skynyrd, the Horsemen found some inspiration from old grooves.
You can even find a little funk (“Trailer Park Boogie”) among the blues, soul, folk and rock influences. These traditions are given a boost with a touch of gospel. Nowhere is this more obvious than the closer, an 11 minute jam on “Amazing Grace”. Each Horsemen album ended with a long, emotional song of epic quality. It was “I Need a Thrill/Somethin’ Good” on the first LP, and “What the Hell Went Wrong” on Gettin’ Pretty Good…at Barely Gettin’ By. “Amazing Grace” trumps both in the emotion and time categories. It’s also Beattie’s best performance on the album. The guitar melodies are just sublime.
Daylight Again is an incredible, albeit unfinished album. Some arrangements sound fluid and not quite there yet; it’s a flawed gem of a recording. The thing about the blues is that it has a timeless quality. You can’t nail this album down to a specific period because the blues are eternal. Whether it’s Beattie blowing away on some harmonica jams, or Lizmi’s pure feel, there are loads of tradition to dig into on this album.
As discussed in a previous instalment of this series, Dave Lizmi formed a new Horsemen lineup himself shortly after the Haggis/Beattie version disintegrated for good. With Frank C. Starr back in the saddle, Lizmi’s Horsemen released the “official” second LP, Gettin’ Pretty Good…at Barely Gettin’ By. However, Daylight Again pre-dates those recordings by almost two years and showcases a “lost” period in Horsemen history. The 2009 reissue does a great service by finally bringing this lost LP to light.
It feels right to review this re-released EP only after we have already discussed Nobody Said it Was Easy and Gettin’ Pretty Good at Barely Gettin’ By. Until I met T-Rev at the old Record Store, I didn’t even know such an EP existed. But he had it; an original copy purchased somewhere in the States before we met. He taped it for me (same songs both sides) and that was the first I heard of the Horsemen’s 1990 debut EP. I hunted high and low for another CD copy, but failed until this 2009 reissue. Originally and simply titled The Four Horsemen, the reissued EP sports the new title Welfare Boogie, and five bonus tracks.
According to the liner notes, the band didn’t mind if they sounded a bit like AC/DC since “nobody is doing AC/DC anymore, not even AC/DC”. The EP has the same raw and rough vibe of Powerage-era Bon Scott, but with a guy who can also scream like Brian Johnson. “Welfare Boogie” itself works as an example. It’s a basic riff, a rawk vibe, a shout-along chorus and a charismatic shrieker (Frank C. Starr). This track and the laid-back rock and roll “Shelly” were both written solely by drummer Ken “Dimwit” Montgomery. Dave Lizmi’s guitar solo is equal parts Angus Young and Ace Frehley. The date might say 1990, but it sounds more like 1978. “High School Rock N’ Roller” was written by founding member, Haggis (aka Kid Chaos aka Stephen Harris), who had finished a world tour with the Cult. Once again, it’s easy to point at early AC/DC as the prime influence. The one track that sounds more like punk rock (Dimwit was from D.O.A.) than AC/DC is “Hard Lovin’ Man”. Starr might not have written it, but it’s clearly about him. I have heard him reference his tattooed weiner before in a RIP Magazine interview. (“It has eyes!” he seemed to beam with pride.) The lyrics:
“I got heart of stone,
And a hand of steel,
Got a tattooed pecker,
And a Batmobile.”
“I”m a hard lovin’ man,” he boasts, before inviting “come here baby and see how hard I am.” All this to the rock and roll blitzkrieg of a song so fast that it doesn’t even break the 2 1/2 minute mark. The four tracks combined make for a grand little EP, not even 13 minutes long! In and out, mission accomplished. Thankfully the bonus tracks extend the experience for those wanting a little bit more action.
A cassette demo of “Rockin’ is Ma Business” demonstrates a work in progress as the band fiddled with the arrangement. Comparing the final track to the demo, it sounds like it ingested a steady diet of coffee and gin before cranking it up to 11. Always interesting to hear these early works in progress. The bones are there but the meat is only being added. “The Needle” is an unreleased song, a menacing night prowler with teeth flashing in the gloom.
“Born to Boogie” transformed completely between this demo and a later demo included on Nobody Said it Was Easy. According to the liner notes here, this song eventually mutated again into “Can’t Stop Rockin'” from the album. This track however is just a good time boogie with a bouncy riff lifted from “New York Groove” by Ace Frehley. Then there is “Ain’t Telling Me”, a purely AC/DC stomp with a hint of Guns N’ Roses on top like a cherry. Finally, a fun track called “Bring On the Girls” goes down like a round of tequila. You can hear that the chords here later became “Moonshine” on the LP. Even the bass line is identical, but this is a more party-hearty version of a fondly remembered deep cut.
This collection of songs was never meant to be more than a warm-up. The main course was always intended to be the LP. When a band is as good as The Four Horsemen were, the EP still impresses more than a thousand other bands’ proper albums.
The Four Horsemen seemed to burn the candle at both ends. Before really even getting off the ground, they imploded, but not before dropping one of the greatest unsung records of the decade: Nobody Said it Was Easy. They had Rick Rubin, they had Def American, they had a guy that was in the Cult and another from D.O.A., and they had tours with the Black Crowes and Lynyrd Skynyrd. They also had a volatile frontman who drove the band nuts and ended up in jail, and they just couldn’t make it last.
Founding member Haggis tried to give it another shot. He reformed the band with a new singer named Tim Beattie, but ultimately the album was shelved. It sounded like a completely different band, a southern soul band with nothing hard or heavy. That’s not a bad thing: the album Daylight Again was finally released in 2009, and it’s incredible (and we’ll get there soon). Instead they folded again, but not for long. Dave Lizmi and Frank C. Starr formed a new Four Horsemen, with Canadians Pharoah (bass) and drummer extraordinaire Randy Cooke. With another Canadian, producer Rich Chycki, they forged a rare followup: one as good as the original.
Slimmed down to a single guitar band, the new Horsemen sounded leaner and less AC/DC. Frankie’s voice had changed and he was no longer screaming, and that also lessened similarities to AC/DC. He had also become more expressive, while losing none of his power or character. They opened the album with a southern flavoured “Still Alive and Well”, a Rick Derringer cover. Considering the five year gap between albums, they couldn’t have picked a better opener.
The title track “Gettin’ Pretty Good at Barely Gettin’ By” goes deeper into the swamps of the south. Lizmi takes out the slide, and who doesn’t love some greasy slide guitars? This is an uplifting hard rocker, stating the Horsemen’s modus operandi: “Well well, oh my my, what have we here? Some good old fashioned music, lots of whiskey and beer.” Lizmi wrote the lyrics for this album, but the words sound like Frankie’s. It’s a celebration of rock and roll, proudly and loudly.
The third song in a killer triple threat of openers is “Drunk Again”, which sounds exactly like you hope it does: fast, upbeat, cocked and loaded. Gotta love the female backing vocals, giving it a kick of soul. The performance sounds live and authentic. At one point, it sounds like Frankie cracks up chuckling right in the middle of a line. “It’s been 40 days since I looked at my face…ah shit…” This is the kind of music everybody needs for a serious rock and roll party.
There are few more standout songs that have to be discussed. First is “Song for Absent Friends”, one of the most emotionally bare tracks you’ll ever find from a band of this ilk. Original drummer Ken “Dimwit” Montgomery, a Canadian punk legend, died in 1995 of a drug overdose. “Song for Absent Friends” sends legitimate tingles up the spine. You can feel the hurt. But it’s not a funeral, it’s as much a celebration of Dimwit as the rest of the album is a celebration of life.
“And I know that you all are out there somewhere,
On a leave of absence from this place,
And I still have a place for you all,
A place around near me,
And your glasses will always be full.”
Then we have the blazingly fast drag race of “Hot Rod”, featuring the lyric “I got the hottest rod around,” ha ha. It’s that slippery fast guitar lick that knocks you out. But if you want a song that’ll knock some teeth out, with some biting lyrics, look no further than “Back in Business Again”. Frank sounds pissed!
“And we were headed for the top babe,
Way back in ’91,
Some record business scumbags took it from us,
Well they forgot my gun.
Well now we’re back in business folks,
I’ve come to claim what’s mine,
See we’re the Four fucking Horsemen,
Back for a second time!”
That’s nothing. Clearly, they were still ticked that they got dropped by the label in 1992. I don’t think Frank or Dave thought much of the latest wave of bands that were topping the charts in the early part of the 1990’s. Exhibit A:
“Now pay attention,
I got a little story here to tell ya,
It kinda goes like this.
You know I had a couple years off there babe,
To kinda take some time,
And I heard a bunch of whining, little wussy rock n rollers,
Complaining about how fame and fortune’s got them down.
I say we gather up all these little bastards,
Shove them back to their little nowhere town,
See I was born on this stage,
And I plan to stick around!”
Frank didn’t get that chance, either.
Before Gettin’ Pretty Good…at Barely Gettin’ By was even released (by the Canadian label Magnetic Air), Frank was hit by a drunk driver while riding a motorcyle. He suffered massive brain trauma. He never woke from coma, and died four years later.
It’s almost absurd how much hardship fell upon this band, almost as if the fates decided that nothing would stand in the way of grunge. The Horsemen tended to end their albums with emotional epics, and this album ends with “What the Hell Went Wrong”. It’s a complicated question with many answers, but the bottom line is that the success the Four Horsemen had was inversely proportional to their talent.
In one of the strangest twists of an already twisty story, the masses finally heard the Four Horsemen when “Back in Business Again” was used in the movie G.I. Joe: Retaliation. Completely out of context, but who cares. The movie starring Dwayne “The Rock” Johnson made $375.7 million. That’s a lot of people who got to hear a kick ass Four Horsemen track with theater quality sound!
Rest in peace, Frankie. Rest in peace, Dimwit.