Author: mikeladano

Metal, hard rock, rock and roll! Record Store Tales & Reviews! Grab A Stack of Rock and more. Poking the bear since 2010.

REVIEW: Tony Martin – Thorns (2022)

TONY MARTIN – Thorns (2022 Dark Star Records)

Anticipation has been high for Tony Martin’s new album Thorns.  His last solo record was the excellent Scream from 2005, but it feels like it was back in the 2nd age of Middle Earth!  Fandom seems to have warmed up to Martin in recent years.  His Sabbath albums, once derided as lesser Dio clones, are looked back upon warmly by more and more people, which could be good for Martin.  And with some of those albums getting the reissue treatment in the future, the time is right for Tony’s re-emergence.

Thorns is heavy.  Heavier than expected.  “As the World Burns” is out of the gates with salvos of double bass and a gut-punching downtuned riff.  This is essentially thrash metal – fast, aggressive, varied and complex.  It’s certainly beyond Sabbath.  Martin’s range is fully intact, though it sounds like he’s pushing his voice a bit too much and maybe should have laid back a bit in a couple spots.  Even so, there is no doubting the man’s enduring power.

“Black Widow Angel” is hellbent for heavy.  Then there’s this crazy funk metal breakdown in the middle with some wicked bass stuff, right out of the blue.  Many of Martin’s songs demonstrate surprising diversity within the walls of heavy metal.  Choirs appear on “Book of Shadows”, a modern Maiden-esque track with a pretty incredible lead vocal.  There’s also a solidly Sabbath gothic streak.

One of the most interesting tracks is “Cry Wolf”.  An acoustic metal song is often intriguing (ask Wino) and this is a fine tune with a guitar solo to match.  Cool instrumentation abounds, and Martin fans know that they can expect some wicked violin within a metal song.  The violin emerges on “Damned By You”, slow melodic and heavy.  Moving on to “No Shame At All”, the groove takes the spotlight.  The chorus is pure vintage Tony, but the groove is new.

Metal ballads rule, and “Nowhere to Fly” is a black rose of a ballad.  The music is understated so it’s all about Tony’s singing.  (Nothing like Dio’s, incidentally.)  “Passion Killer” on the other hand rocks, but is also all about the vocals.  Those “woah-oh-woah-ohs!” kick ass.  There isn’t much of a chorus to speak of, but the verses slay.  Tony then goes for speed on “Run Like the Devil”, hook laden and wicked!  But then we get swampy on the surprising “This Is My Damnation”.  It’s the second acoustic song, but completely different from the first.  “Why terrorism?  Why Covid?  Why cancer?  Why AIDS?” asks Tony in the words, speak-singing like in a Robbie Robertson song.

The closing title track is the most epic, featuring an instantly recognizable Pamela Moore (Operation: Mindcrime).  Moore has lost nothing and raises the game by several levels.  At first, I wasn’t sure I liked that “ooh-ah-ah” bit that sounds like David Draiman.  It grows on you.  At least it’s not the main hook of the song like it is with Disturbed.

Acoustic interludes, spoken word, subhuman bass, snakey synth solos, Pamela Moore…Thorns has plenty of delectables on offer.  Get yours.

4.5/5 stars

 

DVD REVIEW: Def Leppard – In the Round In Your Face (1989)

Part Eleven of the Def Leppard Review Series

DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)

When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see.  Grade 10, going on grade 11, the only show I craved was Def Leppard.  Their innovative stage in the round, in the center of the arena, seemed like the ultimate package.  But I was just too young and had no one to go with, so I never made it.  Fortunately, Def Leppard released a home video to satisfy those of us who could not be there.  I rented the tape from Steve’s TV and made a copy.  It was the best I could do on my allowance.  To make up for it, I bought it three times since on different formats (VHS, DVD, CD).

I popped the tape into the VCR with anticipation.  A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”.  A massive undertaking, but this was just pre-amble.  The show was about to begin!

It was just as I had heard about in the highschool halls.  The stage was draped on all four sides by massive Hysteria curtains.

“I know what you’re thinking,” says Clint Eastwood over the sound system.  “‘Did he fire six shots, or only five?’  Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.”  A laser show begins dancing on the curtains.  “You’ve got to ask yourself one question.  ‘Do I feel lucky?’  Well do ya, punk (punk punk punk)?”  

Guitars replace the echo of Eastwood’s voice.

“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings!  Even in my armchair, there’s still goosebumps.

Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days.  Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle.  Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do.  Overhead cameras capture everything, from every angle.  Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.

Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed.  It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting.  A reminder that this was it — the last high point of the Clark era.  Fortunately captured on camera and tape.

The first new song, and break in tempo, is “Women”.  This is the famous version released as a single B-side with the “We got everything we need!” intro.  You know it, you love it, it’s legendary:  the live version of “Women”.  Rick Savage mans the keyboard station for the time being while the lights get dimmer.  Lots of echo on this one to duplicate the album ambience.  “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”.  The live version of “Hysteria” is lengthier with an extended bass intro.  It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here!  And, for a moment, Joe Elliott on rhythm guitar!  A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.

Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting.  We always thought it should have been the 8th Hysteria single.  Rick Savage on acoustic guitar during the outro.  The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black.  It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”.  Lighters up!  Off goes Phil’s shirt.  This track is a return to the tempo of the opening duo, all three being from Pyromania.

Indeed, it is time to address the setlist.  You may have noticed all the tracks are from Pyromania and Hysteria thus far.  There is nothing from On Through the Night, and only one from High N’ Dry:  “Bringing On the Heartbreak”.  “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe.  It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour.  Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck.  This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.

“Foolin'” ushers in a long stream of big, big hits.  Steve’s still rockin’ the doubleneck.  Then “Armageddon It” is nice and fresh.  Much of this footage will be familiar to fans of the music video.  “Animal” is tight, and received with a rapturous applause.  Lots of girls in the front row dancing to this one.

There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had.  They then make easy work of the hit single.  Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section.  (“You can do better than that!”)  The encore “Photograph” closes the show, and a great song to do it with.  Shirts are no longer required where Joe and Steve are concerned.

This video was expertly directed by Wayne Isham.  It is simply one of the best shot and edited live concerts available on DVD.  It’s also – sadly – a document of the last stand for this lineup of the band.  They had hit the top.  Unfortunately you can never stay.

5/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia (Record Store Tales)

 

Next:

12. The Wait for Adrenalize (Record Store Tales)

Sunday Screening: “Community” – isolated live Aaron reaction video

For your convenience and enjoyment, here is an isolated video of the moment we surprised Aaron with the new Tee Bone Erickson music video “Community”. I will remember this night always.

SURPRISE! A Tribute to Aaron from the Community! Featuring new video by Tee Bone!

The secret is out!  This show was a month in planning.  We have been wanting to do a tribute to AARON from the KMA for some time now, due to his passion for Community.  And tonight we finally did it, surprising him with a blindside like no other!

For the last month, Tee Bone has been secretly toiling away on his new magnum opus, like a Mr. Holland gone mad, with late nights and early mornings.

Now we can reveal the truth:  the Community that Aaron nurtured has repaid him in song.  The new track “Community” features our contributions and our tributes to the man.  The very first duet with Tee Bone and Meat together, and the first vocal contributions from LeBrain and Geoff Stephen in a Tee Bone song!  And we got to spring the surprise on him live!  His reactions are on video for you to see yourself.

We had a full house tonight with Harrison, Kevin, Sarah, Geoff, Meat, John Snow and Tee Bone all in the house with James and Aaron!  A first!

Key points:

  • Interview with Aaron and James begins at 15:30.
  • The surprise is sprung at 46:30, followed by the debut of the “Community” music video.

If you were able to watch live, thank you for helping making Aaron’s party something truly special!

 


You will be able to buy “Community” on Bandcamp next week.  Wahoo!!

The KeepsMeAlive Saturday Special episode of the LeBrain Train!

The LeBrain Train: 2000 Words or More with Mike Ladano

Episode 97 – The KMA Saturday Special

DO NOT miss this.  Join Harrison and I for a special Saturday evening show!  We replace the usual Friday night chat with special guests…

AARON AND JAMES FROM THE KMA!

If you are reading this, then you are a part of the community!  The Keeps Me Alive guys were here first, rocking us since 2006 with their passion for music.  James is the “concerts guy” where reviews are concerned, and this is his very first time going live with us.  Harrison will be grilling James on just why he wanted me to eat a worm and a stick for $7.  Meanwhile, I’ll be asking about beginnings.  Why did these two guys decide to start writing about music anyway?  And what’s the secret to their longevity?

This show has been a long time coming!  I have wanted to spotlight the KMA for a year and a half now.  Tonight will be a good time, I promise you.

 

Saturday February 5, 7:00 PM E.S.T. on YouTubeFacebook and also Facebook!


 

#971: Facebook Memories

RECORD STORE TALES #971: Facebook Memories

While I’m sure that “Facebook Memories” are Zucking up my brain in some way, in this brave new Metaverse…I kinda like them.

For those of you who prefer to stay out of the Metaverse or social media in general, “Facebook Memories” are a daily feature that shows you what you posted in the years prior.  While not every day is solid gold, I find that most days have at least one cool memory that I would want to post again.  Something funny, something cool…occasionally something sad.

The early years of Facebook memories seem to be nothing but me posting what I’m currently “rockin’ to”.  Dear God there were a lot of those “rockin’ to” posts.  Interesting nonetheless especially when I happen to be rockin’ to the same artist on the same day years later.  There were also a lot of early video blogs that were not very good (but were very young).  In that tradition, as I write this now I’m rockin’ to Slash Puppet’s Studs & Gems.

I didn’t start using Facebook on a regular basis until 2012 when I launched this site.  I found that most of my hits were coming from that platform, but not Twitter, so I made a choice and stuck with it.  Memories start picking up in 2012.

In the winter months, I see a lot of complaints about driving conditions.

Frequent memories of co-workers pranking my office.

In 2016-2017, nearly daily postings about the shenanigans of one Donald J. Trump.

In January, with memories from different years, it seemed like I was constantly sick.  The flu, the man-cold, whatever.  And it also appears that each time it was the “worst one ever”.  This does not bode well for the next time I get sick.

Also in January, in the year 2018, come the bad memories.

But I still want to remember them.  Not necessarily first thing in the morning with my first Nespresso, but I do want to see them.  I don’t want the minutia lost.  Maybe I won’t always feel that way, but I won’t deny that we are still grieving.  And it helps the grieving process to see some of these old electronic thoughts.

Of course, this means Zuck knows my entire life story for the last decade-plus, but so do you.  I made a choice a long time ago to write personal shit in public.  At the end of the day I don’t think I’m interesting enough to attract unwanted attention, and what’s done is done.  While the Metaverse expands I may have regrets, but at present I’ve made some friends doing what I do.  I’ll take it as a win.

 

 


NOTE:  The LeBrain Train will be on Saturday night rather than Friday!

REVIEW: The Defiants – Zokusho (2019)

THE DEFIANTS – Zokusho (2019 Frontiers)

The Defiants:  Paul Laine, Bruno Ravel and Rob Marcello.  Call ’em what you like.  A side project of Danger Danger, a power-pop trio, whatever you want.  There’s nothing wrong with any of that.  Just be sure to listen, because in 2019’s Zokusho, the Defiants created one of the best albums of the year.  It is an intensely catchy, varied, well-executed album that sticks to the brain like peanut butter.  The production is slick and pounding.

“Love is the Killer” opens the album in grand fashion.  It’s a big dramatic pop rock song with modern production, but hooks rooted in 80s classic rock.  Huge chorus, which Paul Laine gets to wrap his able pipes around with ease.  A ripping solo takes a little extra time, proving this isn’t simply a pop band, but one of talented players doing what they want.  And even though “Love is the Killer” is a fine opener, it’s not even close to best track on the album.

Heavy mid-tempo “Standing on the Edge” cranks up the tension.  The chorus absolutely kills — unforgettable.  Until this point though, the album’s edges were dark-tinged.  “Hollywood in Headlights” is the first celebratory rock song, perfect for the summer cruising season.  There’s a nice crunchy guitar riff that goes with it.  A catchy, perfectly written rock classic.  But like a sequel, “Fallin’ For You” continues the good time vibes where they left off.  Unlike a sequel, it’s just as good if not better.  It’s faster and even more upbeat, with irresistible singalong vocals, and a stunning solo.

A Def Leppard vibe inhabits “Hold On Tonight”, with that kind of picked Phil Collen guitar hook.  A power ballad with plenty of power indeed.  Leppard’s “Stand Up” but cranked up?  Something like that at least.  But that’s it for sentimentality for the moment.  “Allnighter” is a party rock pounder.  Definitely something of a rallying cry for those about to hit the town.  Still with the hooks though.  I don’t think Paul Laine knows how to write a song without hooks.

“U X’d My Heart” is not the finest song title ever composed (it means “You Crossed My Heart”), but the classy ballad defies its title.  Delicate picking followed by crunching guitars create a vital sounding rock ballad.  It’s quickly followed by “It Goes Fast”, with progressive vibes & keys guiding the way to outer space.  Another killer song.

Track nine, “Stay”, goes upbeat again, fast and overflowing with catchy components.  There’s a sudden key change towards the end that’s a little jarring but that’s the worst thing I can say about it.  Following that is a spacey, Journey-like tune intro to a tune called “Alive”.  Once more the hooks are front and center, as the guitar goes Holidays in Eden-era Marillion.  That’s before it explodes in a massive chorus.

The final track is “Drink Up!” and it’s obviously the party rock closer, with just a hint of country twang via Laine.  Pure fun and nothing more.  Nothing wrong with that.

If you like melodic hard rock with punch and plenty of production, the Defiants deliver.  Get some Sokusho.

5/5 stars

 

INTERVIEW: My Dinner With Sarge (2004)

In the summer of 2004, modded people from all over the world gathered in Toronto, Ontario for BMEfest, an annual gathering of like-minded individuals. Some came to be social. Some came to drink. Some came to perform. Sarge came for all these reasons and more.

Sarge is a renowned piercer, and owner of the Metal Fatigue studio in Bournemouth, England. His real name has been lost to time (but is easily readable on his passport if you’re lucky enough to see it). This was his second trip to Canada, and I had the opportunity to speak with him at length, observe him performing an extremely exotic piercing, and get pierced by him myself.

Upon meeting him, it’s obvious that he fits no stereotype. On the hottest days of the summer Sarge was found wearing black leather pants, his trademark tophat, and aviator’s goggles. For a piercer, Sarge has relatively few piercings himself. The only visible ones are multiple gauged holes in his ears. I wondered about this.

“Blimey!” said Sarge with typical zeal. “Over the years I have had different piercings, but I was always into the tattooing side of body art.” Indeed, Sarge has a wonderful pair of wings on his back, and his sleeves covered. “Even though I never made it to that particular job (tattooing), I prefer the look. Body piercing to me is becoming more of a personal goal to strive at. I just pride myself on the job and quality of work the shop is producing. To me it’s more important to give good quality piercings than actually have them myself, plus I’m a big pussy when it comes to piercing pain.”

I got to wear the Sarge tophat.

Can this be true? We’ve all seen people who seem like they’re on the verge of tears when getting pierced. Could Sarge be like one of these people? Could Sarge even be worse than yours truly when it comes to pain? “No really!” he says. “Even worse than you!”

Although it’s impossible to guess by looking at him how old the Sarge might be, it’s clear from his stories that he’s been around for over 35 years. I was curious when he first encountered an “unusual” piercing, and what he thought of it at the time.

“The first unusual body art and modification I ever saw was in a re search book called Modern Primitives. That totally opened my eyes I can tell you! There was a whole world of piercing anthropology out there! I was 18 at the time and getting my first tattoo, which was pretty hardcore anyway at the time as it is a full arm of tribal. So I was pushing the boundaries then, because nobody had those types of tattoos then. Well so I thought! Then I read Modern Primitives and the rest as they say is history.”

From there, Sarge began exploring piercings himself. “My good friend Jenny was a mobile body piercer on the Isle of Wight. She taught me all she knew and pierced my navel, then got pregnant and gave the box of equipment to me. I sort of drifted about for a few years piercing my friends, then moved to Bournemouth UK and started working with various local cosmetic piercing studios. When I got fed up with their bad habits, I opened another. Then another. Then this one, which I called a clinic. I think it deserved it considering that’s a good 15 years of Metal Fatigue.”

Sarge’s first piercing was technically not his navel. He too experienced the dreaded piercing gun at an early age, before he knew any better. “I think my first piercing was when I was 14, I had my ear pierced with a really old piercing gun. It was a bit like a cross between a pair or pliers and a hole punch. I’m serious! And the freezing spray hurt more than the piercing!”

Eventually Sarge began doing piercings himself. His first was in 1989. “I cannot tell a lie, I totally screwed it up. It was a tongue piercing, and I got it off centre. It was on my friend Jenny.” Jenny had been teaching Sarge how to pierce, and continued to give him guidance. “She made me take it out and ‘Bloody well do it again!’ Suffice to say that was the first and last time I ever screwed up a tongue piercing!”

As time went on, the shop currently known as Metal Fatigue opened it doors to the public. The shop now enjoys an excellent reputation, but it was not always easy. “As an Aquarian, I have a total lack of a business mind. I am absolutely hopeless! So money has always been a problem. I have always thought it was always reputation over money anyway, so I’m lucky there, huh? I owned a tattoo studio called White Flame for three years with my ex-girlfriend, but left after we split up. I couldn’t really walk in there anymore after. It just gave me the fear. Although, my friend and housemate, Ana is a tattooist there and she just did a piece on my leg in the shop, so I’m getting better with it.”

Metal Fatigue itself runs on a fairly small staff. Aside from Sarge, “the shop runs two apprentices and two shop cleaner/desk personnel. All of them are friends, which sometimes doesn’t work: Mixing business and friendship is always a mistake. I think that pretty much sums up most piercing clinics, you definitely have to deal with the whole soap opera of this job somewhere along the line!” He must be doing something right despite this, as his shop has proven to be extremely popular.

Sarge is most definitely well versed in many topics. During a sushi dinner with him, pop culture was a topic that came up frequently. I recalled the first time I saw an unusual piercing myself. It was Axl Rose in a music magazine, and he had a ring in his left nipple. I had heard about Axl Rose’s unusual nipple adornment on a Canadian television music program, but seeing it changed a lot of things for me. I was wondering if, In England, there were any pop culture figures who might have had the same impact on people.

“The Spice Girls!” said Sarge with glee. Sporty Spice had her pierced nostril, Ginger had her navel done, and Scary had the most extreme piercing of the group, a barbell in her tongue. “They started the whole girly piercing craze. Before that it was all “alternative” people and middle aged swingers, I swear! It’s true! ” This trend has not changed, even if the pop culture faces have. “Even now, I’m getting people in who want piercings because some famous person or other has one!”

Having been in this business for the better part of 15 years, Sarge has seen a lot of different piercing techniques. When he came to Canada, he asked me how we did piercings here. I had to confess I was ignorant that there would be a difference in technique between the two countries. “I actually employ a cross between Standard American devised techniques and Standard English devised techniques. The difference is in the needles, but if you know what you’re doing you generally get the same result.”

What about attitudes? Are they the same in both countries? “With attitudes, I don’t honestly know, I tend not to get into big arguments about ethics. Lately I have had to really bite my tongue about certain issues. I’m quite happy that I did.”

I tried to pry his tongue loose on a few topics, and Sarge was willing to discuss common mistakes made in the piercing industry. “There are so many! Bad placement, wrong jewelry, trauma on areas caused by holding clamps too hard, the list is large. I personally have had to mop up after a large percentage of local piercers. I have just got used to it now. I learned a long time ago if you treat people with respect after they have been butchered by some backstreet piercer, instead of giving them attitude, they come back to you and tell all their friends. I do despair sometimes, and get downright angry about certain situations, but there’s nothing I can do about it. You can’t fight city hall, and any complaints that I make are deemed as ‘Professional jealousy’!”

Sarge does his best to keep his shop state of the art, and top of the line. In order to do this, he makes sure that he’s on top of sterility issues, and also provides excellent aftercare to his clients.

“Sterility in the studio is something that has evolved over the years. We buy better chemicals and better autoclaves each year, I update my techniques and basically do my homework. This has made the shop the way it is. We have this horrible super bug here called MRSA which seems to be ravaging the local hospitals, I don’t understand why they have it. All it takes is common sense and a proper cross contamination cleaning regime to work safely and efficiently. I swear sometimes I think that Technicare should pay me commission; on the amount of student nurses I have turned on to it!”

As far as aftercare goes, Sarge provides excellent service to his clients. “Metal Fatigue is twinned with a shop called Paradox which is just across the road; they are a jewelry shop, which is where I get all my ‘standard’ piercing jewelry. We have a policy: I use standard sensible pieces in all the different piercings that I pierce, in turn the piercees then come back to change their original piercings for an interesting piece of jewelry of their choice. I in turn change these for free. We’re pretty user-friendly like that!”

This makes Sarge a pretty popular guy. “I can’t move in my local rock nightclub for people the shop has pierced, the running joke is about the scrap value in titanium every Saturday night!”

When asked what his future plans for his studio were, Sarge’s love of Canada was evident. “Metal Fatigue Ontario, maybe? Any sponsors out there?”

Although he has yet to fulfill this cross-Atlantic dream, Sarge has pierced in Canada before. Sarge pierced my right nipple, and did a fantastic job. He made a piercing that, for me, was always extremely difficult and painful the exact opposite of that. It was quick, painless, and I did not even realize it was over until he told me that it was. Even more exciting than this was getting to watch Sarge perform was he calls his “trophy piercing”, the clavicle.

The clavicle piercing, under the collarbone.

A young Kitchener, Ontario resident had seen Sarge’s clavicle piercing on the BME site and was interested. It’s a very unusual piercing that involves going underneath the collarbone. Sarge is one of very few people who do it. This young girl eventually emailed Sarge about getting one done, not realizing he lived across the ocean. However, with BMEfest just around the corner, Sarge was planning on coming and visiting his friends. The Canadian girl could have her clavicle piercing after all.

It was quite a sight to watch. “The clavicle piercing (under the collar bone) is probably my ‘trophy’ piercing now, its really dangerous,” says Sarge. “If I hit anything untoward, someone may die. I have had loads of criticism from various piercers for even thinking about doing one. Saying that, I have now done eight and they all love them so much! I have stopped doing them now, as we are into unknown territory, watching them heal, working around possible problems with them. So far everything has been hunky dory.”

As we were wrapping up our talk, I wanted to lighten the tone a bit. I know Sarge has met a few celebrities in the past. My favourite story involved a bar, a drunken Sarge, and a certain lead vocalist from a certain British heavy metal band called Motorhead. Although he had no way of knowing, Philip Lynott from Thin Lizzy had died that day, and the bar was playing his music in tribute to the fallen rock hero. Sarge, however, was not a fan. When he openly criticized the music of Thin Lizzy with some choice words, a large man with “bad teeth, long black hair and a low gruff voice,” told the young Sarge to fuck off. This was Sarge’s first and last meeting with Lemmy Kilmister. Not all his encounters were this scary. “I met Jon Anderson from the band Yes when I was working at a hotel once! Had a beer with him after work, he was doing some book signing thing, I think I still have his autograph somewhere, he signed a copy of a (Yes cover artist) Rodger Dean art book for me!”

Has Sarge ever pierced a celebrity? “I have, but I can’t tell you her name. She’s more a British music celebrity, quite young and has only just been in the charts here, I don’t honestly know how far reaching her music is. She’s definitely not one of these corporate girly types, she writes all her own tunes. Oh yeah and she’s really cute.”

We wrapped up our talk, half of our sushi still lying on the table. I very much enjoyed having the chance to speak with, and have some work done by the man known in Canada as the “Jedi Master of Piercings”. If you ever have a chance to visit Bournemouth, UK, be sure to drop in and say hello to the extremely talented and friendly Sarge.

 

More on Sarge:  

REVIEW: Accept – Symphonic Terror – Live at Wacken 2017 (2018)

ACCEPT – Symphonic Terror – Live at Wacken 2017 (2018 Nuclear Blast)

They weren’t the first, but they did it with their own twist.  It was inevitable that even a band with the heavy metal roots of Accept would eventually go symphonic.  Guitarist/leader Wolf Hoffman released his first classical album in the 90s, and in 2016 made the Headbanger’s Symphony record, adapting classical pieces to metal with Czech National Symphony Orchestra.  Accept’s Symphonic Terror combines their own metal masterpieces with the classical/metal hybrid Headbanger’s Symphony at Wacken 2017, to create a unique musical experience.

Like Kiss with their symphonic detour, Accept chose to break the set into sections.  The first consists of five Accept songs, mostly new, performed straight by the band with no extras.

“Die by the Sword” was the logical opener, also being the starting track on Accept’s newest album The Rise of Chaos.  The biting riff storms the Wacken stage.  It is vocalist Mark Tornillo who proves his worth over and over again through the entire show.  With voice set to full-grit he delivers all the power and melody that Accept’s material demands.  Not an easy gig.  Second, it’s the riffy “Restless and Wild” from Accept’s 1982 album of the same name (an album that they return to more than once on this night).  It’s singing the old Udo material that people will judge Tornillo by, and he does the job.  By necessity, it’s done with his own twist.  Another sharp Rise of Chaos standout, “Koolaid” is rolled out to great effect.  They dig back to the first album with Mark for “Pandemic”, riding the Peter Baltes bass groove to heavy effect.  Finally it’s the speed metal of “Final Journey” from the Blind Rage album.  Not the finest song of the set, but a banger indeed.

The Headbanger’s Symphony featuring the Czech National Symphony Orchestra has a different set of musicians in the front.  Wolf Hoffman and drummer Christopher Williams remain, while Mark Tornillo, Peter Baltes and Uwe Lulis are replaced by keyboardist Melo Mafali, guitarist Phillip Shouse and bassist Daniel Silvestri.  With the full might of the orchestra behind them, they take on  the tempests of “Night on Bald Mountain” (Mussorgsky). It’s not a pure adaptation, but more a thrash metal version with an orchestra.  “Scherzo” (Beethoven’s Ninth Symphony) is fully enjoyable and a better melding of the two styles.  Moving on to Prokofiev, “Romeo and Juliet” is slow and plodding.  Even with a burning hot Hoffman solo, it’s the least interesting.  I don’t think Beethoven envisioned the heavy riffing of “Pathétique” but you never know.  Did Beethoven invent speed metal?  Judging by this, he might have.  Vivaldi is next, the metal shredder’s favourite.  “Double Cello Concerto In G Minor” is less familiar but continues to combine the heavy and delicate music with an emphasis on the heavy.  Mozart closes the Headbanger’s Symphony set with “Symphony No. 40 In G Minor”, a familiar favourite made heavy enough to sound eerily similar to Queensryche’s “The Needle Lies”.

The orchestra stays on stage for the remainder of the show, peppered with new and old Accept classics.  Accept’s music works well with the orchestra behind, arguably better than Metallica’s does.

Back to 1982 and “Princess of the Dawn”, an awesomely enhanced Udo-era metal classic.  However it is “Stalingrad” that is the show stealer, a song clearly suited to the orchestral treatment.  It sounds as if the string section is charging into battle with the band.  Blind Rage‘s “Dark Side of My Heart” comes to life in this new form, a superior track to the original.  The punchy horns, the silky strings — everything comes together to raise the track to a higher level.

Back to 1981, the classical musicians may have had a difficult time keeping up with the speed metal of “Breaker”!  They get a “break” on the more deliberate pace of “Shadow Soldiers”, an excellent tune adapted well to the orchestra.  Another album highlight.  “Dying Breed” is a heavy track from Blind Rage, a little same-same sounding to other tracks like “Stalingrad”.

“Fast as a Shark” is the last of the speed metal tunes that the symphony has to try and keep up with.  They sure sound wonderful together on the neoclassical guitar solo section.  “Metal Heart” (with classical interlude) and “Teutonic Terror” both work well enhanced, but “Balls to the Wall” is surprising.  It’s always been a bit silly, but it sounds great with an orchestra.  Too bad Mark couldn’t nail that “sign of victory” part, but the absurdity of “Balls to the Wall” with a symphony is not lost.

Symphonic Terror was the second live album with Mark Tornillo on vocals.  Only about half overlaps with the previous one, and when you consider the differences offered by the symphony, not much overlap at all.

4/5 stars

#970: Soundtrack From the Video Historia (with Tim’s Vinyl Confessions)

Part Ten of the Def Leppard Review Series

Original review:  Historia (1988 VHS)

RECORD STORE TALES #970: Soundtrack From the Video Historia

Love is like a bomb (b-bomb b-bomb bomb)…

December 1988: The Zellers flyer.

Zellers was a popular Canadian retailer with a decent music department.  They folded several years ago after a slow decline, but once upon a time, they were a central “anything” store for families all over Canada.  Anything but groceries anyway; Zehrs had that covered.  We’ve talked about Zellers numerous times here, as they were the best store at our local mall.  Whether you were buying toys, a new bike, or school supplies, they had kids covered.  Meanwhile the adults spent time in housewares, clothing, kitchen goods, and automotive.  In the 80s, the era of “Club Z”, Zellers did not suck.  They even had a restaurant in the store.

Zellers’ music department sold both albums and equipment in the same area.  Needed a head demagnetizer or a record cleaning kit?  Batteries, blank tapes, new decks?  All there for us kids to gaze at with wishes in our eyes.  The selection of cassettes had us constantly flip-flip-flipping.  Meanwhile the clerks would be playing music unique to that department, while the rest of the store got Muzak.  I first became exposed to the concept of a single B-Side thanks to somebody there spinning “Ride Into the Sun” by Def Leppard.  I bought a lot of my Judas Priest and Kiss tapes there.  I saw Poison on the shelves at Zellers for the first time.  (I thought Rikki was hot before I learned the terrible truth!)

In fact, because of Zellers and that very single (which had “Hysteria” on the A-side), I began frantically collecting everything Def Leppard that I could find.  Zellers bears 100% responsibility for this story we are about to unfold.

My growing Leppard collection had many gaps, but there was one that I wanted to patch up immediately.  It gnawed at me.  It was “Pour Some Sugar On Me”, the remix with the extended intro used in the music video.  It wasn’t on the album; it wasn’t on the single.  It wasn’t available on any known audio formats.  Radio stations didn’t play it.  The only place you could hear it was on your TV.  I kind of preferred that mix, with the long intro.  It had more vibe.  I remember hanging by the radio hoping to tape it, but was always disappointed when they played the album version.  The best copy I had access to was the 1988 Def Leppard home video, Historia.  It was a comprehensive home video, and had both mixes of “Sugar”.  But I couldn’t make a good taped copy to listen to; all I could do was dub to a cassette in mono.

One day I came home from school, and the Zellers flyer was sitting on the kitchen table.  I flipped to the music section, and there it was:  Soundtrack From the Video Historia.  A brand new Def Leppard release; a “greatest hits” if you will!  They had it for sale on cassette.  I reasoned that it had to have that remix.  If it was the soundtrack to the home video, then it had to have that remix!  I would have wanted it anyway, being a “new” Def Leppard release.  The possibility of the remix changed it from “want” to “must”.

It was kind of odd that none of the rock magazines mentioned this new release.  Nobody talked about it on MuchMusic.  That seemed very unusual for a band of Leppard’s stature.  They were the biggest rock band in the world in 1988.  Why wasn’t this new compilation album mentioned anywhere else?  That was worrying, but on the flipside, once I had it, I’d own a Leppard album that none of my friends had.

Later that week, I trekked to Zellers with my best friend Bob.  I looked in the Def Leppard section, but they didn’t have the soundtrack there.  New releases?  Nothing.  I went up to the counter, and there it was!  Sitting out for store play!

“I’ll take one of those please, Def Leppard Soundtrack From the Video Historia,” I said to the clerk.

“It’s not for sale,” he quashed.  He took it off the counter and put it behind him.  He wouldn’t even let me look at it.

Not for sale?  The hell?  It was right there in the flyer, $8.99 or $9.99 was the going rate back then.  He refused to sell it to me.  It was sitting in front of me under my nose; I could have reached out and grabbed it.  Whatever had happened, it managed to get into the Zellers flyer, but it was promotional only — not for sale.  It was meant only for them to play in store, but not to sell.  I was shit out of luck, and I went home brokenhearted and empty handed.

Now here’s where things get freaky.

That same week, all the way in New Brunswick Canada, Tim Durling (future author of the book Unspooled) saw the same ad in the Zellers flyer.  He got just as excited as I did, but there was one catch.  Living in rural New Brunswick, his closest Zellers store was an hour away.  It was Friday night.

“I pestered my father, ‘we gotta go to Fredericton tonight’,” says Tim.


Tim tells the story.  This happened live on the LeBrain Train Nov 23, 2021!

His disappointment might even have exceeded mine, as he returned home without his precious treasure.

“The poor girl working behind the counter,” he said.  “I was such a little shit.  I said ‘I want this tape right here!'”

Isn’t it incredible that two guys who didn’t know each other had the exact same experience at the same time?  And that we later put two and two together, and realized we had this bizarre experience in common?  It really happened, not a figment of my imagination.  The ad was real, and screwed somebody else’s hopes and dreams too!  But how did it come to be?

We have two theories.  I think it was a simple cock-up, a tape got put in the flyer before they realized it wasn’t for sale.  Tim thinks some jerk did it on purpose!  We will never know.


When Historia was reissued and updated on DVD accompanied by In The Round In Your Face on a single disc, it was revised to include three bonus videos from later in the band’s career.  We will get to that when we arrive at the Euphoria era.

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria

Next:  

 11. Live:  In The Round In Your Face DVD