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: 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

Sunday Screening: The Contrarians – Episode 63: Def Leppard – Hysteria

It’s the episode I’ve been waiting forever for! Tim Durling vs. Martin Popoff on Def Leppard’s legendary Hysteria!  I’ve been consistent in my love for this controversial album since its 1987 release.  So has Tim!  Meanwhile, Martin gave the album a pounding 0/10 score in Riff Kills Man!  “Hysteria sucks righteously!”

Let’s see how Tim holds up in this episode, shall we?

Tomorrow in the Def Leppard review series, Tim will be returning to talk about the Soundtrack From the Video Historia.  Don’t miss it.

Thanks Marco for letting me participate! The Contrarians Panel: Dark Horse Album #7 – Judas Priest’s Rocka Rolla

Last week, I asked Marco from the Contrarians to sit in with us for our Top Five Tony Martin albums.  Unfortunately he could not join us live due to a taping of the Contrarians that night.  Instead he sent us a great video that allowed him to participate, a highlight of the show.  And as an added bonus, Marco asked me to participate in his Contrarians taping!  My very first Contrarians appearance.  The subject was Judas Priest’s Rocka Rolla, an album I have been playing a lot recently due to my recent acquisition of the 50 Heavy Metal Years of Music box set.  My part is right near the beginning.  After watching the in-depth analysis the group did, I wish I had contributed something a little more insightful.  However, this is such an honour and privilege to participate.  I can’t thank you enough Marco!

A Treasure Trove of Picture Discs with 2Loud2OldMusic

Brilliant show and tell tonight with John from 2Loud2OldMusic!  Iron Maiden and Def Leppard made up a large chunk of our picture disc collections that you will see by watching the live stream below.  Awesome comments from hardcore collectors and show regulars.  Enjoy the Buried On Mars vs. Everybody commentary on Leppard!

Thank you John for co-hosting tonight, and thank you everyone for hanging out on a Friday night.  See you next Saturday!

Upcoming Schedule:

DO NOT miss next week!  A special Saturday evening show replaces the usual Friday night as we chat with…

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!  Geoff from 1001 Albums, Scott our Heavy Metal Overlord, and LeBrain all came after.  I consider James and Aaron to the founders of the community.  Saturday February 5 at 7:00 PM, we will sit down and chat with Aaron and (for the first time ever) James about their history with music and writing about it.  This show has been a long time coming!  I have wanted to spotlight the KMA for a year and a half now!

We will also have a 10 Year Anniversary of Record Store Tales and a 2 Year Anniversary of the LeBrain Train, both coming in March!  If you would like to participate in either, drop us a line.

 

Picture This: A LeBrain Train Picture Disc special with 2Loud2OldMusic!

The LeBrain Train: 2000 Words or More with Mike and John

Episode 96 – Picture Discs Show & Tell

 

I had so much fun showing off my 7″ singles collection a few weeks ago!  When brainstorming for ideas to do this week, John over at 2Loud2OldMusic suggested picture discs.  Great idea!  John will be joining me tonight for a guaranteed fun time, a show and tell show.  I’ll be rediscovering what I own in picture disc form, since I buy so many records, I can’t remember them all.  10″, 12″, and shaped vinyl will be on deck for me tonight.  As for John?  I sure hope to see some Kiss and Def Leppard….

We will also be including etched discs from our collections.

If the 7″ singles show was any indication, then this will be a blast.  Make sure you catch it live to participate!

 

Friday January 21, 7:00 PM E.S.T. on YouTube, Facebook and also Facebook!

Upcoming Schedule:

DO NOT miss next week!  A special Saturday evening show replaces the usual Friday night as we chat with…

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!  Geoff from 1001 Albums, Scott our Heavy Metal Overlord, and LeBrain all came after.  I consider James and Aaron to the founders of the community.  Saturday February 5 at 7:00 PM, we will sit down and chat with Aaron and (for the first time ever) James about their history with music and writing about it.  This show has been a long time coming!  I have wanted to spotlight the KMA for a year and a half now.  Next week will be a party, I promise you.

We will also have a 10 Year Anniversary of Record Store Tales and a 2 Year Anniversary of the LeBrain Train, both coming in March!  If you would like to participate in either, drop us a line.

 

#969: Picture Discs

RECORD STORE TALES #969: Picture Discs

Picture discs – in this case, vinyl records – will be the subject of tomorrow’s episode of the LeBrain Train (don’t miss it).  If you have ever seen a playable record with an image on one or both sides, then you have seen a picture disc.  If you’ve played one, you know the quality of the audio can be dicey.  Today picture discs are quite common on store shelves, but they used to be much rarer.  What is the history of the picture disc, exactly?

The very first modern picture disc was 1969’s Off II – Hallucinations.  This German compilation disc from Metronome featured the Doors and MC5 among other current artists.  In the 1970s, Elektra records experimented with a five-layer disc consisting of vinyl film over a paper image over a core of traditional black vinyl.  Difficulties with the materials (particularly the paper) and manufacturing led to inconsistent audio quality.  Eventually the process was refined and picture discs today can deliver acceptable audio over cool artwork.  But the roots go further back.  Etched discs aside, the first true picture disc recordings were actually picture postcards!

We begin in the early 1900s.  Rectangular pieces of cardboard, with a transparent celluloid record glued to one side, were the first “discs” that you could play with a needle on a gramophone.  Later versions had the recordings etched into special transparent coatings.  These kinds of records could be mailed or even included in magazines and cereal boxes.  Later, in the 1920s and 1930s, regular circular picture discs began to emerge.  Some were used to spread political propaganda.  And yes, that means there is such a thing as an Adolf Hitler picture disc.

Picture discs disappeared for a while during the war era.  Vogue Records attempted a revival in 1946 but released only around 100 records before folding due to lack of interest.  From that point on, picture discs were dominated by children’s records.  One unique variety even included crude animation on the record as it spun, if you looked at it through a special mirrored eyepiece.

When picture discs re-emerged in the 70s, popular music and soundtracks took over.  The standard cover art would traditionally be on side one, with the back art and track listing on side two.  There were variations but generally this is what you’d find on a normal everyday picture disc.

And they are normal, and everyday items now.  Most record collections have at least one.  What are your favourite picture discs?  Tomorrow, John Snow from 2Loud2OldMusic will join me as we show off our records.  They are always eye-catchers, and some occupy some real points of pride in our collections.

 

REVIEW: Yngwie Malmsteen – I Can’t Wait (1994 Japanese EP)

YNGWIE MALMSTEEN – I Can’t Wait (1994 Pony Canyon Japanese EP)

Immediately following the Seventh Sign album, new Yngwie Malmsteen material surfaced in Japan.  Three songs and two live tracks served as a nice dessert after a pretty good studio album.  Mike Vescera remained on lead vocals.  The lineup is largely the same as The Seventh Sign, but with Barry Sparks added on bass (probably just for the live songs; it sounds like Yngwie on the studio cuts).

Title track “I Can’t Wait” is one of Yngwie’s strongest ballads.  Though it starts with uncharacteristic acoustic strumming, the song transforms into the kind of epic ballad that you expect from the guitar god.  Vescera’s range and power are on display.  Great song.  And you don’t always say that about Yngwie tunes.

“Aftermath” is a pounder.  Slower, determined, great drums.  Lots of shredding come solo time.

The two live songs are “Rising Force” and “Far Beyond the Sun”, hits from the days of yore.  Recorded live at the Budokan earlier in the year, it must have felt something like home for Mike after his stint in Loudness!  “Rising Force” is an ass-kicker, pedal to the metal, and the whole band rising to the occasion.  That’s it for vocal tracks though.  “Far Beyond the Sun” is one of Yngwie’s best known guitar compositions, familiar and beloved for its exquisite neo-classical stylings.  As for this version?  Flawless and inspired.

The final track is a studio instrumental called “Power and Glory (Takada’s Theme)”.  This was done as a theme for a Japanese pro wrestler and few will be familiar with it.  Slow, plodding, with the repeated chant of “Ta ka da!”, it is hard to really like.  Yngwie’s acoustic work is always brilliant, but difficult to digest here.

Good EP overall.  Hard to find.  Snag if you find for a good price.

3.5/5 stars

Rest in Peace, Sarge

It has been almost 20 years since I last saw Sarge in person.  2003?  2004?  The “greatest piercer in southern England” make the trek to Canada once again to hang out with our Niagara Falls friends, the Legendary Klopeks.  Sarge loved Canada.  He was hoping to make another visit from Bournemouth, post-pandemic, or so he told me in one of our late night chats.

Late night for me; for him in England it would have been early morning.  We talked science fiction into the wee hours.  We’d speculate on what Marvel was going to do next and what was going on elsewhere in entertainment.

The last time I saw him, we were in St. Catharines and he gave me the awesome Motorhead T-shirt seen below.  He brought it especially for me.

A few weeks ago, Sarge’s wife posted that he was in hospital with bleeding in the brain.  As if that wasn’t enough, he got Covid while he was there.  I hoped we hadn’t had our very last chat about Thanos and Loki.

But we had, and with no time stone to turn things around.  No soul stone for a final meeting.

I’ll never forget my favourite Sarge story.  He told me this tale when I interviewed him years ago:

The year was 1986. Sarge was out at the bar. 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 the infamous Lemmy Kilmister!

Rest in peace my friend.

 

REVIEW: Yngwie Malmsteen – The Seventh Sign (1994 Japanese import)

YNGWIE MALMSTEEN – The Seventh Sign (1994 Pony Canyon Japan)

Former Loudness singer Mike Vescera can be forgiven for moving on with Yngwie J. Malmsteen.  The Swedish guitar wizard was on his 6th lead singer, and despite lacklustre sales, the gig was one that came with a certain amount of prestige.  Fortunately it was a winning combination.  Their first album together, The Seventh Sign, boasted a dozen tracks with most of them pretty good.

Opening “Never Die” recalls the fire of “I’ll See the Light Tonight”.  If you’re familiar with Yngwie, you know what to expect.  Blazingly fast neoclassic guitar licks, speedy riffs and aggressive vocals.

“Like the sky, I’m perpetual, I never die!”

It’s a good opener, in the fast-paced Dio vein of rock.  Fortunately Yngwie slows it down for the wah-wah inflected bluesy rock of “I Don’t Know”.  The main riff here is catchy enough and Yngwie adorns it with plenty of licks.  Vescera has a powerful set of lungs, an absolute requirement when singing with Yngwie.  He gets to show off his abilities a bit on the decent power ballad “Meant to Be”.  “Forever One” makes it two ballads in a row, though the second is less “power”, and employs some acoustic portions.

For heavy, don’t miss out on “Hairtrigger”.  Vescera is in top form here, and the sputtering speed rocker satisfies to the end.

An instrumental slow blues called “Brothers” follows, and you might think “this album sounds overloaded with ballads”.  But yet that isn’t the impression you get listening.  These are not wimpy songs.  They have power and loads of guitar.  The actual effect you get is that of a heavy album.

The awesome title track gets it cranked on side two right from the start.  There’s some intricate classical guitar but then, wham — the mighty riff.  It’s a blur but it smokes.  “The Seventh Sign” is one of Yngwie’s best tracks of ’em all, if you like ’em heavy.  Vescera rises to the challenge.  As for the playing, even when we’re focused on that heavy riff, Yngwie still has time for some whammy bar nuttiness.

“Bad Blood” is a heavy blues, maybe going for a heavy Purple vibe (check that organ), but without a memorable melody behind it.  Vescera is the star here; the guy can sing anything.  It really gets stinky on “Prisoner of Your Eyes”, the worst of the ballads.  Amberdawn Malmsteen is responsible for the fetid lyrics.  This is rotting limburger cheese topped with surströmming as a garnish.  Would you like a side of industrial vinegar?  One word:  “cringe”.

Back to quality, the sitar introduces “Pyramid of Cheops”.  Insofar as Egyptology in metal goes, this is not a top track.  It does crush, but up against classic Maiden, Dio or Blue Murder, it’s no competition for the champs.  One has to admire Yngwie’s restraint for the most part, as he just grinds at the riff.

Another album highlight, “Crash and Burn”, really goes for the neoclassic vibe.  The faux-harpsichord is a delightfully baroque touch, but then the song takes off for the skies.  Great Yngwie riff, a fine example of neoclassical gone right.  Vescera keeps it heavy.  Then it’s the final instrumental, “Sorrow” which sounds like it should.  Sparse classical guitars pick out a mournful melody.  It’s a comedown from “Crash and Burn” and works brilliantly in that regard.

The Japanese, of course, got a bonus track.  Called “Angel in Heat”, this unremarkable song features Yngwie on vocals.  He’s going for a Hendrix vibe again, but the song is pretty atrocious.  Without Vescera to save the song, it’s for collectors only.

Like any Yngwie record, you could objectively state that most of the songs on The Seventh Sign would be better with less playing.  But then it wouldn’t be Yngwie, would it?  He’s often been criticised for not coming up with enough memorable material, but most of the songs on The Seventh Sign are above average.  Having a great singer didn’t hurt either.  It’s one of the guitar madman’s better records.

3.75/5 stars