1993: Native Tongue was not doing well on the charts, but MuchMusic dutifully had Bret Michaels and new guitarist Richie Kotzen on hand for an interview with Erica Ehm. It’s a pretty solid 10 minutes, touching on the following topics:
Getting “serious” lyrically
Safe sex
C.C. leaving the band, Bobby breaking his hand
Reasons for being in a band, still
The “Stand” video, and the Bill Clinton inauguration
Critics
Bret writing “country music”?
Toning down the image
Richie Kotzen utters one complete sentence the whole time. This interview is remarkable not because Bret Michaels is always entertaining, but because Richie Kotzen didn’t fit in and it’s painfully obvious.
Fans of classic Canadian rockers Triumph are in for a special treat – the launch of the ‘Triumph Vault’ website on Tuesday, December 14th, 2021.
By accessing triumphvault.com, fans will be able to discover artifacts from the band’s career beginning with a celebration of Triumph’s classic 1981 album, ‘Allied Forces.’
This inaugural collection will feature a selection of newly discovered artifacts personally curated by Mike, Gil and Rik in collaboration with Definitive Authentic. Several pieces are partnered with new audio commentary directly from the band.
New collections will be added to the Vault regularly for fans which will unlock over 45 years of Triumph’s illustrious rock & roll history through rare photos, audiograms, video, behind the scenes content, and exclusive collectables.
Commemorating the launch, the Triumph Vault will offer signed and numbered limited-edition memorabilia that have never been made available until now. And as part of the celebration and in keeping with the iconic ‘Allied Forces’ cover, fans who sign up for updates via the site are automatically entered to win a Dean Flying V guitar with a personal note from the band!
“We’re super excited to have our loyal fans experience the launch of the Triumph vault. Finally, after years of touring and recording, we’re able to unearth and display rare elements and artifacts from Triumph’s history. We can now share with our fans what we’ve been stowing away for years at Metalworks Studios.” –Gil Moore
The Triumph line-up – Rik Emmett, Gil Moore, and Mike Levine – rocked the world, and in the process, gave us countless classic hard rock anthems (“Fight the Good Fight,” “Hold On,” “Magic Power,” “I Live for the Weekend,” “Lay It On the Line,” and of course, “Rock & Roll Machine,” and albums (Just a Game, Progressions of Power, Allied Forces, Never Surrender, Thunder Seven, etc.).
Originally formed in 1975 and hailing from Mississauga, Ontario, Canada, the trio was always proud of their Great White North roots. And seemingly ever since their inception, Triumph was on the cutting edge of technology when it came to their live show – particularly lighting, sound, and effects. Sophisticated lasers, pyrotechnics and moving lighting rigs, all computer-controlled – Triumph was one of the first arena rock bands to incorporate all of these elements into their shows.
Triumph’s headlining tours were legendary, and the band was featured on many memorable stadium/outdoor shows – including the US Festival, the World Series of Rock, the American Rock Festival and Texxas Jam, Day on the Green, to name but a few. And earlier this year, the band was the focus of a documentary, ‘Triumph: Rock & Roll Machine,’ directed by Banger Films’ Sam Dunn and Marc Ricciardelli.
And now, Triumph fans will be able to celebrate the history of the band – with the launch of triumphvault.com.
Polychuck’s back. The diverse Montreal musician / singer / songwriter / shredder has returned to cap off 2021 with a followup EP to this year’s Shadows Exposed, and it’s a step into a larger world. Everything seems bigger and bolder. According to the man himself, these two new songs are a closing of the Shadows chapter, as he moves on to prepare his full length album debut — a concept album.
Of this new release, Polychuck explains: “Those were the two songs that originally didn’t make the cut because of their darker, more aggressive sound. These are the heavier tracks that were written and recorded at the same time as the other ones on the EP.”
The progressive “Scarred” has elements that harken back to classic Alice Cooper. Haunting keyboard touches, cinematic dialogue in the backdrop. The song soon evolves into a chugging metallic stomp, with double bass setting an aggressive tone. The icing on the cake is the second solo, a guest guitar spot by 17 year old Justus Hajas. Wait until you hear this one!
The second track, “Lay a Claim”, stirs more ingredients together, including 80s pop and record scratching. This classic-to-be brings us out of the Shadows with positive lyrics and outstanding melodies. “I’m here to fuckin’ stay,” sings Polychuck with intent.
With talent like this, he’s sticking around!
Indeed, Polychuck has a vision, and it’s going to be cool to watch him unfold it. As his sound grows we can assume his forthcoming album will be even bigger in scope.
DEF LEPPARD – When the Walls Came Tumbling Down – New Theatre, Oxford 1980 (The Early Years Disc 3) (2019)
Of Leppard’s many live releases, When the Walls Came Tumbling Down is the most ferocious. The early Leppard including Steve Clark and Pete Willis was a different kind of predator. This particular setlist, captured after the release of the debut album On Through the Night, is extremely valuable to fans. The band performed all 11 albums tracks, a clutch of early singles, and unreleased material.
“When the Walls Came Tumbling Down” is played first, full speed ahead. Joe playfully changes one of the choruses to “When Oxford Came Tumbling Down”, and without pause they barrel right into the adrenalized “It Could Be You”. There are no touch-ups or fixes done to these recordings.
The single “Rock Brigade” has a different flavour, more focused on the melody, with the foot less on the gas pedal. Joe Elliot demonstrates confidence. Rick Allen is a monster on the drums and Rick Savage is audibly holding it down. Keeping to a similar tempo, “Satellite” swaggers all over the stage with determination, and Pete Willis absolutely slaughters on the solo.
There’s only a brief respite. “Medicine Man” is an unreleased song that was later reworked into “Rock Rock (‘Til You Drop)” from Pyromania. The quiet opening only lasts a moment before that now-familiar riff kicks in. There’s no question that “Medicine Man” benefited from its later evolution, but many elements of the song were already, joyfully, in place.
“Answer to the Master” is rolled out with that snakey riff, and Joe is extra-engaging. A trend is now apparent: virtually all these songs are better than they are on album. Another unreleased gem called “When the Rain Falls” might be more familiar under its later name, “Let It Go” from High N’ Dry. Some elements including the riff survived to the final track, but what a serious riff that is! When Leppard had both Willis and Clark in the band, they were a riff factory.
Back to On Through the Night, “Sorrow is a Woman” is more lively than it is on LP. Same with the non-album single “Good Morning Freedom”. From the drums to vocals to sheer energy, it’s better than its studio counterpart, with an intense solo to burn.
“It Don’t Matter” has a cool groove, and more drive than it does on album. This version is evidence that Joe already had ample frontman abilities. This takes us to “Overture”, the Leppard epic with the soft opening and big arrangement. This is where Leppard’s two lead guitarists get to show off in dramatic fashion.
The last unreleased song is “Lady Strange” from High N’ Dry, which is in more complete shape than the other two. As it is on album, it’s one of Leppard’s most impressive songs so far. Riff, verse and chorus are combined in perfect form. Only minor tweaking would be needed before it was album ready.
The final batch of album songs for the night are laid out. “Getcha Rocks Off” is a blast. “Hello America” is looser than album. And “Wasted”? Total blitzkreig. Unstoppable and unbelievable. Finally the very last track, “Ride Into the Sun” is the timeless beloved B-side, originally from the Def Leppard EP making it three for three EP tracks. It’s over before you know it, two and a half minutes are gone and that’s all folks!
Even though it is completely lacking in hit singles, it might not be going out on a stretch to say that When the Walls Came Tumbling Down is a strong contender for Best Live Def Leppard album.
On Friday night’s LeBrain Train, G1 Fortress Maximus was my #4 favourite Transformer of all time. I don’t have a G1, but I have an (even better) Encore reissue. I mentioned during the show that although the figure is now in storage, I did film an animated Transformers movie starring the toy. He featured in a big battle scene with Galvatron, an homage to their original fight in Marvel’s Transformers #79. I filmed the whole thing on the May long weekend in 2013 but lost my script and never edited it together.
However I’ve dusted off a couple shots, edited them together and I present to you a clip from the unfinished film Transformers 4: Fortress Maximus.* Music is “Immortal” by Max the Axe, from Trillion Dollar Threats.
* The series is as follows:
The Transformers: Death and Rebirth of Optimus Prime (unreleased)
A long show with lots of visuals tonight, and an absolute treat for fans of robots in disguise! For those of you who joined Rob Daniels, Harrison the Mad Metal Man and myself — thank you! From the early Japanese origins, up to the present day, we took you on a guided tour of the Transformers brand. Plenty of vintage and modern toys on display, and genuine toy ads from back in the day too. (Facebook copyright strike — they killed the stream. Sorry about that, but you can still watch on YouTube.)
Show format: the first hour and 15 minutes are a history lesson. The lists begin then! Three lists, 15 picks, and no repeat!
The LeBrain Train: 2000 Words or More with Mike, Rob & Harrison
Episode 90 – Top Five Transformers Toys
Let’s roll out! I know this episode will alienate some of our regular viewers, but it’s been one that Harrison and I have talked about doing for at least a year now. And since it’s Christmas time, it feels like the perfect opportunity to talk about some of our favourite toys.
Transformers toys, specifically. We’ll talk about the history of the brand, and bring us up to the present day. Comics, cartoons & movies will be discussed. But the actual Top Five list this week will be our favourite toys. Expect some show & tell, and I’ll also be running some vintage TV ads!
Always look on the bright side of life! My wife may be sick, but during a global pandemic, that makes her a priority. And as her primary caregiver, that makes me a priority too. Small blessings.
I met Jen at the pharmacy after work (the big clinics are gone now). The pharmacist is a good friend of ours. I filled out the paperwork and Jen went ahead, just as I was starting to have an anxiety attack. I really hate needles.
It’s funny, but I was listening to Kick Axe on the way to the pharmacy, and the song “Just Passing Through” came on. I couldn’t help but think of the lyrics through the lens of what I was about to do.
“Steppin’ out into history.”
Yes, we are making history every time we go for our vaccines. Whether you are pro or con vaccine, this is a universal truth. We’re making history as we do things never done before.
“Caught inside the revolvin’ door.”
It sure did feel that way as I rolled my sleeve up for shot number three.
“I’ve got to figure out this mystery, Ah too many questions I can’t ignore.”
I would love to know all the answers. I want to know how this ends. I want to visualize the endgame. But we’ll just have to wait. The universe tends to unfold as it will.
Ironically the song “Just Passing Through” is about how temporary life really is. “Just passin’ through, we all may be back someday.” OK, so I’m scared of needles, no big deal. But sometimes the Facebook doctors and Twitter trolls start to take a toll on you, just from reading their poison. But then I remember: I trust my doctor. I trust my pharmacist. It’ll be OK.
I hadn’t told my pharmacist how bad my anxiety could get, but I paced the floor a bit until I was ready. I needed something to look at while he gave me the needle. He let Jen come in the room to take a picture of me. I just looked at her Aerosmith shirt until the moment you see in the picture.
Now I’m boosted with a Pfizer-Moderna-Pfizer combo, an effective mixture against Covid19; so say the studies. I’m glad that this is done just before the holidays. I’ll be at maximum efficacy right around the time we go out to dinner to celebrate Jen’s birthday, almost to the minute! As always, I promise I’ll update the world if either of us experience any adverse effects.
LeBrain Train viewers know Scott, my mega-Kiss-fan friend for four decades. The other day we went out for a hang in the freezing cold, drinking bad coffee, eating bad food, and freezing our asses. But we had a great time doing it.
Our conversation was wide-ranging, from idiots in the drive-through, to childhood memories. This led to a tangent on the “Mandela Effect“. One of Scott’s memories, of a rare Saturday Night Live sketch with Will Ferrell and featuring Kiss music, was driving him crazy. Was it real, or just fantasy? Probably due to music copyrights, you can’t find this sketch online.
One day sitting at home with no PVR or ways to record television, Scott saw the episode that the Kiss sketch was in. He sat at the edge of his seat, waiting to see the sketch again for the first time in years. Refresh his mind on what it was about, and the Kiss tunes used. Just as his dog needed to go walkies.
I don’t need to tell you what happened. But I will.
Scott got back in, and his lovely wife Ellen told him, “There was just a sketch on Saturday Night Live that you would have liked, it had Kiss music!”
Electronica was all the rage (all the rave?) in 1997. The Orb, Chemical Brothers, Orbital and more were hitting new highs. U2 was hot for electronica, and rock bands began incorporating new beats into their songs. Nobody crossed the boundaries between rock and dance better than Prodigy (formerly, The Prodigy) on their 1997 commercial breakthrough Fat of the Land. Leader Liam Howlett and his gang of backing miscreants struck gold with their genre-bending third record. Dancer Keith Flint had risen to to a frontman position, sneering his way through tracks like “Firestarter” all the way up the charts. His green bi-hawk and facial piercings made him an unforgettable music video mainstay. The group’s MC Maxim Reality had two lead vocals on the album including smash hit “Breathe”. Dancer Leeroy Thornhill, well, he just kept on dancing!
Commencing with the controversial third single “Smack My Bitch Up”, this album opens with a bang. Based on a sample from “Give the Drummer Some” by Ultramagnetic MCs, the group were forced to defend the vocal hook: “Change my pitch up, smack my bitch up.” Insisting they were not misogynists, Howlett said it means to do “anything intensely”. The music certainly is that, with rapid beats and sound assaulting the sense from the get-go. Then it goes raga at the halfway point, intertwining genres beyond recognition. MTV pulled the video, only for it to win two awards in ’98.
“Breathe” featuring Flint and Maxim on vocals was selected as the second single. This pounder boasts a Brian Downey drum fill from Thin Lizzy’s “Johnny the Fox Meets Jimmy the Weed” (immediately obvious, but only after you’ve been told it’s there). Coupled with rapid bass, swishing swords, record scratches n’ clanging hooks, there’s also a cool wacka-jawacka guitar sample on the verses. Despite the awkward hook of “psycho-somatic addict-insane,” the song is beyond catchy.
Kool Keith handles lead vocals on the slower, forceful “Diesel Power”. It’s just an ode to the love of making music. “Build with skill, with technique, computer A-DAT, My lyrical form is clouds on your brainstorm.” Clever internal rhymes and relentless rapping form the main hooks while Liam Howlett lays back with the music. Had there been a fourth single, “Diesel Power” would have been perfect, bringing in rap fans to hang with the rock.
“Funky Shit” is what it says, bearing the main hook of “Oh my God it’s the funky shit!” Beats and samples form a cool track that sounds like something from a 90s action movie or video game. Moving on to a pounding “Serial Thrilla”, this one creates a heavy tune with nothing but beats, samples and sneers. Try bangin’ your head to it for some genre-bending action. Keith Flint does the lead vocal: “Damage destructor, crowd disruptor, you corruptor, every timer.” Nothing fancy, but still sticks to your brain like supersonic electronic peanut butter.
Side two: the sound of a jammed computer leads into the exotic “Mindfields”, with Maxim back on lead vocals. The main keyboard hook is backed by beats and samples designed to enhance. Then we’re into the centerpiece of the album, a nine minute dance epic called “Narayan” with Crispian Mills of Kula Shaker singing and co-writing. Sounding a lot like a Kula Shaker remix, this track is as close to standard song structures as they get on the album. Mills’ smooth voice and knack for an exotic melody works as the perfect foil for Prodigy’s layers of beats and samples. “OM, Namah, Narayana” goes the Indian-sounding chorus, a sound that Mills also frequently brings into Kula Shaker.
For some, the centerpiece will not be the epic, but will be the smash 1996 hit: “Firestarter”. Infamously covered by Gene Simmons, this breakout hit became what it is because of Flint’s snotty vocals, pounding bass, and catchy samples. What is understood need not be discussed: this hit was destined to be. But after all that smashing and grabbing, “Climbatize” enters the scene with stuttery Van Halen-like distortion and a soft keyboard hook. Jungle beats and ominous keyboards distinguish this track from the others.
The closing track is the heaviest. “Fuel My Fire”, an L7 cover with Flint on lead vocals and “Gizz Butt” (Graham Butt) on guitar. There’s a cool keyboard hook to go along with the incessant, noisy rocking. This second shortest track on the album is overcharged with electronic buzz and standard rock-like drums. A brilliant closer to an album that is more of a journey than you’d expect at first glance.
Indeed, Fat of the Land cannot be distilled down to the sum of its parts. While not overly challenging, it does layer beats and samples in such as way as there is always some form of hookiness at work. There are a variety of tracks, both instrumental and vocal. By the end of it, you’ll feel like you’ve been on an adrenaline-fueld, surrealistic excursion. A weird jungle-y acid trip through the transistors of the past.
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