Author: mikeladano

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

RODDY BOTTUM Chats! Sasquatch, Faith No More and more!

Roddy Bottum is a man of many talents.  A multi-instrumentalist, Roddy might be best known for his bands Faith No More and Imperial Teen.  Roddy is also a composer and Sasquatch: The Opera is his first entry on that stage, but surely not the last.

An opera about Sasquatch?  What’s the deal with that?  It’s been a difficult journey. I had the chance to question on Roddy about it and his other projects.  Read it from the man himself.

Mike:  Sasquatch: The Opera has to be the most intriguing three-word title I’ve ever seen. I understand the story is about the misunderstood “monster”, but how did you settle on the Sasquatch for your monster? I’m a bit of a Sasquatch geek, and I’m curious if you are too.

Roddy:   It’s a character I always identified with. The ‘gentle giant’ aspect of him I kind of created myself. It’s a characteristic I always am moved by in literature and film. Elephant Man, King Kong, Frankenstein… the vulnerability of the misunderstood oaf, if you will. I’m also very sexually attracted to exactly that type.

Mike:   Would you ever go on a Sasquatch expedition?

Roddy:  I think I could entertain that voyage in a ‘social studies’ kind of way but I would be hard pressed to putting my best foot forward in the hopes of finding the monster. I want to believe. I really do. It’s like being taught religion as a child. I remain sceptical and needing of proof.

Mike:  Absolutely understood; I hope one day we find that proof.  How would you describe the music, is it a “rock opera”? I have to assume it’s a little different!

Roddy:  The instrumentation is timpani drums, drum machine, two synthesizers and two trumpets. It’s not exactly rock but it’s more rock than symphonic.  I kind of based the musical vibe all around the timpanis. The grandeur of that instruments spoke a lot in the presentation of the piece.

Mike:  Do you perform on stage in the musical?

Roddy:  I did, yeah, I conducted the piece and played a synthesizer. The one with the easier parts.

Mike:  Did you compose Sasquatch primarily on the keyboard?

Roddy:  Yes, first in my head and then on the keyboard.

Mike:   I read about the apartment fire you had while in the midst of working on Sasquatch. You had to recreate the Opera from scratch, replace props and costumes? Are you happy with how it turned out?

Roddy:  The fire gave me the opportunity to create from a clean slate something that I’d already done before. I like that process, actually. The fire was really and truly one of the worst tragedies I’ve had to go through. The cliche of the open window that happens as a result of a closed one, though. That rang true. Still, though I’m spooked by fire and I can’t eat barbecue or mescal or anything with a smokey after taste. Too soon.

Mike:  I can’t even imagine what that is like…I love barbecue.  Can we expect another musical from you?

Roddy:  Yes, I’d like to create another opera that’s about the fall of a nation. Particularly America in this political climate.

Mike:  I’d be into that.  Now, I was going to go and see Sasquatch with my mom. She’s in her 70s and maybe a little old fashioned. Do you think my mom would have a good time, or would I regret bringing her?

Roddy:  I got some of my best criticisms from people older than myself. I’m 55. I like to think of the themes as universal though there are some elements of incest and drug use that seem to disturb people. How open minded is your Mom?

Mike:  She’s pretty cool, I think she can handle it.  Could Sasquatch get a CD or DVD release?

Roddy:  I honestly like to keep the opera in the realm of ‘shrouded in mystery.’ In keeping with the allure and mystique of Sasquatch, the being, I would prefer that the only people who witness my monster and my music are the ones in the theatre who come to see it. It’s too easy for people to listen to something online. I’m not into the lazy attendant factor of that, if that makes sense.

Mike:  It does, I have heard stand-up comedians say similar things.  It should be just in the moment.  Moving on, can you update us on the next Imperial Teen record? I heard it was in the mixing stages.

Roddy:  We just finished the record, mastered it last week and are working on the album artwork. It’s got 10 songs, it’s called Now We Are Timeless and it will come out on Merge Records July 12.

Mike:  I hope you don’t mind a little fan-geek questioning. I am a music collector. I pride myself in having “almost everything” for many bands I love, but one “holy grail” item would be a live Faith No More bootleg with Courtney Love on vocals. I have been searching for years…decades! Does such a thing exist or is that era now lost to the sands of time?

Roddy:  I believe the only audio recording of Courtney singing with us is on a VHS recording of a daytime public access television show recorded in San Francisco in 1984. Courtney wore a dirty white slip and brought into the studio bags and bags of old flowers she collected from the flower mart. We decorated the stage and lit incense and performed in dashikis.

Mike:  If it exists, I will find it one day!  Regarding Faith No More, I think Sol Invictus is a fantastic record.  Among your best. I usually give the rare “5/5 star rating” to Introduce Yourself, Angel Dust, and King for a Day. Now I have added Sol Invictus to that list. You don’t strike me as the kind of band that puts out albums you aren’t happy with, but the reception to Sol Invictus was overwhelmingly positive. With a few years hindsight, how happy are you with Sol Invictus today?

Roddy:  I think it’s a strong record, thank you. I’m glad we were in a position to not have to pander to radio playlist or whatever. We made the record we wanted to make and really didn’t compromise at any stage.

Mike:  Is that you on vocals in the verses to “Motherfucker”?

Roddy:  It is, yes, and thank you for noticing.

Mike:  Do you have any other projects cooking currently that you can tell us about?

Roddy:  I’m in a band called Nastie Band. Our record will come out in April. It features an 84 year old singer, a pair of identical twins, a drummer and guitarist and many theatrical elements. It’s a performance band, very dark. Another band I’m in is called Crickets. We’re going away this weekend on a writing retreat. Michael O’Neil and JD Samson are both in that band and we liken ourselves to a wobbly dance sound a-la Tom Tom Club. We have our first show in New York in February.

It sounds like 2019 is shaping up to be an exciting year for Roddy Bottum.  Be sure to check out the Nastie Band in April, and the new Imperial Teen record Now We Are Timeless in July.  Thank you Roddy for the chat!

Just Listening to…RIOT – Restless Breed

Just Listening to…RIOT – Restless Breed

This remastered CD, complete with six spine-piercing bonus tracks, was a gift last summer.  I never owned any Riot before, and frankly didn’t even know much about the band besides the track “Born in America”.  A young pre-teen LeBrain said, “Who is this band?  They stole their name from Quiet Riot and their song title from Springsteen!”

Yeah…no.

The gift-giver knew what I was missing and so sent me his remastered Restless Breed with Rhett Forrester on lead vocals.  Riot was right in my wheelhouse.  This is quintessential 80s, riding that fine line between hard rock and heavy metal, but leaning further towards metal.  Solid riffs, memorable tunes, guitars out yer anus!  It’s one of those albums that turns out to be exactly what I liked then, and still like now, even though I missed it for 37 years.  The key, to me, is the powerhouse vocals of Forrester, who was murdered in a carjacking gone wrong in 1994.  What pipes this man had!  He could even make songs about a “Loanshark” sound cool.  “Collecting payments overdue!  Yai-yeah!”  That gets a big “fuck yeah” from me.

I’m spinning Restless Breed for the first time in a couple months.  “Loved By You” was the standout track last time.  This time, it’s still the most obvious “hit” of the bunch.  It’s extended to eight minutes on the bonus CD, called the Riot Live EP.  Although it suffers from repetition, “Loved By You” is an easy song to love.

Thanks for the CD, guy.  It certainly is Loved By Me!

 

Side one
1. “Hard Lovin’ Man” (Rhett Forrester, Doug Salomone) – 2:48
2. “C.I.A.” (Forrester) – 3:43
3. “Restless Breed” (Mark Reale) – 5:11
4. “When I Was Young” (Eric Burdon, Vic Briggs, John Weider, Barry Jenkins, Danny McCulloch) – 3:25
5. “Loanshark” (Reale, Forrester, Kip Leming) – 4:10

Side two
1. “Loved by You” (Rick Ventura) – 5:37
2. “Over to You” (Ventura) – 3:42
3. “Showdown” (Reale) – 3:49
4. “Dream Away” (Ventura) – 3:43
5. “Violent Crimes” (Leming, Forrester) – 2:30

2016 CD edition bonus tracks
11. “Hard Lovin’ Man” – 3:09
12. “Showdown” – 4:30
13. “Loved by You” – 8:02
14. “Loanshark” – 5:27
15. “Restless Breed” – 5:11
16. “Swords and Tequila” – 3:57

REVIEW: Chickenfoot – “Divine Termination” (2017 single)

CHICKENFOOT – “Divine Termination” (2017 Edel coloured 7″ single)

For a band with only two albums, Chickenfoot sure do milk it.  After a single debut album, they did a live DVD called Get Your Buzz On.  Two albums in came a live album called Chickenfoot LV.  (Get it?  LV can mean both “live” and “55”, Sammy’s notable hit.)  Then another package called Best + Live, mixing the “greatest hits” with a new song and an audio release of Get Your Buzz On — which, by the way, was mined for five songs already on the previous LV album!

It’s all too much.  We like Chickenfoot here; really we do, but enough is enough.  Instead of buying all that stuff, we decided to just go for a 7″ single for the one “new” song called “Divine Termination”.  That seemed the most logical purchasing option, all things considered.  It’s a nicely packaged 45, on clear pink coloured vinyl.  The side A label depicts Sammy Hagar and Michael Anthony.  Side B has Joe Satriani and Chad Smith.  It feels nice and heavy in hand.

Unfortunately, it’s not all rose-coloured.  These guys had five years to come up with one good new song.  “Divine Termination” is not it.  Although it does have a neat, vintage sounding Deep Purple riff, the Chickenfoot hooks and harmonies are missing.  The chorus has no meat.  “Divine Termination” is forgettable even though Joe Satriani plays as brilliantly as ever.

On the flipside is another release of “Highway Star”, the Deep Purple cover.  It’s available on Best + Live, but its first issue was on Re-Machined, the Deep Purple tribute album.  Too bad the B-side isn’t something exclusive, but it does blow away the A-side.  Listen to Joe somehow make his guitar resemble Jon Lord’s Hammond Organ.

Maybe Chickenfoot were too creatively spent after years of solo and other projects to come up with a memorable new song.  There’s talk of a third Chickenfoot album in the future.  If so, it has to be better than “Divine Termination”.

2/5 stars

 

#730: It’s 2019. How do I play a record backwards?

GETTING MORE TALE #730: It’s 2019. How do I play a record backwards?

The fellows from Spinal Tap once lamented that there must be a conspiracy between the Dutch and the Japanese to eliminate any audio medium that you can play backwards.

There’s no proof, but Spinal Tap are not the kind of band who require proof.  The Dutch (Phillips) developed the compact cassette.  The Dutch and Japanese (Phillips and Sony) created the CD together.  You simply couldn’t play either format backwards, like you could with the good ol’ LP.  When the record was “finally” replaced by CD, it really did seem like playing music backwards to look for hidden messages was over and done.  How was Satan to communicate with teenagers like he did in the 1980s?

The 90s and early 2000s were a dark time for backwards messages.  It seemed like playing albums backwards would forever remain a thing of the past.  It was actually a real thing that some people did!  I have.  I played my Iron Maiden Piece of Mind LP backwards to find out what the hell Nicko McBrain was saying at the start of “Still Life”.  With the record on the platter, I cued the needle and spun the record backwards with my index finger.  It didn’t work very well, because I couldn’t keep a constant speed.  The pitch was all over the place.  Plus Nicko was using a comical accent, with reverb added.  Playing it backwards with a wobbly pitch meant I still could not tell what Nicko was saying!

This method of playing records backward wasn’t good for the player, the needle, or the vinyl.  We knew that; we just didn’t care.  We had cheap shit and it really didn’t make a difference.  The time to play a record backwards was when you had cheap kiddie equipment.


“Oh my God, Chicago kicks ass!”

So how can kids play music backwards today?  Without being able to play back-masked messages, can they truly enjoy the albums as completely as we did?  Thankfully, playing your records backwards is easier today than ever.  Thanks to “computer magic” (using Spinal Tap’s words) you can do it quickly and more easily than ever before.

STEP 1:  Download Audacity.  It’s free, easy to use, and very solid.

STEP 2:  Record your vinyl (forwards) into Audacity using a USB turntable.  Or, even easier:  load any track from your computer into Audacity.  For this demonstration we’re using the aforementioned “Still Life” by Iron Maiden.  The backwards spoken word Nicko bit is isolated by deleting the entire rest of the song.  (I’ve also boosted the volume on this part, which is quite quiet.  Now you can see the waveform more easily.)

STEP 3:  Highlight the entire track.  Click “Effects” and “Reverse”.

STEP 4:  Press play!  With just a glance you can see the waveform is completely reversed.

What’s Nicko saying?  Even playing it backwards at a constant pitch, it’s still impossible to tell what it is without enlisting the help of the internet, who have already solved this riddle.

“Hmm, hmm!” sniffs Nicko.  “What hoo said de t’ing wit de t’ree bonce.”   Roughly translated:  “What said the thing with the three heads?”  You might recognise “what hoo said de t’ing” as one of Nicko’s favourite phrases.  It appears again on Maiden’s “Black Bart Blues”.  Then he warns, “Dooon’t meddle wit t’ings you don’ unnerstand.”  Good advice for anyone.  Then finally, a belch!  It’s still all but unintelligible, even digitally reversed.

We had much  more success with an older record, Great White North by Bob & Doug McKenzie.  On the track “Black Holes”, you can choose to highlight and reverse only the backwards part of the track.  When you do it in Audacity, it’s a perfect digital reverse.  You can play it and it’s indistinguishable from any of the rest of the album.  In the waveform below, you can see the reversed section highlighted.  When you play the whole track like this, it’s perfectly seamless.

Now you can say that you learned something useful today.  Go ahead and try it on your Slayer albums now!

 

REVIEW: Def Leppard – The Lost Session (2018)

DEF LEPPARD – The Lost Session (2018 iTunes)

Cast your memories back to 2012.  Def Leppard re-recorded some very high quality “forgeries” of some of their classic hits for iTunes.  Three of these iTunes singles were released:

  1. “Pour Some Sugar On Me” / “Rock of Ages”
  2. “Acoustic Medley 2012”
  3. “Hysteria 2013”

The iTunes exclusive concept dried up for Def Leppard afterwards, but in 2018 we got six more tracks, from a 2006 “lost session”.  The rest of the songs don’t sound like “forgeries”, as the first ones did.  These are listed on iTunes as “live”.  They are not.  They are also not meticulously recorded recreations.  They lie somewhere between:  not fully live, but raw in a way that Leppard rarely are.

There are a number of surprises in the re-recordings.  First and foremost:  “Let It Go”!  Any Leppard fan will tell you that the 1981 High N’ Dry LP is Leppard at their early, heavy best.  While nothing can compete with the Mutt Lange produced original, the re-recording is still razor sharp.  It gives you a chance to hear Phil Collen and Vivian Campbell on lead guitar.  The pair do not attempt to imitate Pete Willis and Steve Clark, instead blazing their own trail.

You don’t have to wait for the second surprise, a baffling one indeed: a re-recording of “Rock On” from 2006’s covers album Yeah!  Why do Leppard keep playing this song?  (It was even on their recent Best Of.)  Considering how they’ve beaten this dead horse, it’s actually not much of a surprise after all.  It was a boring song to start with, and Leppard can’t save it just by throwing down more guitars.  “When Love and Hate Collide” is another surprising choice to re-record.  The guitars are pretty incredible, but it’s just a ballad from a 1995 greatest hits CD.

“Foolin'” from Pyromania is missing the atmosphere of the original, but otherwise hits all the notes.  Joe Elliott still has an enviable voice.  Then it’s “Promises” from Euphoria, their best song from a dreary era.  Sure it’s a formulaic rewrite of their best hits rolled into one, but it works.  This re-recording is closest in sound and spirit to the original (from 1999).  Finally “Bringing On the Heartbreak” is a smokeshow as the closer.  It’s hard to really call it a ballad; there is some heavy rocking here too.  The guitars sound fabulous.  Def Leppard may no longer be the band they were in the 80s, but Phil and Viv are two of the best players in the game.  They don’t show off, so people rarely think of them when listing great guitarists.  But they are.  The outro solo (sounds like Vivian) nails it!

Def Leppard’s Lost Session is perfect for the fans who have it all.  Re-recordings are almost always very dicey cash grabs.  Leppard’s are worth the purchase.  They’re not cheap knock-offs.  New slants are fused with the old classics, so take these songs out for a fresh spin.

3.5/5 stars

 

 

 

 

“Cryptozoology Rap (Alien on the End of My Knob)”

This track (a mikeladano.com exclusive) you are about to hear is called “Cryptozoology Rap (Alien on the End of My Knob)” by an anonymous artist.  It is a Sausagefest classic.  Hope you enjoy it.

“Cryptozoology Rap (Alien on the End of My Knob)“

 

Sunday Chuckle: Twitter is on Crack

Welcome to the start of the THIRD YEAR of Sunday Chuckles!

This instalment is actually a sequel to the final Sunday Chuckle of 2018.  Remember when Twitter recommended that I follow Bill “Date Rape” Cosby?  Now look who it’s suggesting.  And no I’m not referring to T. Swift!

 

WHY TWITTER, WHY??  Are you on crack?

REVIEW: oreloB – Ravel’s Boléro – Carlo Rizzi, Netherlands Philharmonic Orchestra (2012)

MAURICE RAVEL – oreloB (Boléro) – Carlo Rizzi, Netherlands Philharmonic Orchestra (2012 Tacet backwards-playing 180 gram vinyl)

Many classical recordings are difficult to play in certain environments, because the parts are written so quietly.  If you have ever listened to classical in the car, you’ll know there are times you think the music has stopped just because you can’t hear the subtle instrumentation over the road noise.  Put it on headphones and it’s a different story.

Ravel’s Boléro is one such composition.  Over its 16 minutes, the music slowly and gently builds from silence.  The entire piece is a gradual crescendo.  This can be illustrated visually by looking at the entire track in Audacity.

This is where we get technical.  According to Techmoan, the greatest Youtube channel dedicated to odd formats and players, LP records suffer from inner groove distortion due to the compression caused by the shorter grooves at the end.  Classical music often takes a dip in quality when you get to the end of the record.  Boléro always suffered on vinyl releases because it gets abnormally loud at the end, and the compression makes it sound worse.  This release of Boléro, on Tacet records, plays from the inside out.  This way, the compression caused by the inner groove happens when the music is quietest.  When Boléro builds to its full volume towards the end (the outer groove), there is no distortion present.  Hence, this release is named oreloB!  Both sides work the same way.  The side two composition La Valse also begins very quietly and finishes loudly.  Because the end distortion is no longer a concern, they were even able to master oreloB a little bit louder than a normal-playing version of the record.

Immediate impressions upon listening to the familiar Boléro again:  Wow, Deep Purple ripped off a lot of classical music!  It sounds like Boléro was in Jon Lord’s record collection.  Even old Star Trek themes — listen carefully and you will hear from where bits and pieces were poached.  Cultures clash on this simply beautiful piece with pomp and circumstance.  You have certainly heard it before and will recognise its themes gladly.

Sure, you could sidestep all the end groove distortion by simply listening to a CD, but that would take the fun out of it wouldn’t it?

4.5/5 stars

 

 

 

Just Listening to…RUSH – R40 Live

Welcome to Just Listening!  This is a new series of shorts, just talking about whatever I happen to be listening to at any given time!  These are not reviews, just a few words.  Join me have a listen?

Just Listening to…RUSH – R40 Live

I’ve been meaning to get to this release for a long time.  It’s been sitting here sealed since…a few Christmases ago?  Sometimes I don’t get around to reviewing these massive sets for a while due to the time you need to invest.  This one got lost in a pile, lonely and unloved. Because it has 3 CDs and a Blu-ray, I set it aside for a viewing day that never came!  Since the eventual full-on detailed review will take time, R40 Live is the perfect release for us to talk about for this first instalment of Just Listening!

Eddie Trunk recently complimented Geddy Lee on how great he sounded on the R40 tour.  I gotta say…and don’t hate on me for this…I disagree.  Geddy’s voice is the biggest stumbling block to my full enjoyment of R40.  Rush haters always rag on Geddy’s voice, but as age takes its toll, it’s really not a pleasant voice anymore.  He does better on some songs, worse on others.  Musically Rush is still top notch and you can’t detect any signs of physical ailment even though all three guys are in pain up there.

Rush knew that their time was up if they wanted people to remember them as the best band from the Great White North.  So they packed the set with all kinds of great songs, going backwards from the most recent to the oldest.  My favourite was “Losing It”, performed live for the first time ever!  This is how you do a final tour.  Shine a light on every part of your career and pick songs that are not just hits, but true album classics.  Are you listening, Kiss?

CD 1

1. “The World Is…The World Is…” 2:11
2. “Workin’ Them Angels/The Anarchist” 7:07
3. “Headlong Flight/Drumbastica” 8:45
4. “Far Cry” 5:31
5. “The Main Monkey Business” 6:07
6. “How It Is” 4:45
7. “Animate” 6:15
8. “Roll the Bones” 6:05
9. “Between the Wheels” 5:58
10. “Losing It” (with Ben Mink) 5:55
11. “Subdivisions” 5:48

CD 2

1. “Tom Sawyer” (Peart, Lee, Lifeson, Pye Dubois) 4:59
2. “YYZ” (Lee, Peart) 4:41
3. “The Spirit of Radio” 5:03
4. “Natural Science” 8:31
5. “Jacob’s Ladder” 7:34
6. “Cygnus X-1 Book II: Hemispheres: Prelude” 4:19
7. “Cygnus X-1 Book I: The Voyage: Part I/The Story So Far (drum solo)/Part III” 9:21
8. “Closer to the Heart” (Peart, Lee, Lifeson, Peter Talbot) 3:07
9. “Xanadu” 10:39
10. “2112: Part I (“Overture”)/Part II (“The Temples of Syrinx”)/Part IV (“Presentation”)/Part VII (“Grand Finale”)” 12:15

CD 3

1. “Lakeside Park/Anthem” 5:29
2. “What You’re Doing/Working Man” (Lee, Lifeson) 9:35
Bonus
1. “One Little Victory” 5:47
2. “Distant Early Warning” 5:24
3. “Red Barchetta” 7:08
4. “Clockwork Angels” 7:46
5. “The Wreckers” 5:39
6. “The Camera Eye” 10:21
7. “Losing It” (with Jonathan Dinklage) 6:13

REVIEW: The Four Horsemen – Nobody Said it Was Easy (2018 vinyl reissue)

THE FOUR HORSEMEN – Nobody Said it Was Easy (originally 1991 Def American, 2018 vinyl reissue with bonus tracks)

Though defunct for well over two decades, the Four Horsemen are like the gift that keeps on giving.  When they bit the dust, all they initially left behind were two albums and an EP.  Today there are a set of reissues with bonus tracks, live releases, and a “lost” second LP that was never released before.  In 2018, another handful of unreleased tracks came to light on a brand new vinyl reissue of Nobody Said it Was Easy.  This is the second reissue of the album now, the first (on CD) having three completely different bonus tracks (“She’s Got It”, “Homesick Blues (harmonica version)” and “Born to Boogie”).  The vinyl replaces those with a bunch more you didn’t have.

First, about the album Nobody Said it Was Easy:  We reviewed it back in 2016 and stand by every word.  It was a shining beacon of rock n’ roll when it was in danger of drowning in a sea of grunge.  Rick Rubin gave the album an edgy, loud and crisp sound.  The band had a dirty vibe at odds with the Poisons and Motley Crues on the charts.  And they boasted one of the greatest unsung frontmen ever:  Frank C. Starr.  A real life bad boy, there was nothing phony about Frank, nor any of the Four Horsemen.  The nucleus was the man known as Haggis, ex-The Cult, ex-Zodiac Mindwarp.  His slippy-slidey guitars melded perfectly with the southern soloing of Dave Lizmi.  On bass was a chap named Ben Pape, but the secret weapon was drummer Kenneth “Dimwit” Montgomery.  This mountain of a man, a Canadian punk rock veteran, had presence and a deep Bonham-like beat.  The Four Horsemen couldn’t be touched by anyone in their field.  The 12 songs that made up Nobody Said it Was Easy sound derived in equal parts from early AC/DC and the American South, with a healthy dose of sleazy intent.

“My name is Frankie, let’s fuck up the place!”

The three singles are flat-out indispensable.  I wouldn’t want to live my life without “Rockin’ Is Ma Business” any more than I would want to live it without “Let There Be Rock”.  “Tired Wings” is a greasy southern revelation, while the title track has more hooks than a tackle shop.

As an added bonus, this package also includes the first Four Horsemen EP, Welfare Boogie.  It was available separately on a remastered CD with bonus tracks, but now you can get it on vinyl right here.  The four EP songs were pretty high octane.  “Hard Loving Man” remains a ridiculous highlight.  Tattooed pecker indeed!

Onto the unreleased tracks, of which there are six:  five songs and an interview.  All of these are exclusive to this LP; nowhere else.  The interview is a vintage road call from a humorous Haggis to a Calgary radio station, but it’s inconsequential at only 2:30 long.  (My copy of the second LP has the sides labelled incorrectly.)

Check out the original open-G tuning of “Tired Wings”.  It’s remarkable how changing the tuning made the difference between a good song and a great one.  Now it’s timeless.  Frankie did a completely different lead vocal on “’75 Again”, without the screaming (some of the guitar bits are missing too).  I think I prefer the screaming version when you hear them side by side.  An alternate version of “Can’t Stop Rockin'” is a different take, also without screaming (or backing vocals).  These versions that didn’t make the original album are as well produced as the record, but ultimately it’s a matter of taste which you prefer.  It’s certainly startling to hear different versions after this many years.

“The Night they Drove Old Dixie Down” is an instrumental, recorded Christmas Day 1991.  This certainly foreshadows the direction the Four Horsemen would go on their “lost” second album, Daylight Again, which was more Band than AC/DC.  Finally it’s an extended 8:32 live jam on “Can’t Get Next to You”, a non-album rarity.  Another version can be found on the CD/DVD set, Left For Dead.  Dave Lizmi really gets to cut loose on this.

It doesn’t really matter which version of Nobody Said it Was Easy you end up with.  The original 12 track CD was 5/5 stars then and now, but which is best?  The remastered CD gives you unreleased tracks exclusive to the format, so there’s that.  This LP gives you even more, plus the original Welfare Boogie EP, but it is limited to just 500 copies.  Better act fast before it’s too late.

5/5 stars

MORE FOUR HORSEMEN:

  1. Record Store Tales #224:  Rockin’ Is Ma Business
  2. Welfare Boogie (1990 – 21st Anniversary edition CD)
  3. Nobody Said It Was Easy (1991 – 21st Anniversary edition CD)
  4. Daylight Again (1994 “lost” album – 21st Anniversary edition CD)
  5. Gettin’ Pretty Good…At Barely Gettin’ By (1996)
  6. Left For Dead 1988-1994 (2005 – CD/DVD set)
  7. Death Before Suckass – Live at Saratoga Winners 1991 (2012 CD)