Author: mikeladano

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

GUEST REVIEW: Kix – Kix (1981)

Guest review by Holen MaGroin

KIX – Kix (1981 Atlantic)

Kix: one of the most beloved and influential rock bands of the time that only made it big after years of great albums, legendary live performances, and a work ethic that never failed them. Unfortunately, they only seemed to stay there for the album/tour cycle of their classic Blow My Fuse. While over the years they’ve returned to being more of a cult act than a mainstream rock group, the effect the left on rock culture shouldn’t be dismissed. It’s common knowledge that Bret Michaels liked the group enough that he decided to “borrow” some moves from singer Steve Whiteman. Anthony Corder from Tora Tora called Kix a huge influence on the development of their second album Wild America. Despite all their influence, the band never seemed to secure a position as one of the most popular acts of the day. Bad management, label indifference, and being a little ahead of their time prevented them from becoming the multi-platinum success they deserved to be on every one of their albums.

As far as being ahead of their time, this eponymous debut was released on a major label in 1981, when even Mötley Crüe were still grinding it out on Leathür Records. Kix were one of the first hard rock acts signed from the decade, but were hardly acknowledged for it. This debut album sold very poorly, and original prints are tough finds out in the wild today. 1981 may have been just too early for a release like this to find widespread success. It’s also possible that Atlantic didn’t know how to market the band, as their debut album is an interesting and masterful blend of hard rock, new wave, and bubblegum melodies that sound like they could have come from the 1950s.

Produced by Tom Allom (Judas Priest, Black Sabbath, Def Leppard), the album is given a very punchy and dynamic sound. The drums sound big and chunky, and everyone is audible in the mix. Anyone familiar with the Kix of the later ‘80s may find this release a bit jarring at first. There’s a certain quirkiness to the songs that isn’t as prevalent later on in their career. This would be the new wave sensibilities. Not all the guitars are overdriven in a way that you’d expect from a hard rock record. There are a number of songs that glide by with clean guitars, and still manage to rock with a ton of energy thanks to the contributions of drummer Jimmy “Chocolate” Chalfont, and the contagious exuberance of singer Steve Whiteman. Of course, not all the record is this style, there are songs where the guitars have plenty of distortion, and they’re power loaded with midnight dynamite force.

The album opens with the scorcher and fan favorite “Atomic Bombs”. Starting with air raid sirens and some tasteful drum fills, the suspense of the song builds as a riff that Poison probably ripped off for “Look What the Cat Dragged In” tethers the song, and keeps it from completely going out of control. The first Kix song about blowing things up (a favorite topic of these Maryland hicks), it sets the tone for the album. It’s a relentless hard rock number with dynamics, and a nice solo that manages to create a feeling of the impending chaos of fallout. Opening with a rocker was a good choice; it gets people’s attention so that they’ll be more open-minded about what’s to come.

“Love at First Sight” is the first of the quirky Kix tunes. It’s a bouncy new wave influenced song, without any keyboards. If the thought of new wave scares you, it really shouldn’t because it’s so skillfully blended with these songs. It’s more Devo than it is Flock of Seagulls, and it shouldn’t turn off anyone even if they don’t enjoy new wave. The song gets a kick in the ass from guitarists Ronnie “10/10” Younkins and Brian Forsythe, as the distortion kicks in and the guitar solo gives the song the kick it needs to succeed. They were never the flashiest or greatest players of the ‘80s, but they were melodically wise, and knew what fit the song.

At this point in the record we get yet another change of pace, the ‘50s heart throb tune “Heartache”. With a bubblegum melody bound to get stuck in your head, that goddamn Kix band gives another change of pace. Rarely do audiences get this much diversity from a record of any genre. Kix would never release another album as eclectic as this one. Bass player Donnie Purnell locks in perfectly with the guitars and drums to give this tune an infectious energy that seems to fuel this entire album. The song builds with the addition of more guitars. The band has mastered dynamics, and knows just how to play them for the benefit of the song. The album is filled with tunes that blend each of these styles, some in which they are blended so seamlessly it’s impossible to pick what style is dominant. Take “The Itch”, the riff and song structure sounds similar to the underrated AC/DC tune “What’s Next to the Moon”. They’ve somehow taken that song structure and turned it on its head. Giving it breezy rock verses that build in intensity until the chorus which delivers another catchy melody complete with claps and gang backing vocals. The blend of styles shown on this album is seriously impressive for such a young group.

In case that wasn’t impressive enough, Kix closes the album with concert favorite “Yeah, Yeah, Yeah” (not an Alice Cooper cover). It’s a hard rock tune that lasts seven minutes, featuring the infamous rant from Steve Whiteman, complete with crowd noise. Steve is upset because the woman he’s been seducing has puked all over his floor. That’s a big mistake. Don’t puke on Steve Whiteman’s floor. Go outside and do that. The subject matter is juvenile, but this is rock and roll. It closes the album on a fast tempo upbeat note. Every song on here could be considered upbeat, no ballads, the energy never lets up.

As the album finishes a look at the liner notes reveals that this is the only Kix album in which they weren’t pressured to work with outside writers (at least of the ones on Atlantic). It can be concluded that this album is the purest distillation of the Kix sound. While I like some of their more hard rocking albums later down the line better, this album is interesting because of the fact that it and its much lesser follow up Cool Kids (the only Kix album I’m not overly fond of), contain a new wave style that the band would never return to. It’s interesting hearing the young Kix and what their original vision is. Some people consider this the best Kix album. Not me, but it’s still pretty damn good.

4/5 stars

READER SPOTLIGHT: Harrison From Down Under

Welcome to the first ever Reader Spotlight at mikeladano.com!  It’s time to turn the mirror on you!

If you enjoy this feature, it might be the first of several.  Be sure to let us know.

There’s a story about how this came to be.  The timeline is as follows:

1997:  Record Store Tales Part 135:  Back in a Tracksuit

  • T-Rev discovers Irish band The Sultans of Ping F.C. and turns them into a local cult phenomenon.

2005:  Getting More Tale #425:  The History of the Holy Grail

2012:  Aaron FINDS THE SULTANS ALBUM and gives it to me for Christmas!

  • And there was much rejoicing.

 

2018:  Reader Harrison from Australia alerts me that there is a 2 CD “deluxe edition” of Casual Sex in the Cineplex, in stock at the Canadian Amazon store.

  • Three left in stock!  Ordered, shipped and delivered — thanks for the tip, Harrison.

In gratitude, I decided to do a Reader Spotlight on Harrison, a pretty cool guy who has now helped me solidify my music collection even further.  Harrison graciously agreed.  We had a chat and I asked him ten questions.  Then he went and added more on his own!

Meet Harrison!

M:  So Harrison, tell us how old you are and where you live, and what you’re doing at school.

H:  I’m eighteen (nineteen in July). I live in Perth, Western Australia and I’m currently at university studying Professional Writing and Economics.

M:  How did you discover heavy metal?

H:  Pure chance, almost. My dad likes Led Zeppelin a lot and my mother likewise with AC/DC, so I guess I kind of always had it in my life but is wasn’t until my uncle passed on his CD collection to my family after digitizing it that I experienced a moment of clarity (to quote LeBrain). Among the many other discs of varying genres was a battered copy of Iron Maiden’s Best of the Beast (2 CD edition but only disc 1 included). By the first chorus of the third song (“Man on the Edge”) I was hooked. That disc got a lot of play thereafter and is single handedly responsible for starting my love of metal.

M:  This helps explain why you love the Blaze era so much!  Was there ever any other music you loved this much?

H: My dad has varied musical tastes and a diverse collection, so I got to experience a wide variety of artists. Before Iron Maiden came along my favourite band was the Electric Light Orchestra

M:  Top five bands — GO!

H: Oh dear, I was dreading this question. Very difficult to do a top five, but here I go anyway.
1. Iron Maiden
2. Black Sabbath
3. Deep Purple
4. Dio
5. Electric Light Orchestra
(Honourable Mentions – Ozzy, Alice Cooper, Blaze, Zeppelin, Slade)

M: You’ve guest reviewed here before and I don’t think you’re done writing reviews. What’s next?

H: Well I’ve got some tales to tell but seeing as you can’t write your memoirs at age 20 that will have to wait until I’m older and (hopefully) wiser. I’m planning for it now though. I enjoy writing and discussing the reviews, so I hope to guest more in the future. I just want to keep them few and far between, to preserve the occasion.

M: Who would win in a street fight: Ozzy or Alice Cooper.

H: Hmm…yes…very deep question…very philosophical. They would never fight though. Ozzy can’t leave his mic stand for more than ten seconds, and Alice is too nice.

But for the sake of the question, Alice would. His head is bigger than a bat’s so he safe, and he once pulled a gun on Elvis. (Although he was promptly shown by Elvis how to deal with an armed man when you are unarmed.)

M: That’s right, Elvis was into Karate. Why the heck do you keep coming back here to read the garbage I post?

H: Firstly, it’s not garbage. Secondly, funny you should ask that, because there’s a bit of a tale involved (there’s a Japanese bonus paragraph if you want). In short, I stumbled upon your 2 CD Best of the Beast review a while back, and I enjoyed it a lot. The personal style and in-depth review was far better than the mediocrity I could scrape up from other sites. I liked it so much that I kept coming back to it (although I did disagree with some points). Eventually I branched out into other Maiden reviews before going the whole hog. It was definitely your writing style that hooked me at the start, followed by your great insights, humour and personality that kept me here.

M: Well thanks!  Speaking of writers:  Heavy Metal OverLOAD, or OverLORD?

H: Overload (which would make a decent Metallica album title).

M: Do you get a lot of concerts down your way?

H: Not really unfortunately. Of the classic rock and metal bands, AC/DC come here often. Sabbath has a couple times (they even filmed a DVD in Melbourne for some reason). Maiden seem to do it mainly for the album tours. While I’m sure we get a decent amount of concerts here, most of them are not by bands I would see (which might have something to do with the fact that most of them are pensioners now).

M: If you want LeBrain readers to know just one thing about you, what would that be? GO!

H: I love The X Factor. I love Virtual XI. And (Shock! Horror!) I love Virtual Lights Strikes Over France.

Dream Lineup:
Bass – Geezer Butler
Lead Guitar -Joe Satriani
Rhythm Guitar – Tony Iommi
Drums – Nicko McBrain
Vocals – James Hetfield
Keyboards – John Paul Jones
Acoustic/Harmony Guitar – Adrian Smith

Stats of Doom:
First album – Iron Maiden – Killers
First Concert – Haven’t been to one yet. Hoping Iron Maiden’s Legacy of the Beast Tour will be the one.
First Vinyl – Iron Maiden – Maiden Japan (notice a theme yet?)
First Bootleg -Iron Maiden – 24th May 1981
First album bought twice – None yet thankfully
Current Collection size – 45 jewel cases/digipaks

Thanks Harrison for taking part!  If you enjoyed this Reader Spotlight, please do let us know in the comments.  You could be next!

MOVIE REVIEW: Solo – A Star Wars Story [MINOR SPOILERS]

It is a lawless time.

CRIME SYNDICATES compete for resources – food, medicine, and HYPERFUEL.

On the shipbuilding planet of CORELLIA, the foul LADY PROXIMA forces runaways into a life of crime in exchange for shelter and protection.

On these mean streets, a young man fights for survival, but yearns to fly among the stars….

SOLO: A Star Wars Story (2018)

Directed by Ron Howard

We are dangerously close to Star Wars overkill.  With the announcement of:

  1. A new trilogy helmed by so-so director Rian Johnson.
  2. A new trilogy brought to you by the folks who gave us Game of Thrones.
  3. A live action TV series from Jon Favreau.
  4. And not to mention more Star Wars Story spinoffs (Obi-Wan? Boba?) and the only movie that really matters: the final chapter of the Skywalker Saga, Episode IX.

We are very close to oversaturation indeed.  Remember when you had to wait three years between movies and much longer between trilogies?

Fortunately, Solo is a welcome addition to the crowded Star Wars family.

Solo was one of the spinoffs conceived by George Lucas before he abandoned ship.  He’d been trying to do “young Han” since at least Revenge of the Sith, when he was pictured in concept art as an orphan raised by Wookiees.  Lawrence Kasdan (The Empire Strikes Back) and son Jon wrote Solo, so you can be assured there is a level of authenticity here.  Who better to write that space scoundrel?  Nobody.

And who better to direct than Ron Howard?  He came in under difficult circumstances after the firing of Phil Lord and Chris Miller, re-shot 70% of the movie, and pretty much nailed it too.  Howard also brought in some of his regulars (brother Clint Howard and Paul Bettany) and threw in a literal ton of Star Wars references and crossovers.  Solo is Easter Egg heaven.

Finally, composer John Powell created a soundtrack that is different yet founded in the Star Wars universe.  Powell hybridized new and old themes together into a memorable score.  He too included Easter Eggs, in his music.  Listen closely when [SPOILER] the marauder Enfys Nest and her gang arrives.  Powell utilised a children’s choir, as a clue foreshadowing Enfys’ young age under the mask.

Everybody was worried about lead actor Alden Ehrenreich as Solo.  Admit it, you were too.  Fear not, for young Ehrenreich (who is signed on for three films) nailed the role.  His higher voice is the only niggle that consistently reminds you that he’s not the Han you remember.  Similarly, Donald Glover fits into Lando Calrissian’s capes comfortably, including the suave talkin’.  Billy Dee Williams should be very happy with the new Lando.

The concept of Han as an orphan is retained, but instead of being raised by Wookiees, his backstory is more aligned with the old Star Wars novels.  He is a thief on planet Corellia, where he and girlfriend Qi’ra (Emilia Clarke) try to stay under the Empire’s nose.  Corellia is a shipbuilding world with huge, expansive scenes of Star Destroyers under construction.  When Han and Qi’ra are separated, he joins the Empire, as he did in the comics.

Han wanted to be a pilot, but got stationed in the muddy trenches to quell an uprising on planet Mimban.  Han, you see, isn’t the best at taking orders.  While enlisted on Mimban, he meets Tobias Beckett (Woody Harrelson) and his best friend to be, Chewbacca (now played by Joonas Suotamo).  Solo is swept into the seedy world of organised crime where he is delighted to catch up to Qi’ra, and is introduced to her boss played by Paul Bettany.  They both work for the dark, shadowy crime syndicate Crimson Dawn.

From an exciting pulse-pounding train heist to the Millenium Falcon, Solo keeps things moving.  It’s one big set piece after another, including the Kessel Run.  And yes, they used the novels as the source material.  The Falcon does indeed make the Kessel Run in 12 parsecs, getting a little beat up in the process.  By the end of the film, she’ll look a little more like the ship you remember.

The plot has its twists but you can foresee that some backs are going to get stabbed.  Han’s backstory is over-explained a bit too much for a single film, but there is still enough left to explore should Solo 2 be somewhere in pipe.  The truth is, the first viewing of Solo is less paying attention to the plot, and more looking for cameos.  Speaking of which, characters tie Solo into movies as diverse as Rogue One and The Phantom Menace.  You’ll see some stirrings of the early Rebellion, and Han’s intrinsic sense of right and wrong.  You might even see a giant “fuck you” to the Star Wars special editions.  [SPOILER] Han is definitely a “shoot first” kind of guy.

Things get a little muddled with a side character (Lando’s droid L3-37 played by Phoebe Waller-Bridge) with a passion for droid’s rights.  Perhaps a droid-based Star Wars movie would be interesting for the future, but it was extraneous here.  Solo is best when it’s giving you a tour of the Star Wars universe, from crime lords to the trenches on the front lines of the Empire.  Trench warfare on Mimban is directly inspired by the muddy fields of World War 1, and it’s far better than any of the Clone Wars stuff in Revenge of the Sith.

Unlike The Last Jedi, a spinoff movie doesn’t have to reinvent the wheel.  In many measures, the pressure was off.  Solo aims to be a fun movie that requires no connections to the Force or Skywalker family.  It’s a shame that it has not performed well, but that is not a reflection on its quality.

3.75/5 stars

Concert announcement! SASQUATCH: THE OPERA – composed by Faith No More’s RODDY BOTTUM coming to town

Guest post by Kathryn Ladano

Now that NUMUS‘ most recent season is finished, I just want to say that next season, I can’t friggin’ wait to present Sasquatch: The Opera – composed by Roddy Bottum of the band Faith No More. I saw this at the Edinburgh Fringe Festival last summer and knew that we had to find a way to bring it to Kitchener/Waterloo. It’s happening in February 2019! We’ll be doing four performances which will feature the original cast and the NUMUS orchestra led by Roddy himself!

February 14, 15, 16 and 17, 2019.  Registry Theatre, Waterloo.

Read more at the Guardian: Bigfoot and me: Roddy Bottum on his avant garde monster opera

 

 

#685: First Signs of Sausagefest

GETTING MORE TALE #685: First Signs of Sausagefest

To quote Bon Jon Bovi, it feels somethin’ like summertime.

Ever since my first time back in ’06, summer is about Sausagefest.  It’s just a month away now and I can already feel the cool waters of the Beaver River on my feet.

It has been hot in Ontario this past week.  I have been sporting my hair long, but the sweaty heat is a severe deterrent.  I originally wanted to try have bangin’ long hair at Sausagefest for the first time this summer.  That’s not gonna happen.  I have surrendered to the summer.  The hair is gone.  The first sign of Sausagefest has arrived:  my shaved head.

 

Before & After

Other preparations are under way.  Several weeks ago, Uncle Meat gave me the list of songs for me to introduce.  I’m very excited because the ideas started poppin’ right away.  I have been gathering funny audio bits for almost a year now, but I have pared them all down to the funniest.  I learned from last year when I took everything to excess, and I think this time I have distilled all my stuff down to the crème de la crème. Trimmed away a lot of fat.

Just as, I hope, the Lamb Lord will be trimming the fat on his massive side of lamb for the BBQ once again.

Now that the hair decision has been made, I have been pondering some new purchases for this year’s Fest.

This will be the last Sausagefest for the old Pontiac.  I’ll be getting something bigger in the fall.  Space in the car is an issue, since I drive two people and all their stuff.  But I want to make room for this baby below.

Someone brought Jon Snow’s sword one year, and I have been known to sport a machete on my belt.  This year, perhaps a more practical weapon would be something that could light our way in the darkness after sunset:  a Kylo Ren lightsaber.

These beauty “weapons” are dropping in price, and wouldn’t it be super cool to have one as a nightlight? It would sure beat glow sticks. Not a small investment, however, and you wouldn’t want it to get damaged up there.

What do you think, LeBrain readers?  Is this a worthy investment?  Stand up and be counted in the poll below.

Keep in mind I could use that money for many other, more practical things.  New shoes.  New glasses.  A new tent. New Guns N’ Roses and Def Leppard box sets.

Check back and see where the poll leads and take part in the discussion in the comments.

Back to work on my recordings for song intros. Can’t wait to see the reactions this time.

 


From last year’s recordings

REVIEW: Ghost – Prequelle (2018 deluxe edition)

GHOST – Prequelle (2018 Loma Vista deluxe edition)

Reviewing an album on one listen is rarely wise, but Ghost can do that to you.  Their fourth, Prequelle, pushes the Ghost sound further into the 80s, while retaining their heavy roots.  Many songs could have been plucked from the year 1986, with that kind of melodic sensibility.  Remember how bands like Accept, Loudness and Kiss sounded around 1986?  Lush backing vocals sound as if assembled with care by Robert John “Mutt” Lange.  Guitar solos are cut from the stone of Mount Kulick.  Ghost leader Tobias Forge has never hid his pop roots, and they are clearly coming further to the fore.

With a bold image and faux-Satanic lyrics, Ghost have established themselves in the upper echelons of metal today.  That will only be cemented further by Prequelle.  In a year that has seen brilliant returns from Judas Priest and Stryper, Ghost complete a trinity of great recent records.  With a deft touch, tracks such as “Rats”, “Faith” and “Miasma” deliver hook after hook after hook.  Ghost never really wimp out, although their melodic skills are sharper than ever.  These songs are written straight out of the textbook, combining heavy and pop influences together in a witch’s brew of addictive audio.  The limits are pushed, with an unexpected sax solo being an album highlight.  They go epic and progressive too, especially on closer “Life Eternal”.

Two instrumentals do not (at all) slow down the love affair.  Two covers at the end of the deluxe edition (Pet Shop Boys and Leonard Cohen) are an interesting coda.  You can make good arguments for only buying the basic 10 song album, because it has a clear beginning, middle and end.  If you’re the kind of person who likes staying for the end credit scenes, or enjoys having dessert, then you should check out the bonus tracks.  “It’s a Sin” has the detectable Pet Shop Boys disco beats and posh swagger.  Tobias Forge’s evil Leonard Cohen impression twists “Avalanche” into something darker and sinister.

However you go for it, make sure you get Prequelle this summer.  The deluxe has a neat 3D cover, if that strikes your fancy.

4.5/5 stars

Friday Chuckle: Happy International Donut Day!

I don’t know why there is such a thing as International Donut Day, but there is, and it didn’t take much persuasion for me to partake.

Gourmet donuts by Debrodniks.  Face by me.