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 – Hot Wire (1991)

Guest review by Holen MaGroin – part 5 in his KIX series

KIX – Hot Wire (1991 Atlantic)

It took the almighty Kix three years to follow up their commercial breakthrough Blow My Fuse. When they did, they had a new record contract, and an assload of debt from their first three albums. Being that this was 1991, the clock was ticking before that putz from Seattle would change the face of rock music forever by replacing talented musicianship and fun with glorified punk songs about deodorant. The resulting album Hot Wire was the band’s heaviest album to date, with their hard rock influences taking over their sound completely. While Hot Wire is still an entertaining listen, it’s not as consistent as the albums that preceded it, and is a little derivative at times.

Hot Wire is jumpstarted by the title track, which starts off with a riff that sounds like Ted Nugent’s “Just What the Doctor Ordered”, and ends with a loving homage to “Have a Drink on Me”. The sonic annihilation in between is a whole hell of a lot of fun, and has Kix playing some of the most aggressive music of their career. Steve Whiteman in particular is taking no prisoners with an absolutely electrifying vocal performance that commands attention and respect. The song juggles the head banging verses with a trademark melodic Kix chorus that will blow your mind. Maybe Kurt Cobain was listening to this when his Kurt Cobrains hit the floor in April of 1994. It’s a great choice to open the album with, as it dispels any notion that Kix has become less hungry as a result of their platinum success.

Kix follows it up with what could only be described as a tribute to AC/DC’s “Big Balls”, complete with a Bon Scott impression. In lead single “Girl Money”, Whiteman channels Scott while talking about a woman of low moral fibre across the bar. The chorus is an absolute explosion of melody, literally. If you listen carefully, you can hear cannons going from the left to the right speaker after the lyrics “bang boom party”. The attention to detail is not only amusing, but it reflects the sonic identity of the record. The production on this album serves to polish the rough edges while retaining all the sonic power that Kix have to offer. It sounds good, but there are no frills to be found. This is a rock and roll record, and the band is going to treat it as such. No more Cool Kids new wave pandering, the group is out to rock your world.

 The fourth slot on the album is left to “Tear Down the Walls”, a weak ballad that was probably recorded to capitalize on the success of “Don’t Close Your Eyes”. It’s pleasant enough, but one can’t help but compare it to superior ballads on past Kix records. While it’s not nearly as iconic or enjoyable as “For Shame”, “Walkin’ Away”, or “Don’t Close Your Eyes”, it’s still a much better decision to listen to it than to marry Courtney Love, in my opinion only of course.

Kix only has one ballad again, and gets away with it by preceding it with the hook laden “Luv-A-Holic”, which has a similar structure to “Get It While It’s Hot” from the previous record, done in a heavier style that is more representative of the Hot Wire sound.  It’s one of the best songs on the album, and the deal only gets sweeter when “Rock & Roll Overdose”, (a song title I believe Kurt took too literally) greets the listener after the lacklustre ballad. One of the heaviest tunes Kix have ever done, it’s a nice ode to rock and roll itself with Whiteman bringing back his powerful raspy vocals from the title track. Guitarists Ronnie “10/10” Younkins and Brian Forsythe really get to shine on this track with each getting a chance to show off their solo chops. It’s much more enjoyable than listening to nursery rhyme melodies over three chord punk songs and pretending like you hate any band that has reached any kind of success, including your contemporaries that praise you.

What sinks the album is a sense of monotony. Some of the lesser tunes begin to sound the same, and some of them are lyrically lacking. “Hee Bee Jee Bee Crush”, “Bump the La La”, and “Same Jane” were in desperate need of penmanship reform. There’s also not as much variety as you would normally expect from a Kix album, as they seem to be firmly rooted in a hard rock sound. Choruses lack some of the staying power that they had on earlier albums, and the songs begin to run together.

While by no means a bad album, Hot Wire comes as a bit of a disappointment after the quality of the two previous outings. Unfortunately, due to shifting (shitty) tastes, Kix would only release one more album on their major label (1993’s appropriately titled Contractual Obligation Live!) before being pushed to the indie world. The mighty titans would regroup for one more studio album with the original lineup.  They disappeared for the better part of twenty years before reemerging with a new bassist as strong as ever.  As for Hot Wire…

3.5/5 stars

Authors note: I don’t really hate Nirvana, but they’re just so easy to poke fun at. I would take Badmotorfinger, Ten, & Ritual de lo Habitual over Nevermind any day of the week though.

Sunday Chuckle: Smalls Change

Derek Smalls (Harry Shearer) of Spinal Tap has finally released his new solo album Smalls Change.  (This is a followup to the fictional 1970s album It’s a Smalls World).  It features such guests such as Joe Satriani and Phil X.  The subject matter on the album includes butt-dialing and gummer-giving.

I know a certain Sausagefester who has dentures so I thought he’d dig the lyrics about gummers (“Gumming the Gash”).  I tried to tell him.  It didn’t go well.

 

#696: Confession

TRIGGER WARNING:  Emotional material ahead.

 

 

GETTING MORE TALE #696:  Confession

Music is the most wonderful of hobbies.  Scratch that — it’s not a hobby when you love music.  It is your lifestyle.  It’s healthy, it’s fun, and it can open up feelings you didn’t know you had.  I’m glad that music is my life.

As much as I cherish music, and try to spend some time with it every single day, there is one huge hole in my life:  The concert experience.

You could argue that music is best enjoyed at a good concert.  There is magic in a live performance; a kind of telepathy that occurs between the players on stage.  Then their collective sound and vision is pumped at 120 decibels to the hungry audience.  The crowd is like a single entity with one voice.  There is no substitute for the live concert experience.  No Blu-ray could ever hope to match it, not even at 1080p with 5.1 surround sound.

Yet, I’ve seen only a few dozen concerts over the years.  I can’t even remember my last one.

I would love to have new concert reviews for you every single week.  The most popular post on this site in its six years of operation is a concert review.

It’s true that I don’t get out as often as others might.  Some of this is because my beautiful wife has been battling with uncontrolled epilepsy for the last decade.  Her health struggles have turned me into a bit of a homebody.  I’m not complaining.  Being her support is a privilege.  I’ve always been a bit of a homebody, but it’s certainly gotten worse as her health got worse.  The good news is that not only has Mrs. LeBrain beaten cancer, but she has also managed to reduce her seizures to one or two a week.  A regular week, anyway.  A week with stress or lots of travel can cause more.

How has she managed to handle her epilepsy so well?  Lots of self care.  Plenty of pre-planning for every outing, a few taxi cab rides, lots of caution, and a little bit of Canada’s best prescription marijuana.  I’ve seen it work.

She can’t go to movies and she can’t go to concerts, and we’ve accepted that.  It hasn’t been easy.  When Jen worked at Research in Motion, their free company concert was U2 in Toronto.  She wanted to go so badly.  She was willing to go blindfolded if she had to.  Every U2 Blackberry ad on TV was a bitter reminder that Jen could not do what other people take for granted.

But that’s no excuse for me missing out on shows.  Maybe I lost my concert wing(wo)man, but I’m a grown up.  Right?

So we get to the crux of it:  my confession.

I’ve never really gotten into any of this in public before.  A few friends know.  I’ve lived with it long enough.  I used to care what friends, random strangers, or potential future employers would think of me.  I was ashamed of myself.

Over the years I’ve developed a severe fear of crowds.  It’s always been there, but it got a lot worse in my 20s.  If I was with people I knew and trusted, I could control it.  I first confessed my fear of crowds to T-Rev back when we were roommates in 1998.  He used to like to go clubbing at the Flying Dog up in Waterloo.  I went with him twice, and it was OK.  I had a good enough time.  But I needed my wingman.  T-Rev was wise.  “The best way to beat your fear of crowds is just to face it.  Try to have fun.”  He’s right to a certain degree.  The Flying Dog just wasn’t the best place to try and beat a fear of crowds.  Packed with douchebags and girls that I thought were way too hot for me, anxiety piled up on top of more anxiety.

I did better at small concerts.  There was a joint in town called The Banke.  A lot of our friends played there.  The more often I went, the more comfortable I was.  You start to recognise other faces, and familiar faces and places are soothing for anxiety.  It was good while it lasted.  T-Rev’s life path took him to a lovely wife and two kids, three hours away in Sarnia, Ontario.  He was a good wingman, because he understood me.

Having a wingman is really important.  A few weeks ago I went to TF Con in Toronto.  My buddy Jay asked me, “So how does this make you feel with your fear of crowds?”  I told him it didn’t bother me at all because he was my wingman.  (Also it’s not a very intimidating crowd.  I could bowl them over with a sneeze.)  I’ve had a panic attack at a farmer’s market, but not a TF Con.

There have been a couple incidents that happened at concerts.  Jen had a fall at Rush — that one was upsetting.  She had a seizure at Trailer Park Boys, which was the last time she went to any kind of show.  The association of these events with concerts just made me…more sour.

When Jen got sicker and sicker, so did I.  I became a tense, nervous mess, and it was almost all the time.  Something had to give, so when I couldn’t take it anymore I sought help.  Family and friends made sure that I did.  It took some pushing, because I am stubborn by nature.  Help is available, but you have to work at it.  Medication doesn’t fix everything, and it has its own costs on both your body and your wallet.  You have to unlearn what you have learned.  Then, you have to practice better ways of dealing with situations.  It’s hard work.  It’s also life long work.  You will stumble and there will be pain.

In spring 2016 I was in Ottawa visiting family.  By coincidence, both the Killer Dwarfs and rock journalist Mitch Lafon happened to be in town that weekend.  The Dwarfs were playing the Brass Monkey, and Mitch was going to check them out.  Knowing I was in town, Mitch asked me if I wanted to come and meet him at the show.

It’s painful remembering this.

Of course I wanted to go see the Dwarfs.  Of course I wanted to meet Mitch!  I have been a fan of both for a long, long time!  Mitch is the premiere go-to guy in hard rock today.  Not only would it be a personal thrill, but meeting Mitch and taking a selfie with him would have been a fantastic bonus to top off a Killer Dwarfs concert review.

I turned him down.

Out of respect for the man, I told him the truth.  I wasn’t prepared to handle a crowd that night.

Mitch promised to keep my secret, and he’s been really supportive to me.

It might be frustrating for some, but it helps me a lot to deal with anxious situations if I know in advance, and I can prepare myself mentally for it.  I admit I can be very frustrating sometimes.  I’m lucky that Jen gets me.  She’s one of the only people in the world who truly gets me.  Jen and my grandmother really know how my brain works.

It barely works, but it works!

I have my ups and my downs, and it’s largely dictated by how I respond to daily challenges.  I confess that I have not tried to challenge myself in a long time.  When was my last concert?  I used to love going out to see stand up comedy, too.

I’ve been itching to see live music again.  I think I can handle it.  I’ll go slow.  I won’t start by going to see Bryan Adams at the Arena.

Something smaller and more local would be good.

Hey!  Would you look at that?

It looks like I have to be ready by February.  Sasquatch is coming to town!  Sasquatch: The Opera that is, composed by Roddy Bottum of the band Faith No More.  Four shows, February 14th through to the 17th, 2019 at the Registry Theatre in Waterloo.  And I happen to know the promoter.  I’ve been promised an interview with Roddy about the musical, and ideally I would like to see all four shows.  I’m not worried about the interview, but I do need to beat my anxiety to go to the shows.

This is called having a “S.M.A.R.T.” goal.

  • Specific
  • Measurable
  • Achievable
  • Relevant
  • Time-based

Is my goal specific?  Yes.  I want to see the Roddy Bottum show.  Measurable?  Yes.  It’s as simple as go/don’t go. Achievable?  I believe a realistic goal would be to make it to, at minimum, one of the four shows.  Bonus points for anything more.  Is my goal relevant to my situation?  Absolutely.  It is a big part of it.  And is it time-based?  You bet.  Can’t procrastinate on this one, February is gonna come one way or the other!

I’m hoping to have Dr. Dave or Uncle Meat as wingmen for a show.  Dr. Dave is, in fact, a believer in the real Sasquatch!

I believe in baby steps so I think a good plan would be to try and see a small show in advance of the Bottum musical.  It’s exactly like building up a tolerance.  My tolerance has slipped a lot over the years so I have to build it back up again.  I’m trying to be proactive.

That’s my confession, and I have to admit, it really does feel good to get it out!  Did I have to do it publicly?  No, but I’m sick and tired of lying to people every time the subject of concerts comes up.  Here’s the truth.  Think whatever you want to.  All I really want to come out of this is somebody out there to read it and say, “Hey, I get it too.”  There are bullies in the world who would pick on me if they read this.  I don’t care.  They can pick on me for a lot of things already.

I accept that crowds and I might never be good friends.  I just want us to get along.

#695: Don’t Forget to Lock It!

GETTING MORE TALE #695: Don’t Forget to Lock It!

The most important part about closing the Record Store was also the easiest. It wasn’t balancing the cash, or leaving the store in good shape for the morning shift. It wasn’t setting the alarm. It was simply remembering to lock the door on your way out.

When it comes to locking up, I had the best life experiences to remember by. After all, it was my dad who used to make locking up a long, drawn out exercise.

When we used to go to the cottage for the weekend, my dad would make 200% sure that we locked up the house. My mom, sister and I would be waiting in the car, in the driveway, for him to finish checking. He’d exit the house by the front door, check it a few times, and then go out back to check the back doors and windows. Then he’d come back out front and check the front door again. If he was being extra careful, he might run back to check the back door one more time. Then, we could leave.

Leaving the cottage was the same routine. Exit by the front door, lock it, and make sure. Run out back. Check the back doors and windows. Check the front once more before leaving.  Repeat as necessary.

We teased teased my dad about it.   Once, after he got into the car, I jumped out and said “I have to check something!” I then checked the front door and ran out back to check there too before returning to the car. It was pretty funny, I thought.  Not sure he got the joke….

When it came time to be an adult with grown-up responsibilities, locking up the house, or car, or store was never an issue with me.  (It’s an issue with Mrs. LeBrain, but that’s a whole other story or two.  There’s a reason I made a sign that said “LOCK ALL DOORS AND WINDOWS BEFORE YOU LEAVE”.)

I would always be doubly careful. There were times, more than one occasion, when I could not distinctly remember locking the door at the Record Store. Rather than worry all night, I’d jump back in the car and make sure. I never did actually leave the door open, but taking the 30-40 minutes to drive back and confirm was worth while.  Much better safer than sorry.

I was absolutely furious one morning when I came in to work and the door was unlocked. As discussed in #489: I Forgot to Remember to Forget, it only happened once. Thankfully no thieves tried the door. If they had, they would have had free entrance. I can’t remember who left the door open…but I wanna say it was a night shift with Dave Quon and The Boy Who Killed Pink Floyd. Clearly, they didn’t have dads like mine.  If memory serves, each of them thought the other guy had locked up.

Locking car doors was also something drilled into us, before the era of remote door locks. I was stopping at a convenience store with one of the guys from work. As we got out of the car I reminded him, “Don’t forget to lock it.” Some dirtbag hanging out in front of the store yelled mockingly, “Yeah better sure you lock up that Ferrari there.”

Not the point!

As much as it annoyed us as kids, I’m glad our dad drilled “don’t forget to lock it” into our heads. It helped a lot when it came to adult life. Nothing was ever left unlocked at the Record Store by me, and I think indirectly they need to be thankful to my dad. He personally trained their employee (me) on locking the doors.  I think my dad deserves a bonus! Or a free CD, or a T-shirt!

GUEST REVIEW: Kix – Blow My Fuse (1988)

Guest review by Holen MaGroin – part 4 in his KIX series

KIX – Blow My Fuse (1988 Atlantic)

When Kix released their fourth album on Atlantic, the band would finally receive the recognition and popularity that they deserved. Blow My Fuse is one of the most fun hard rocking albums of the late ‘80s without the guilty feeling that you get listening to the other “hair bands” that were dominating MTV. You could blast this record in a way that you couldn’t with say, Warrant, and not care who heard you, because Kix aren’t a hair band. They’re a hard rock band. These glorious Maryland hicks with a collective explosion fetish crafted a glorious hard rock album in the mold of AC/DC, with the pop hooks necessary to get proper attention on the radio, without ever watering down the rock. Produced by Tom Werman (with help from Duane Baron and John Purdell), Kix finally teamed up with a production team that knew how to turn their material into charting hits without diluting it.

Album opener “Red Lite, Green Lite, TNT” displays Jimmy “Chocolate” Chalfant reclaiming his territory after an Anton Fig substitution due to a broken arm on the end of the last album. Pounding away with a simple but effective beat, he sets the stage for the duo of Brian Forsythe and Ronnie “10/10” Younkins to blanket the track with midrange guitar goodness. The production on this album is really outstanding. The power of Kix clearly shines through, but with a new sheen to polish some of the rough edges. Steve Whiteman builds anticipation with restraint in his singing at the beginning of the song. Kix are masters of both tension and dynamics. They know just how long to string the listener along before delivering the heavy payoff. The twin guitar duo comes in with the song’s main riff, and Steve Whiteman pumps on the gas taking his vocals full throttle with rasp and power. Note the background vocals before the chanted chorus, which add some killer harmonic melody to the blistering hard rock. A call and response section between the harmonica and the guitar build off each other to end the song leaving the listener with his ass bruised and sore from being kixed for four euphoric minutes.

After taking a minute to ice the destroyed rectum, “Get It While It’s Hot” starts with a synthesizer run and some backwards vocals that recall their new wave roots. However, this is a clever ruse. Soon the guitars come in and betray the intro. This is another full on rock tune with the drums really in the driver’s seat during the verses. The guitarists play a few chords, rest, and then play a few chords, then rest; each phrase expanding upon the last to complete the picture at the end of five measures. It’s a tension building technique Kix would use again. The chorus drastically changes things up, but the energy level doesn’t dip at all. At this point we’re greeted by the song’s hook. With some era appropriate multi-tracked backing vocals, it drives the point across well.

Even with all the fantastic tunes, the reason that this album went platinum was because of the ballad “Don’t Close Your Eyes”. A number eleven hit in America, the song put the band on map, and on MTV. However, it wasn’t originally released as a single. When Kix were on tour with Great White, their manager Alan Niven asked the band why the song hadn’t been released as a single. Niven, despite being the manager for Great White, called up Doug Morris (president of Atlantic Records at the time) and told him they were sitting on a massive hit. They released it, and the rest is history. As for the song, it’s not a typical fluffy power ballad of the late ‘80s. It has more in common with “Dream On” than it does “Home Sweet Home”. The song is an anti-suicide PSA, a reassuring topic that proved Kix had more on their mind than just sex and explosions. It’s a great song, haunting and emotional. The lyrics and the conviction with which Whiteman sings them makes the hairs on your arm stand up. “Don’t Close Your Eyes” is a powerful song that has probably saved more than one or two lives as well, and is one of the most respectable power ballads of the 1980s.

But who cares when they’re singing about sex when the music backing it is of such high caliber? “Cold Blood” was the first single, and it sold much better after “Don’t Close Your Eyes” became huge. This song deserved to be a huge hit. It’s a stone cold classic. Starting out with a riff sounding like Electric-era The Cult, and progressing to total pop harmony payoff, this one is definitely one of the band’s best tunes. It also received moderate MTV airplay, and became the band’s second most popular song, a place only challenged by the album’s title track. A very fun and electrifying number about singer Steve Whiteman getting his fuse blown, his tower shook, his wires crossed, his hair lit up, his senses overloaded, and his juice felt. The lyrics speak for themselves; this one is another genre classic.

The album is rounded out with several other dynamic hard rock tunes, and a supernatural ability to insert pop melodies into them without diminishing the power one iota. There is no filler on this album, every song is a keeper. A 30th anniversary edition remixed by Beau Hill was announced earlier this year. Start off with the original that has been serving the public well for three decades now. If you were only to buy one Kix album, this is the one.

5/5 stars

GUEST REVIEW: Kix – Midnite Dynamite (1985)

Guest review by Holen MaGroin – part 3 in his KIX series

KIX – Midnite Dynamite (1985 Atlantic)

In 1985, Kix returned after two commercially unsuccessful albums, with what they consider to be their magnum opus, Midnight Dynamite. This is where the new wave styles of the first two records take a backseat to the hard rock influences. Later on, they’d completely shun their new wave influences by kicking them out of the car, and making new wave watch hard rock shag its girlfriend. For now, the blend was still somewhat apparent, but with the mix changed.

Produced by Lebrain’s favorite producer of all time (Beau Hill), Midnight Dynamite definitely sounds like its era, much more so than the debut or Cool Kids. For the first time we get some electronic percussion thrown into the mix and it is the first album by Kix to feature synthesizers in a prominent role. This could have been disastrous, but luckily Kix utilizes them to color the sound and they don’t diminish the hard edge of the guitars one iota. This is a hard rock record first and foremost, and with Ronnie “10/10” Younkins back in the mix, the guitar duo of the first album is reestablished. Pressured once again to work with outside writers, the primary guy for the job is Bob Halligan Jr. If the name sounds familiar, it could be because he wrote two songs for Judas Priest (“Take These Chains” & “Some Heads Are Gonna Roll”), and co-wrote with Icon on their second album Night of the Crime. Boasting some impressive credentials, the songwriting takes a step up this time around. Nearly all the songs are collaborations between bassist Donnie Purnell and Halligan.

The album is jump started by the title track. A slow and heavy number, it was a bold choice to open an album with.  Fortunately for Kix, it completely works. The intensity of the verses builds up tension for the ridiculously catchy harmonies in pre-chorus, where we finally get the big payoff during the chorus. This is melodic hard rock done right, without the frills that are usually associated with AOR or other bands of the time period. Kix made sure that the material had balls, something that many other bands of the time period eschewed for chart success. The intensity of the title track is followed by the erotic “Red Hot (Black & Blue)” with a sleazy stuttering riff. The production on this song is a little heavy handed with the reverse reverb in the verses, but it’s nothing that ruins the impact. Another song with dynamics, the verses stutter along with spunk, until the chorus where that Kix fire is unleashed. Some pretty cheesy lyrics, but if you weren’t prepared for that then why would you be reading a Kix review?

One of Beau’s buddies Kip Winger earns himself a writing credit on track number 3, “Bang Bang (Balls of Fire)”. As you can tell by the title, it’s one of the more generic rock songs on the album. It’s one of the least substantial, but it’s still an enjoyable tune. “Layin’ Rubber” is much better, as all the elements that make up the Kix sound are blended masterfully. Obviously more hard rock orientated than material of the past, the track features bubblegum pop chants before launching into a hard rock riff, while the intensity of the music elevates as the song goes on. Each section of the song’s structure is composed to perfectly transition into the next. One of the best tracks on the album, it manages to be damn brutal, and also catchy as shit.

The rest of the album proceeds in this manner, blistering hard rock tunes with undeniably catchy melodies that are never too sugary enough to make you sick to your stomach. There is only one ballad “Walkin’ Away”, which is built on synthesizers, but has enough of a kick to be enjoyable. “Cold Shower” was the other single, which features some rap like vocals in the verses and singer Steve Whiteman hitting some glass shattering notes before the chorus. It’s one of the most eccentric tunes on the album, and I’m surprised it was picked as a single.

Surprising songs or not, this album is one of the most underrated of the era. It’s a mystery as to why it didn’t sell better than it did. Label indifference? If you’re a fan of the rock music, you owe it to yourself to pick up this album and the even better follow up Blow My Fuse.

4.75/5 stars

A note for Kiss fans, Anton Fig plays drums on the last two tracks because Jimmy “Chocolate” Chalfant had broken his arm.

Blu-ray REVIEW: Family Guy – “It’s a Trap!” (2010)

FAMILY GUY – “It’s a Trap!” (2010 20th Century Fox)

First, they did Star Wars. Due to popular demand, they did Empire next.  And just as Jedi was the weakest of the original trilogy, so is Family Guy’s version.

The full 57 minute episode “It’s A Trap!”, available on its own for those who only like the Star Wars spoofs, follows the same concept as the first two.  Favourite Family Guy characters portray the legendary characters from Star Wars.  After two, though, the well seems rather dry.  Presumably running out of original characters, they peppered the cast with characters from both American Dad and The Cleveland Show.  Rollo Brown, Klaus the Fish and Roger the Alien are some of the characters making a Family Guy appearance in the Star Wars universe.

Still, it must have been awful dry in that well when they were writing this.

“It’s A Trap!” had moments that were as funny as any previous Family Guy Star Wars.  Then there were stretches that that were as dull and uninspired as Seth MacFarlane’s worst. It was very much a rocky ride, but luckily the good outweighed the bad in this episode.

Likes:

  • As always, the surprise of what characters are playing who (which I won’t spoil, google it if you must know).
  • Many celebrity cameos (again I won’t give you spoilers).
  • The Emperor rocked.
  • Looked awesome in 1080p.
  • Ample bonus features (similar to previous instalments). Even the Trivial Pursuit challenge was fun for one viewing.

Dislikes:

  • Boring Yoda.
  • One scene where Peter/Han snaps and torments three Imperial officers…just took it too far.
  • MacFarlane likes jokes that go on too long, but they didn’t work this time.

Pick it up and complete your trilogy.

Or, you know, just watch it on Netflix.

3/5 stars

And, no — there is next to a 0% chance that Disney will let Seth do any more Star Wars.

Gallery: LeBrain Day Fun

Another spin ’round the sun, another basket full of goodies!

Thank you everyone for the birthday wishes.  Here are some of my favourites.  You might recognise some of these people!

 

 

 

 

 

Had a lovely dinner at Borealis with the family & Dr. Kathryn.  And so we get to the gifts!

First up!  A signed first edition copy of Dr. Ladano’s The Improvising Musician’s Mask:  Using Musical Instruments to Build Self-Confidence and Social Skills in Collective Free Improvisation.  That’s a mouthful and a generous gift.  These books aren’t cheap, even for her!  The funny thing is that when I grabbed the wrapped hardcover-shaped package, I said “I hope this is a copy of your book,” but I didn’t actually think it would be out so soon!

Dr. Kathryn also gifted me some music.  Ho!  It’s Derek Smalls’ debut solo album Smalls Change!  Appropriately considering the occasion, it is subtitled Meditations Upon Ageing.  I can’t wait to spin this one.  She also got me this nifty Worf (Star Trek) not-Lego head.  These look great in the office.  I have Spock as well.

The lovely Mrs. LeBrain was amazing to me as well.  She trekked up to Encore Records where she met my old pals Al “The” King and Chris Boyne.  They hooked her up with some live Ghost, on vinyl.  This is my first Ghost vinyl.  Ceremony and Devotion is a great album, and the vinyl has two “exclusive” songs…that are also on the CD!  Anybody know what’s up with that?

It doesn’t really matter.  Double live albums have a certain intangible quality that almost always makes them better on vinyl.  Scientists have been trying to figure out why that is since the advent of digital media.

Since my wife also dresses me, check out the cool shirts.  I think I’m going to wear that getup to work tomorrow.  Han Solo and BB-8 look awesome together.

Thanks again everyone for the happy birthday wishes.  I keep getting older, and you keep getting awesome-er!

 

 

#694: The Lost Intro

It’s my birthday today so I thought I’d share something special!

The Lost Intro

The original plan, and who knows, maybe still the final destination of Record Store Tales, was to publish a book.  I had been working on the book, in spurts, and that’s where the first batch of Record Store Tales originated.  The way it was taking shape, I had a number of chapters focused on childhood before starting work at the Record Store.  When I posted it all online, Record Store Tales Part 5:  The Dream Job was the transition point.  In my original drafts it was actually Chapter 11.  I figured for the online crowd I should cut to the chase more quickly.  But the early chapters are still on disc, including a massive (5500 word) unpublished instalment titled “1986”!

Now, here’s a detail that I forgot about:  my original nom de plume!

This is before I acquired the name “LeBrain” via my radio experiences.  I remember that only a handful of people had read what would become Record Store Tales, including good ol’ Aaron at the KMA.  Via my discussions with Aaron over my work in progress, I decided on the pen-name…Johnny Cock.

I don’t know how much influence Aaron had over that decision, but I can confirm that he must have known about and endorsed my use of the pseudonym Johnny Cock.

Anyway.

The working title before settling upon “Record Store Tales” was actually “Rock, Rock, ‘Til You Drop” (stolen from the Def Leppard song of the same name), though the phrase “record store tales” was already in the text.  And, apparently I wrote an intro to the whole thing.  So here it is!  The unpublished intro to Rock, Rock, ‘Til You Drop by Johnny Cock, later to become Record Store Tales by Mike Ladano.

 

 

 

ROCK, ROCK, ‘TIL YOU DROP

Musings and Tales

Of Growing Up in the 80’s

And Running an Indi Record Store in the 90’s.

By Johnny Cock

 
 

Intro

 

Before we get seriously into the record store tales, I think it’s important for you, the reader, to know who’s talking to you.  After all, I’m a real guy and these are real stories.  Only the names have been changed to protect the guilty.  I’m a bit of a narcissist, and I can’t resist talking about myself even though I’m no more interesting than you.  I just think it’s important for you to know who your storyteller is before we get down to the serious business about working in a record store.

So, I trust you will indulge me a few chapters to just talk to you about what it was like growing up in Kitchener, Ontario during the 80’s, getting into heavy metal music, which evolved into managing an indi new/used record store in the 90’s.  After all, context is always important.  These stories are relevant in the sense that they happened to me, and my reactions are part of the stories, and to fully understand how I react, you have to know a bit about me.  I’ve tried to make these introductory tales as entertaining as possible.  I hope you can relate, and I hope you enjoy.  It’ll be worth it, trust me.

You always wanted to work in a record store?  Yeah, me too.  That was, until I’d done it for 12 years.  By then I had had enough.  I had enough of Creepy Danny.  I had enough of Crazy Eskimo Woman.  I had enough of the Creepy Twins, thieves, bosses, Nickelback, crappy scratched up Dance Mix CDs that were over 10 years old, people throwing shit at me; I just plain had enough.

Now I am out, and I can reflect back with a certain nostalgia.  I am Johnny Cock.  This is my story.

 

“I am Johnny Cock”.  Am I ever glad I changed that.  Jesus!

Obviously, with the latest chapters under the Getting More Tale banner, I’ve gone back to using childhood stories as a major source of material.  This has proven to be very popular even though they are sometimes only tangential to music.  That’s one of the bonuses to posting the chapters online.  I get the instant gratification of feedback, and I can mold future stories around it.

As for the rest of the lost chapters?

I think they’ve been lost long enough.