Author: mikeladano

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

REVIEW: Halford – Resurrection (2000)

Part 5 in a miniseries on Rob Halford’s solo career!  Missed the last part?  Click here!

HALFORD – Resurrection (2000 Japanese edition, 2008 remastered edition)

Note:  There have been several versions of this CD.  The original CD and Japanese import versions had a certain tracklisting, but the track order was changed up a bit for the Remastered edition (see tracklists at bottom).  Since that’s the version that’s out right now, that’s what I’ve decided to review.  I got mine in a combo pack with the DVD, Resurrection World Tour Live at Rock in Rio III.  Rob has also retroactively started to number his solo albums; as such the remastered version is technically Halford 1: Resurrection.

Voyeurs by Two was not a mega seller regardless of the association with Trent Reznor and Nothing Records.  Rob needed to return to heavy metal or risk alienating his fanbase.

RESURRECTION_0005I think pretty much everyone was enthused by the title track and lead off single, “Resurrection”.  This wasn’t techno wizardry with whispery vocals.  This was heavy metal, with screams!  Although Rob was already headed in that direction at the end of Two, while working with Bob Marlette, it is Roy Z that drives this one single home.  Yes, Roy Z, the Roy Z that Bruce Dickinson utilized to collaborate on many a great solo album.  With Halford now drinking at the well of riffage that is Roy Z, “Resurrection” was bound to smoke.  And it does.  Take the sound of classic Judas Priest circa Painkiller, adjust for 10 years of sonic trends, stir in Roy Z, and you have “Resurrection”.  Rob makes sure you know he’s serious from the very opening, screaming as only he can.

What I dislike are the lyrics.  “I walked alone into a Fight”?  Rob, you weren’t alone, you had Scott Travis with you!  “I tried to look too far ahead, and saw the road lead to my past instead.”  In other words, sorry about the Two album, this is what I really want to be doing.

The first three tracks totally smoke, all falling somewhere in a Defenders/Painkiller vibe of Priestly goodness.  At first I didn’t like “Night Fall”, the fourth track, too much.  Its redeeming value is a great chorus, totally in the Defenders mold.

“Silent Screams” is one of the songs that Rob was working on with Marlette at the end of Two.  Rob was especially proud of this lengthy number, and he released a demo version of it for free on his official website.  The demo version is an evolution from Two.  It has screams (appropriately enough) and heavy guitar riffs.  The album version has a more emotional lead vocal and tones down the keyboards.  The song is a bit slow and ploddy to start with but it is epic in quality and it sure does rock by the halfway point!

The big gimmick on the album was the duet with Bruce Dickinson, “The One You Love to Hate”.  The connection is Roy Z, but obviously a matchup like this would generate much hype.  Arguably the two best singers in metal, together at last.  Bruce sounds great, holding his own against the Metal God, who sounds vintage 80’s.  I have to say I enjoyed this one a lot.  Shortly thereafter, there were rumours of a coming supergroup called the Three Tremors – Rob, Bruce, and Geoff Tate of Queensryche.  All three artists were touring together at the time, but this idea was never meant to be taken seriously.

RESURRECTION_0002“Cyber World” is fast and heavy but unfortunately also boring and skip-worthy.  Likewise, the groovier “Slow Down”.  Dull title, dull song.  I tend to think of Resurrection as losing steam on side 2.  I guess that’s why the remastered edition inserts the Japanese bonus track “Hell’s Last Survivor” right here.  Sounding something of a Screaming for Vengeance outtake, I think this was placed here to compensate for some of the weaker tracks.

“Temptation” is a little on the boring side, so two new tracks are inserted at this point for the remastered edition:  “God Bringer of Death” and “Fetish”.  In my opinion it doesn’t sound like they belong here.  Rob’s voice had changed a lot in the 8 years since, and the sound is more like later Halford albums.  Neither song is particularly notable.

On the other hand, “Sad Wings”, which was previously only on the Japanese version, is awesome.  It has a sharp riff and a chorus that is designed to remind you what band he was the singer of.  This is followed by “Twist” which sounds like maybe it had its origins in Two, but I like it a lot.  “Drive” is also pretty decent, and the album ends with “Saviour” which has an anthemic chorus.

Bottom line:  Pretty decent if a bit safe comeback.  Rob wasn’t treading any new ground here musically, but Roy Z never fails to class up any album he’s on.  His tasteful and blistering solo work is just marvelous.

3.5/5 stars

Part 206: Rock Video Night!

MUCH

RECORD STORE TALES Part 206:  Rock Video Night!

Last time on Record Store Tales, we talked about Andy and Ashleigh and the discovery of great rock bands such as Rush, Max Webster, and Van Halen.  Andy was even more curious now about what great rock was out there.

Rock music is about so much more than just the songs.  There’s the concerts, the live experience.  There’s the history of the bands, the stories and the context.  And there were the music videos.  How could one possibly talk about a great band like Van Halen without mentioning groundbreaking, defining music videos that they made?  Since a picture is worth 1,000 words, I decided the best way to explain these things was to have a Rock Video Night at my place.

90% of my video collection was from the Pepsi Power Hour.  Back in the days before YouTube, a channel like MuchMusic would have an hour or two a week devoted to the heaviest videos in rock, and I tried to record the show every week.  I had amassed a large collection of VHS tapes, probably about 120 hours of music videos, interviews and concerts altogether.  That’s not including the hundred or so officially released video tapes that I bought over the years.  We had a lot to watch so I had to hone down the set list for the evening.

Since I am and always have been OCD about my music collection, I had a meticulously typed list of every track on every video that I made.  I carefully planned the evening’s entertainment.  There were some videos that I know these kids had to see.  They were all one musical generation younger than me.  They grew up on videos like “Jeremy” and “Fell on Black Days”, not “Jump” or “Go For Soda”.  I had to make them understand my time, when it was OK to have sword fights and dwarves and laser guns in your videos.

Ash and Andy arrived along with my other employees Braddy D and Chris P.  The set of videos that I chose to share with them that evening included:

SAVATAGE – “Hall of the Mountain King”.  Summary:  Dwarf seeks Mountain King’s gold.  Must try to steal it without waking him, while band is playing in the same caverns.  Not sure why the King doesn’t hear Jon Oliva singing.  (below)

VAN HALEN – “Oh Pretty Woman”.  Summary:  Lady in distress has been kidnapped by two dwarves.  A hunchback in a treehouse (David Lee Roth) telephones a samurai (Michael Anthony), Tarzan (Alex Van Halen),  a cowboy (Eddie Van Halen), and Napoleon Bonaparte (David Lee Roth) to save her.  (below)

ARMORED SAINT – “Can U Deliver”. Summary:  Band driving a Buick with armor and an anti-aircraft cannon seek a glowy sword.  Band plays concert in front of rocker dudes and scantily clad babes while wearing leather armor.  (below)

GRIM REAPER – “Fear No Evil”.  Summary:  Band drive a DIY armored APC on a quest to free long-haired slaves from an evil half-man half-something with Wolverine claws. (below)

MIKE LADANO, BOB SCHIPPER and DAVE KIDD – “Nothing But A Good Time”.  Summary:  A highschool video I made, lip synching to “Nothing But A Good Time” by Poison.  We had our English teacher do the schtick at the beginning where he plays the prick boss who gives the kid a hard time before the song comes on.  We made it in ’89 and it was our school’s selection to send to the annual regional Film Awards!  (below)

Rock Video Night was a great success in many regards.  The kids had a great time finally seeing David Lee Roth doing the splits in “Jump”.  Ash was still not won over by the rock, but that’s OK.  What wasn’t OK is that I had really sour stomach issues that night!  I tried so hard to be a good host, and I kept excusing myself, but…they tell me the smell was wafting down from the upstairs bathroom.

So, Rock Video Night ended on a rather stinky note.

NEXT TIME ON RECORD STORE TALES…

Make ’em say uhhh!

 

REVIEW: Marillion – The Official Bootleg Box Set Vol 2 (2010)

Part 2 of a 2 part series!  Missed Part 1?  Click here for Early Stages: the Official Bootleg Box Set from the Fish era.

MARILLION – The Official Bootleg Box Set Vol 2 (2010 EMI)

Spanning Seasons End through to Brave, Vol 2 of the Official Bootleg Box (Vol 1 is of course the Fish years) effectively captures what some believe to be the best years of Steve Hogarth’s tenure. You will, naturally, get some repeat within the 8 discs inside. You’ll hear “Easter” more than once. You’ll hear “Uninvited Guest” more than once. It is what it is.

Here’s a breakdown of the contents herein:

  • Discs 1 & 2:  Leicester, April 24 1990
  • Disc 3:  BBC Friday Rock Show, Workington, July 13 1991
  • Discs 4 & 5:  Wembley, London, September 5 1992
  • Discs 6 & 7:  Warsaw, June 15 1994
  • Disc 8:  BBC Sessions EP, 1992-1994

Obviously the BBC stuff has a higher fidelity than the other stuff. It’s called a bootleg box set for a reason! But the other discs still sound acceptably good. They are soundboard recordings, not audience recordings. Hogarth’s voice is a bit hoarse in Warsaw 1994, but that’s the reality of a live concert setting.  A reality that I love and embrace.

BOOT BOX 2_0003The highlights are many. “Sugar Mice” is always great, regardless of who sings it. It was also nice hearing “I Will Walk On Water” and “Sympathy” during the Wembley 1992 show; both are from the then-recent Six of One, Half-Dozen of the Other compilation album. Attentive listeners will even hear Marillion strumming away on an embrionic version of “Made Again”, a full two years before it was released! You will get to hear all of Brave performed live in 1994. I liked the moment in the Warsaw show when Hogarth asks security to go easy on the fans, “they are not animals”.

Some people bitched that it’s not a full length CD, but I dug the BBC Sessions EP.  It’s just a four song acoustic EP, but it sounds amazing. Today, Marillion have a ton of acoustic work (Less = More, Unplugged at the Walls, Los Trios Marillios to name some of many), but this is the earliest acoustic set that I think I’ve heard. The only problem is, it’s mastered way louder than the other 7 discs. Kind of jarring when you have them on continuous play and you have to jump for the volume knob!

The box set includes each CD in its own fully illustrated cardboard sleeve, as well as a booklet. The box itself is slim but sturdy.

If you’re a Marillion diehard, you will obviously want to somehow save enough pennies to add this to your collection. Even though I have already somewhere in the neighborhood of…God, I don’t know? Over 50 live albums from the Hogarth years alone? Many of them 2 and 3 disc sets? I’ve lost track of how many I have, and that doesn’t include their download-only instant live albums! But this is still a great package to own, especially because the older live Hogarth albums are getting harder to find. (Don’t know how you’d get a copy of Front Row Club #1 at this point, for example.)

4/5 stars

REVIEW: Ozzy Osbourne – Speak of the Devil / Talk of the Devil (1983)

 

OZZY OSBOURNE – Speak of the Devil (1983 Epic)

After Randy Rhoads died, Ozzy really seemed to have gone into a tailspin. He just seems to have been completely miserable at the time and he really tries to bury the albums he made in this period. Speak Of The Devil, a live album featuring Brad Gillis (Night Ranger) on guitar, was not even included on Ozzy’s 2002 reissue program and went out of print.

Ozzy owed his label a live album, and had actually recorded one too (Randy Rhoads Tribute).  With fresh wounds from the loss of Randy, Ozzy didn’t want to do a live album at all.    So a compromise instead; Speak of the Devil (Talk of the Devil overseas) consisted entirely of Black Sabbath songs.  At the same time, Sabbath was releasing their own double live album, Live Evil.  This direct competition poured fuel over an already volatile feud.

SPEAK OF THE DEVIL_0003I always hate to compare Ozzy’s versions of Sabbath songs with the originals. Ozzy’s have always sounded different because of the guitar players he’s chosen to use over the years. These Gillis versions are about as authentic as Ozzy’s been, until the fortuitous discovery of Zakk Wylde five years later.  Gillis is a flashier player than Iommi, but without Randy’s intricate classical bent.

You absolutely cannot argue with the track list (from the Ritz, in New York). This is Sabbath boiled down to its black core. These are the desert island songs, and I love that “Never Say Die” and “Symptom of the Universe” were included.  Through the classics, Ozzy sounds tremendously drunk.  Colossally smashed, not quite completely out of his fucking head yet, but close.  Still lucid, not yet totally annihilated.  His voice takes on an angry shade when he starts reminiscing about the the groupies at the old Fillmore East (“The Wizard”).  (Sounds like a naughty word was awkwardly edited of out this ramble, too.)

I do love a moment when, just before breaking into the aforementioned “Wizard”, Ozzy says to somebody (a roadie?) “Hey, what’s happenin’ man?”

The vocals sound like they’ve been sweetened in the studio.  They’ve been double tracked, or manipulated to have that effect.  I’m normally not a fan of that kind of thing, but it’s still a great listen.  There’s some annoying feedback at points…it doesn’t bother me too much, hell, when I first heard this album (on cassette) in 1991, I couldn’t even hear the feedback, for the shitty fidelity of cassette tape.  I’m sure Ozzy considers the album to be sonically embarrassing, that seems to be his modus operandi.

Of note, “Sweet Leaf” did not manage to make the original CD release, but has been restored to this version, its CD debut.  It was on the original cassette version, a cassette-and-LP-only “bonus track” at the time.  (Aaron, that means you gotta buy remastered or LP.)

Band lineup: Osbourne/Gillis/Sarzo/Aldridge/Airey.

4.5/5 stars

SPEAK OF THE DEVIL_0004

 

REVIEW: Brighton Rock – Brighton Rock (EP)

BRIGHTON ROCK – Brighton Rock (1985 Flying Fist EP)

I first turned onto this band in the 10th grade.  MuchMusic kept playing the video for “We Came to Rock”.  It had a pop rock vibe to it, but the singer erased any accusations of being pop.  The screams!  The unholy screams!  Yeah!  That was definitely hard rock territory!

The singer’s name is Gerald McGhee and the band is Brighton Rock.  There’s a connection to the Record Store Tales, which is that later on McGhee started a music distribution company called Isotope Records and we used them as a supplier once in a while.  My boss told me that Gerry still had the hair.  (According to M.E.A.T Magazine he was also one of two Canadian singers to audition for Motley Crue in 1992, the other being Sebastian Bach.)

The selling feature of this band for me was the incredible voice of McGhee.  I’d never heard screaming like this before!  I remember my highschool classmates couldn’t handle it, the screams were too much for them.  But it’s not gratuitous; McGhee throws in screams strategically at key points to blow you to the wall.

Not that McGhee is the only talent in Brighton Rock.  Also notable is guitarist Greg Fraser, who ended up in Helix in 1993, and today fronts the Frase Gang with Brighton Rock bassist Stevie Skreebs.

BRIGHTON 5Before they released their excellent debut album Young, Wild and Free, Brighton Rock completed a four song EP, which is what we’re talking about today.  It’s no Young, Wild and Free, but we’ll be talking about that album (and Take A Deep Breath) in the weeks to come.   The EP Brighton Rock is a less-honed taster, but something I’d sought to own for a long time.  It’s never been released on CD, and contains one song (“The Fools Waltz”) that isn’t on any Brighton Rock album.  Bob had this on cassette when we were kids, but I finally recently picked up a sealed vinyl on eBay for dirt cheap.

Brighton Rock and their debut album contain the same opening song:  “Young, Wild and Free”.  This early version is musically identical but lacks the oomph.  Michael Wagener produced the album, and no doubt helped by his incredible work with Accept, got way more intense screams out of McGhee.  The EP however is produced by somebody named Steve Vaughan (with one track by Jack Richardson).

The second track is “Assault Attack”, which as the title implies is a combat zone of hooky guitars and thunderous toms.  Miles away from the ballady stuff like “One More Try” that the band would later become known for.  Song three is “Barricade”, which has a really cool and tricky sounding guitar solo by Greg Fraser.  It’s a heavy rocker., but the closing song “The Fools Waltz” eases up on the pace a tad.  It would be a stretch to call it a ballad.  It’s more like a Canadian radio rock song.

Of note:  the Brighton Rock EP is the only release with original keyboardist Martin Victor.

3/5 stars

REVIEW: Thin Lizzy – Thunder and Lightning (180 gram vinyl with bonus 12″)

THIN LIZZY – Thunder and Lightning (1983, 180 gram Back on Black reissue)

I love this album, it was actually the first Lizzy studio album I bought, on vinyl, from Tom’s store way back in the late 1990’s.  I’ve always loved John Sykes from his work in Whitesnake and Blue Murder.

Thunder and Lightning is the final Lizzy studio album.  It’s definitely the most metal, but it’s not the best sounding one (gimme Black Rose for that honour). It just strikes that chord inside. You know how certain albums just click with you and you don’t know why? That’s Thunder and Lightning for me, but I think it reminds me of that general vibe of heavy metal music in 1983.  There are times it reminds me of Judas Priest.

This is the only album from the Lynott/Gorham/Downey/Wharton/Sykes lineup.  It is produced by Chris Tsangarides (Anvil, Judas Priest). Wharton and Sykes both scored songwriting credits, which may be why this album sounds so much more “metal”.  Wharton’s keys are not obtrusive.

Best track:   Gorham and Lynott’s “Bad Habits”. If there was one track that sounded like old Lizzy circa Johnny The Fox, it’s “Bad Habits”. It’s just a rock and roller of a song with killer lyrics.  Phil’s voice is noticeably a lot more raw, worn, but he works within his limitations as always.  His voice remains as expressive as ever.  In “Bad Habits” he sounds like he’s jonesing as bad as the title implies.

“Cold Sweat” is the one that Sykes co-wrote, and it is very metal, featuring his trademark guitar squeals and yet more great lyrics from Lynott. “I got a whole month’s wages, I haven’t seen that much in ages, I might spend it in stages, and move out to Las Vegas.”  Love it.  Sung by Lynott, those lines tell a whole story.

IMG_00000235_editReally, there’s not a bad song on this album. “This Is The One” has some relentless pounding drums courtesy of Brian Downey (one of the true greats). “The Sun Goes Down” is a slower one with a keyboard solo, very atmospheric. It reminds me of the similarly titled “Night Comes Down” by Judas Priest. “Holy War” is another relentless pounder with a message to be heard. Not a bad track to be found.

If I had any complaints it would probably be the mix/production which at times comes across as a bit too bombastic and 80’s.  I mean, it’s still Thin Lizzy, one of the classiest sounding bands ever.  Thunder and Lightning is pretty evolved in sound from a classic like Jailbreak, and that may or may not be to your taste.

Some vinyl and cassette versions of Thunder and Lightning came with four bonus live tracks.  They are actually from the Renegade tour and feature Snowy White on guitar instead of his replacement John Sykes.  Thankfully, the current Back on Black 180 gram vinyl release restores the rare 12″ bonus EP.  The four songs are “Emerald”, “Killer on the Loose”, “The Boys are Back in Town”, and “Hollywood (Down on Your Luck)”.  These are great tracks.  It also has a gatefold sleeve with lyrics inside.  It’s a very nice package.

I’ve heard that 2013 will see the release of more Lizzy deluxe editions, including Thunder and Lightning.  If that’s the case I will pre-order it as soon as I hear about it.  There are still several B-sides from this period that are not currently available, such as “Angel of Death”, “Still in Love With You”, and “Don’t Believe a Word” live, and a remix of “The Sun Goes Down”.  I don’t have these tracks, but it sure would be nice to get everything on one deluxe CD package, wouldn’t it?  You guys paying attention, Universal?

5/5 stars

LIZZY

Part 205: Dad Rock

Happy Father’s Day to all the dads out there, and always a salute to the ones that are gone too soon!

RECORD STORE TALES Part 205:  Dad Rock

When Ashleigh started at our store she became the resident hippie.  Everybody loved Ash, she was one of the best.  I teased her a bit about hippie things, and called her Crunchy Granola. This was all done (and hopefully taken) in fun, because she is really a great person.  If you needed to know anything about Simon & Garfunkel, the Dead, Ani DiFranco or Dave Matthews Band, she was the one to ask.  She knew it all.

There was a generational thing between us, and I remember this was obvious when we were setting up a Father’s Day display.  We were looking for CDs and movies that “typical dads” would like for Father’s Day gifts.  I would say things like “Dads like World War II movies,” while she said, “Dads like Kim Mitchell.”

“What?” I said incredulously.  “Dads do not like Kim Mitchell.  My dad thinks Kim Mitchell is a girl.”

Ash gave me a patient look.  “Dads do like Kim Mitchell.  That’s what dads listen to now.”

“Cool people listen to Kim Mitchell,” I responded quietly.

I slowly absorbed all this new information.  Dads liked Kim Mitchell?  But Kim Mitchell was one of my highschool idols.  My dad  had no interest in doing his “Rock N Roll Duty”.  This must have meant that people of the Kim generation were dads themselves now…and had kids as old as Ash!  Jesus!

Kim’s dad is in this video!

A little later on, Ash start socializing with this guy named Andy.  At first I was skeptical of Andy because of his large gauge piercings and dreadlocks.  He didn’t talk much.

Turns out Andy was just shy.  Ash approached me one day.

“Andy thinks you’re cool.  He wants you to make a mix tape for him.  Would you be willing to do that?”

Taken aback, I said “Seriously?  Sure!  He thinks I’m cool?  What kind of music does he want on here?”

Ash paused.  She took a deep breath.

“Dad rock.  Stuff like Kim Mitchell and Van Halen and David Lee Roth.”

Once again, I paused to absorb all this new information.  Ash was with a guy who liked “dad rock”.  This was awesome.  I started laughing.  I gasped for breath, as my face turned red.

“Oh…my…God!  Andy likes Kim Mitchell!  You’re going to have to listen to Kim Mitchell with him aren’t you?”

“Possibly,” she mumbled.

“This is awesome.  This is awesome.  This is awesome.  I can’t wait to get started.  Seriously, I already have ideas.  Right on.  This is going to be an awesome mix tape.”

Good as my word, eventually I furnished a custom mix tape, with liner notes and carefully selected music to entertain and hopefully enlighten.  I wish I had kept a copy.  Unfortunately, I didn’t.  So in lieu of the actual track list, here’s the mix tape I would make today given the exact same circumstances.  Let me know what you think!

Side One:

Van Halen – Eruption, Runnin’ With the Devil

Kim Mitchell – Kids In Action

Max Webster – Hangover

Talas – NV43345

David Lee Roth – Shy Boy

Van Halen – Ain’t Talkin’ ‘Bout Love

Max Webster/Rush – Battle Scar

Rush – Tom Sawyer

Dream Theater – Pull Me Under

Side Two:

Rush – 2112 (Side One)

Kim Mitchell – Lager and Ale

Van Halen – Hot For Teacher

Rush – Subdivisions

Max Webster – Toronto Tontos

Kim Mitchell – Sudbury Saturday Night

This is not the last of Andy’s exploration of the greatest music of all time either…stay tuned for…

Part 206! Rock Video Night!

REVIEW: Two – Voyeurs (1998)

Part 4 in a miniseries on Rob Halford’s solo career!  Missed the last part?  Click here for Fight – A Small Deadly Space.

TWO – Voyeurs (1998 Nothing)

Fight was kaput.  Rob had a new band, a photo of whom appeared in Metal Edge magazine.  The band was called Halford, and although that would change, Rob used his surname for another band later on.  I remember a weird looking blonde dude wearing a silver skin tight suit of some kind (more on him later), and I thought, “Well, OK then.  This is going to be different.”  Soon after the Metal Edge photo, the name had changed from Halford, to Two.

I had a buddy, Nathan, who was really into Nine Inch Nails.  This Halford project was on his radar as well, due to Rob’s collaboration with Trent Reznor.  At the time, Rob Halford insisted that the resulting album, an industrial/rock hybrid, was the sound he was going for all along when he quit Priest in ’92 and formed Fight.

I don’t believe that, but they did come close on the Mutations EP. I think Fight was exactly what he wanted to do at that time. When the second Fight album fizzled I think Rob questioned his musical direction, hooked up with Trent, and did this experimental record.

Two (stylized as 2wo) were experimental by Halford’s standards, but not by industrial music standards in general. Voyeurs has all the expected bells and whistles, including but not limited to:  distorted vocals, the word “pig” in a song title, thumpy bass, ticky-ticky sounds, bloops, bleeps, and other stuff that sounds like broken machinery.

What does make this album special is that the band was “Two”, not “One”…meaning there is a second guy involved here, and what a talent he was. That guy was guitar player John 5. This was his breakthrough release. After this he hooked up with David Lee Roth, Marilyn Manson, Rob Zombie, et al. John 5’s involvement means there is some wicked guitar work here, including “I Am A Pig” which features a solo that sounds like a mashup of Morello and Satriani.

Highlight songs include “I Am A Pig” (Reznor sure loves his pig imagery), “Stutter Kiss”, “Hey Sha La La”, “Water’s Leaking”, and the epic closer “Bed of Rust”.  “Bed of Rust” could have made a pretty cool Fight track.  I would say in fact that there are no throwaway songs here.  All of them have something worthwhile to offer.  Just don’t think too much about the lyrics.  Halford’s delivery is understated and, at times, whispery. No screams. At Reznor’s suggestion,  instead Rob explored other aspects of his voice.

Other notable names:  Bob Marlette plays bass and produces.  Dave “Rave” Ogilvie does some production work.  Trent Reznor “executive produced”.  I always wondered what that means.  I picture it meaning that Trent gives the project either a “thumbs up” or a “thumbs down” when the real work is done.

JOAQIN

Of course many Priest fans didn’t get it, although a chunk of the Reznor fans (who at the time would buy anything on Nothing records) accepted and enjoyed the album for what it is.  I think if this was a release by a more popular band, like say Nine Inch Nails or KMFDM, it could have spawned two or three singles.

Japan had a bonus track called “In My Head” which is absolutely impossible to find, so good luck. I’ve never heard it.

3.5/5 stars

Postscript:

It was during this period, promoting the Two album, that Rob Halford came out.  People joked for a good number of years that Rob’s sexuality was the worst kept secret in rock.  That can’t negate the courage that it took for Rob to come out in a musical genre that isn’t always kind to anyone who’s “different” (hello, Blabbermouth!).

“I think it’s difficult for everybody, you know, in making the decision to come forward and be who you are, based on peer pressure, especially if you’re a teenager,” Halford said. “That’s where a lot of the anxiety begins, and so maybe people like myself and others that do step in front of a camera and let the world know, maybe it’s of some help, where there’s an individual that’s been successful, that’s been able to achieve dreams and visions and goals in life and not let the issue of sexuality be something to hold them back, so I think it’s an important thing.”

More:

LGTBICONS:  Rob Halford – Angel of Retribution

MTV News – Rob Halford Discusses Sexuality Publicly For The First Time

MOVIE REVIEW: Man Of Steel (IMAX 3D)

MAN OF STEEL

Directed by Zack Snyder, 2013 Warner Bros.

I’m a child of the 70’s, therefore a long time Superman fan.  I’m also a fan of Zack Snyder’s The Watchmen.  I wasn’t sure if those two worlds should ever meet, and to be honest, after seeing a preview screening of Man of Steel, I’m still not sure.

The Good:

Michael Shannon as General Zod.  Rather than copy Terrance Stamp’s Zod, Shannon’s is grittier, more passionate.  His motivations are different.  Rather than revenge, this version of Zod seeks only what is best for the Kryptonian people.  As a general, he was born, bred, and trained for nothing but the betterment of his people.  Unfortunately, this is at odds with the interests of Earth.

Also great was Henry Cavill as Kal-El.  Nobody will ever forget Christopher Reeve, but Cavill’s talent, chiseled looks and physique will certainly have people forgetting Brandon Routh.  Cavill’s Superman was 100% flawless.

And finally, Russell Crowe as Jor-El.  I’m a not a Russell Crowe fan, not in the slightest, but he was great.  His Jor-El had a much larger role than the Marlon Brando incarnation had.  Jor-El is the architect of everything that unfolds.

The Bad:

I have problems with the wanton destruction.  Kal-El’s prime motivation is always the safety of others.  Yet he, Zod, and Zod’s henchmen pretty much destroy all of Metropolis and reduce it to dust.  Even though Zod seeks and needs Kal-El, our hero doesn’t use this to his advantage.  He doesn’t, say, fly to the Pacific Ocean to battle Zod.  Or Antarctica.  He stays right in the middle of Metropolis and is a party to damn near every building coming down!

I also didn’t like the look of the Kryptonian technology.  It was too monochrome and Cybertronian for my tastes.  (Yet, somehow Kal-El ends up with the only blue, red and gold suit on the planet?)

The Ugly:

I left the theater with a booming headache.  I don’t know if it was the 3D or the overly loud sound mix, but my head hurts.  To sum up the experience, the last hour of the film had too many missiles, airplanes, spaceships and carnage flying around.  The brain can’t process that much information.  I didn’t feel that the 3D really enhanced my experience.  (My brother in law Martin said the movie felt like a Michael Bay film, with all that crap blowing up.)

Man_of_Steel_37095Man of Steel had a decent story, that begins where Superman and Superman II did, but then goes in its own direction.  In many regards this movie is Superman:  First Contact.  It’s funny how often we forget that perhaps the most remarkable thing about Superman, is that he’s an alien!  Living among us!  Plotwise, the McGuffin here is something called the Codex, which contains the genetic blueprints for an entire generation of new Kryptonians.  As Krypton’s last defender, Zod wants it.  But his interests and Kal-El’s are at odds, since Zod plans to exterminate humanity and move in here!

I have to admit I’m surprised that Snyder got such great performances out of this cast.  Not that the cast are a bunch of hacks; they’re not.  Amy Adams was fine, and so was Diane Lane.  But let’s face it…we’ve seen other directors in the past get wooden performances out of Lawrence Fishburn and Kevin Costner.  Fishburn amounts to little more than a background character, but Costner’s role as Jonathan Kent is much more important than the version in Superman.  He filled the role appropriately.  My mother always said that Costner is best when he’s playing a farmer.

Much like The Watchmen, Snyder tells stories in multiple timelines simultaneously via flashbacks.  In Man of Steel, these flashbacks are all critical moments of character development.  This was done very well, with Cavill playing Clark Kent’s evolution perfectly.  At the same time, I’m surprised Snyder didn’t use more popular and classic rock music.  He did use a little bit, but certainly not on the scale of The Watchmen or even Suckerpunch.

I noticed two Battlestar Galactica alumni:  Tahmoh Penikett had probably 1 second screen time, but Alessandro Juliani had a bit more.  Why were they in it?  Because Man of Steel was partly filmed in Canada!

Although I will probably buy Man of Steel on blu-ray to “have the whole collection”, I don’t have an immediate craving to see it again.

Man of Steel opens today.  Time for an Advil.

3.5/5 stars

IMG_00000294

REVIEW: sHEAVY – The Electric Sleep (1998)

sHEAVY – The Electric Sleep (1998 Rise Against Records)

Last time, we talked about the “moment of epiphany” when I first heard this band.  This is my favourite album by Sheavy, choice band from St. John’s, Newfoundland and Labrador.  The Electric Sleep is an intense listen, throbbing and bottom-heavy, but it’s especially striking for its similarity to early Black Sabbath.  My buddy Tom often said that this seemed like it should have been the next Sabbath album, as if Ozzy never left in 1979.  I disagreed, as I found it to be more the mold of earlier period Sabbath.  It doesn’t matter; if hearing a band that sounds pretty much exactly like the original Black Sabbath offends you in any way, then don’t listen to Sheavy.

The album opens with “Virtual Machine”, and Steve Hennessey’s distorted computerized yowl is mesmerizing.  The riff detonates, it’s a keeper, and Sheavy have kicked me in the buttocks with the first track.  “Velvet” abruptly changes the landscape to something more acoustic, atmospheric.  A Sabbath analog would be a song like “Solitude”, for example.  But then “Destiny’s Rainbow” arrives to kick your posterior again once you’re getting too comfortable.

“Electric Sleep”, the title track, recalls “Hand of Doom” from Paranoid.  “Born In A Daze” has a groovier feel.  You know how Sabbath kind of got a bit groovier on Never Say Die?  Songs like “Junior’s Eyes”?  Maybe Tom’s right, and maybe this album does sound like a followup to Never Say Die at times.

My favourite song is the stormy “Automaton”.  This one actually reminds me of early Queensryche lyrically, when they were still singing about computers and robots and other cool stuff:

If all the secrets they’ve been hoping to find,
Unlock the programs buried deep in my mind,
And am I human or just a robot slave?
They sent me here so their world I could save, yeah-ahh!

Musically, “Automaton” is also the least Sabbath-like.   The riff is swift, stout and precise, but not very Iommi, which is fine.  And there’s a cool slide guitar hook that recurs in the song which helps give it a unique sound.  This one’s a winner:  my favourite Sheavy song, period.

That’s a hard act to follow, but Sheavy do so with the mournful “Savannah…Flights of Ecstasy”.  In his best vintage Ozzy delivery, Hennessey laments the loss of someone close:

She forgot to breathe,
She forgot it was make believe,
Can’t avoid her eyes,
Never cared for long goodbyes.

If I had to compare this to a Black Sabbath song, it would actually be “Lonely Is the Word”, from Heaven and Hell.  Hennessey’s Ozzy stylings aside, musically this has the same kind of vibe…until it gets heavy and riffy close to the end.  Then suddenly it’s Vol. 4.  

“Saving Me” gets the heads banging, but “Oracle” is something else.  Beginning with a didgeridoo (an instrument that Black Sabbath definitely never used), it’s obvious that this song is a carbon copy of “Black Sabbath” itself.  The riff is the same “devil’s triad”.  Throw in some cool Jimmy Page “Dazed and Confused” wah-wah guitar licks on top and you have an idea of what this mash-up sounds like.

The album closes with “Stardust” and “Last Parade”, a duo of heaviness 15 minutes in length total.  “Stardust” itself is loaded with guitars, no less than eight players are credited on it!

I think if this album wasn’t so derivative of the original Black Sabbath, it would be worth 4.5 stars due to the sheer quality.  However, I think I have to knock off half a point simply because you can play “name that Sabbath song” for several tracks.  Although Uncle Meat says the same is true for moments of Black Sabbath’s new album 13, I’m going to give Sheavy…

4/5 stars