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REVIEW: Orange Goblin – Back From the Abyss (2014 GUEST REVIEW)

NEW RELEASE – GUEST SHOT by UNCLE MEAT

GOBLIN1ORANGE GOBLIN – Back From the Abyss (2014 Candlelight)

When the mighty Orange Goblin started their musical journey, they really were more of your typical “Stoner Rock” fare.  Now to be fair, the word “typical” there refers to the overall sound and style of their music.  Right from their 1997 debut album, Frequencies From Planet Ten, it became apparent that if Orange Goblin was to be labelled “Stoner Rock”, then they were rightfully placed on the top shelf with the elite bands of that genre.  With their 2012 release, A Eulogy For The Damned, Orange Goblin dabbled sparingly with other forms of heavy rock.  The title track being the best example of that, which I feel is one of the best pieces of hard rock ever released.  But still, the album as a whole really was one big heavy metal punch to the head.  Orange Goblin’s latest musical journey  is more like a series of methodical jabs, as if the 12 songs were 12 different rounds of a barbaric boxing match, each round finding a different way of attacking your senses.  The aforementioned title track from Eulogy of the Damned showed me that Orange Goblin were capable of becoming something very different than just a “Stoner Rock” band.  Back From the Abyss sees the transformation completed.  After a couple listens I truly believe that when Orange Goblin’s career is assessed in retrospect, Goblin’s latest album will go down as their quintessential release.

The title of Orange Goblin’s 8th release refers to the gruelling two-year long tour that followed the release of Eulogy of the Damned.  It was on this tour that I had the privilege to see them live in London, Ontario last year.  They were outstanding live.  It was literally a fucking metal party.  The band seemed to enjoy the festivities as much as the crowd did.  Vocalist Ben Ward towered over the crowd like Conan and had his fellow barbarians eating out of his huge palm.  It should be noted as well, that as intimidating as Ben Ward is on stage, he was completely the opposite upon meeting him after the show.  He was a true gentleman and his overall coolness was very impressive.  Taking the experience of their first full North American tour to the studio produces Back From The Abyss. I personally was praying to the Metal Gods that Orange Goblin’s next album would continue to explore more musically diverse ways of punching you in the fucking head.   This album delivers much more than that.  This could very well be Orange Goblin’s finest hour.

“SABBATH HEX” –   The album starts off as it should with reckless Goblin abandon.  According to Ben Ward the song title came from an idea he once had to put a curse on anyone who doesn’t like Black Sabbath.  This is a great chugging riffy opener.  Starting from track one you start to realize Ben Ward is becoming more than just a growler.

“UBERMENSCH” –  Get in the car with Orange Goblin.  Fasten your seatbelts as they hit the gas pedal and tear it up.  That pretty much describes this second track.  Great riff during the verses are reminiscent of early QOTSA.  Riff is king.

“THE DEVIL’S WHIP” – This song was released weeks ago, and a lot has been written already about this being a blatant Motorhead memorial.  That is exactly what it is.  I find the track reminds me of the song “Iron Fist”, but I am sure every Motorhead fan would be reminded of a different track themselves.  From the beginning “Alright!” cue, this song is indeed a Kilmister-worthy tribute that speeds along at a break-neck pace.

“DEMON’S BLUES” – One of the greatest things about this album for me are the many different vocal approaches.  While most of this song sees Ben Ward barking out the blues in his special way, “Demon’s Blues” begins with spoken word that has a very doom metal feel.  I really like the melody-first approach on this song (which is even more apparent on the chorus), and it seems to foreshadow what is to come.

“HEAVY LIES THE CROWN” – It is official now.  Orange Goblin has progressed from being a great heavy rock band to being true songwriters.  This track is fucking awesome.  I love the lyrics, the great guitar work and the anthemic vocals.  In a recent interview, Ben Ward compared the ending chanting vocals to early Manowar and I can totally hear that.  For me, the last couple minutes of this track sounds like if Thin Lizzy had written the Game of Thrones theme song.  Best piece of music so far on the album.

“INTO THE ARMS OF MORPHEUS” –   Well, I did say “so far”.  “Into the Arms of Morpheus” starts off with a very “NIB”-like isolated bass line.  As this song marches on, Goblin launches into the molten blues they do so very well.  I love the ending of this song.  This might be the best guitar work I have ever heard from guitarist Joe Hoare.  It is becoming apparent that Orange Goblin are really challenging themselves as songwriters now.  And that theme continues with the next track as well.

“MYTHICAL KNIVES” – This pirate-themed track shows Ben Ward experimenting even more with his vocal approach.  More doom-esque tones and even parts that sound more like Gregorian monk chanting than rock vocals.  “Mythical Knives” = Melodic Power.  Nuff said.

“BLOODZILLA” – Orange Goblin warns you of what you are in store for as Ben Ward screams “Go!”  And as “Bloodzilla” began, there I was, heavily cutting in tribute to the wondrous metal before me.  I found myself wishing someone was with me while I was listening to this.  This will be an instant live staple.  I love the ending riff of this song, which repeats over and over again, and brought to mind for me a kind of heavy metal version of the ending to “Layla” by Derek and the Dominoes.

“THE ABYSS” – At times this track veers more towards Alice in Chains rather than the Sabbath-based approach that usually dominates their material.  Rearing its not so ugly head again is the doom metal sound I mentioned earlier.  In general, I am not a fan of the style of doom metal.  However I find that the sprinklings of doom throughout this album are simply a great compliment to the songs.  Once again another terrific Orange Goblin instant classic.

“TITAN” – The first of two instrumentals on the album, “Titan” may actually be my favorite piece of music on Back From The Abyss.  Very reminiscent of Iron Maiden, as well as shades of Thin Lizzy once again.  Even more surprising is that parts of this song actually remind me of Dream Theater or Queensryche.  Just another example of Orange Goblin having a lot more up their tattooed sleeve than we thought they did.

“BLOOD OF THEM” – With lyrics inspired by H.P. Lovecraft, and even more diversity in the vocal approach, “Blood of Them” comes across as an extremely heavy track both lyrically and sonically.   Love the spoken word at the beginning of the song.  Simply another great track on this album.

“THE SHADOW OVER INNSMOUTH” – The second instrumental on Back From The Abyss ends the album in style.  I found that this track reminds of “The Zoo” by the Scorpions, but with many more riffs and some off-beats.  Just a great guitar-based track which again proves that melody is becoming king to Orange Goblin.  In an interview, Ben Ward stated that they are thinking of using this track is their intro when playing live.  That would be a great choice.

In closing, Back From The Abyss impressively proves that Orange Goblin are not just a band writing heavy songs anymore.  Orange Goblin are songwriters that happen to play heavy rock and roll.  What category do you put Orange Goblin in now?  Who knows and who cares.  All you need to know is that this album is Top Shelf Rock.  Based on my previous experience seeing this band live, I can only imagine how good these songs will be to see live.  If you get the chance to see Orange Goblin live, you must do so.

5/5 stars

Ester Segarra

GUEST SHOT! Part 319: The Musical Crimes of LeBrain (by Mrs. LeBrain)

I really had this coming.  In Part 314 (The Musical Crimes of Mrs. LeBrain) I exposed the somewhat embarrassing contents of Jen’s CD wallet.  I knew retribution would come.  Enjoy this penultimate episode of Record Store Tales, and its final guest shot, courtesy of Mrs. LeBrain.  (Warning:  LOTS of pictures!)

By MRS. LeBRAIN

RECORD STORE TALES Part 319: The Musical Crimes of LeBrain

#10 HIM – And Love Said No.  That deep dark gothic prince Ville Valo makes lonely girls swoon, but he is also hanging out on LeBrain’s shelf.

#9 Soundtrack – SMALL SOLDIERS.  I don’t know how this made it into the LeBrain home.  I understand his need for everything Geddy Lee has ever created, but “Mixed by DJ Z-Trip“??  Is that really worth it?  (Not to mention that you have to rock out to Bone Thugs-N-Harmony to get there.)

#8 ROD STEWART – “If We Fall In Love Tonight” CD single.  Going through my adventure here, I came across this single, designed to get the listener to first base.  YOU’RE MARRIED. THAT SHIT DOESN’T NEED TO STAY.

#7 Soundtrack – THE KARATE KID, Part III.  “Wax on, wax off.”  The case and book for this CD do not meet the demanding criteria that LeBrain enforces on his collection, but neither does the track list.  (I don’t know who most of these people are, but I have heard of the Pointer Sisters.)

#6 WOODSTOCK 99 – Various.  Look at the first six tracks from crap bands, and try not to laugh (a challenging task).  The second CD is just as bad.

#5 Soundtrack – SON IN LAW.  The Pauly Shore franchise was known for making really bad movies.  The soundtracks are not much better and this shouldn’t be taking up valuable shelf space.

#4 ELMOPALOOZA – Various.  If LeBrain were a daddy, this CD might make sense (Steven Tyler has a song about trash).  But LeBrain is childless, and Tickle-Me-Elmo is pretty pointless here!

#3 ZZ TOP: A Tribute From Friends – Various.  Three words:

MIKE OWNS NICKELBACK!

#2 AVRIL LAVIGNE – The Lavigne Collection (see below).  In Part 314, LeBrain threw me under the bus for wanting to marry Joey Mac from New Kids on the Block, 25 years ago.  Payback time!  Just because he wanted to be her “Sk8tr Boi” doesn’t mean he needed to buy her entire repertoire.

And #1! HIT ZONE 4 – Various.  LeBrain’s messiest musical moments have been in his “Various” section, but this one takes the cake.  My husband owns tracks by NSync, the Backstreet Boys and Boyz II Men?  And to top it off this boy band festival, here’s Hanson!  Regardless, I think the most disturbing thing about this CD is cover.  Look at the scratches and scrapes on the case.  This tells me the CD has been well enjoyed.

CONCLUSION:  

LeBrain, with all the mess on YOUR shelves, you really can’t make fun of me.  But no matter what crap you listen to, you’re still mine.

– Mrs. LeBrain

NEXT TIME ON RECORD STORE TALES…

End of the Line!

 

GUEST CONCERT REVIEW: Queen + Adam Lambert 7/13/2014

QUEEN +

GUEST REVIEW by “Boppin”

QUEEN + ADAM LAMBERT – Live, July 13 2014 at the Air Canada Center, Toronto

I have to start off this review by saying I love Queen. I have listened to more songs by Queen than almost any band ever. I am told when people I know hear Queen, Steve Miller Band, Black Sabbath or 80’s metal, they think of me. So the review you are about to read really pains me to write. But I have to be true to myself and review the band as I saw them last night.

I went to this concert expecting to hate every little bit of Adam Lambert. I hated him on American Idol. Yes, I know. I hate to admit it, but for a while I did watch that show. How, you say, can a died-in-the-wool metal head and 70’s hard rock lover watch American Idol? Well. To answer that question, my family time TV viewing was limited to the type of shows we could watch together. Having a young pre-teen in the house meant only watching family type shows when she was awake. And she loved American Idol. At first I liked Adam Lambert. He was not your typical contestant on that show. But then he started showing off his pipes too much, and it got annoying. All of the viewers knew precisely when he was going to wail, and we got sick of him.

Then I heard the news that he was going to be the next lead singer for Queen.

Queen and American Idol. That is sacrilege. This would be like Gary Cherone in Van Halen. It wouldn’t work. It couldn’t work.

However, it did.

I hate to say this, but the three shining spots of the concert last night really had nothing at all to do with the original line up of Queen.

First, Adam Lambert was actually great. If Freddie Mercury was incredible, then Adam Lambert was great. He was spot on. He was campy, in a Freddie kind of way, and his voice was in top shape.

Second, Neil Fairclough, the bass player they hired to replace the retired John Deacon was amazing. His stand up electric bass was the biggest bass I have ever seen. It sounded sweet. And then he let Roger Taylor use drumsticks to play the bass (a first for me).

Third, Rufus Tiger Taylor. He is the son of Roger Taylor. And he has some serious chops. I didn’t realize how good he was until my wife pointed out to me that he was better than his dad. And last night, he was.

The concert was going along great, and then Adam Lambert left the stage, and the show for me mostly fell apart.

Please don’t get me wrong I love Brian May, but he was mostly off last night. His entire night sounded about a half second behind. His finger work was slow. His guitar solo (which was roughly 30 minutes) was about 28 minutes too long. It started out with a few minutes of Pink Floyd , then onto some Zeppelin, back to Floyd. I don’t think he was trying to copy David Gilmour or Jimmy Page, but the elements were there. At least I hope he wasn’t trying to copy them because he was doing a piss poor version if he was. For a guy that has seen many guitar virtuosos over the years, this was like watching a Junior High guitar talent show. The worst part for me was when Brian May screwed up in “Bohemian Rhapsody”. It was a real fingernails on the chalkboard moment for me.

During the song “Love of My Life”, Brian moved down to the front of the stage alone with an acoustic guitar. He admits he is not a singer. Well, Brian we quickly figured out why. Your voice was awful. God awful. And you chose to have the audience sing the other half of the lyrics of the song. You could have heard a pin drop when the 100 or so people in the entire audience of 15,000 that actually knew the lyrics were singing (whispering?). Here’s a hint. Choose a song most of the audience knows if you want them to sing the lyrics for you, or put the lyrics up on a screen.

Coming from the area of the world where Neil Peart is from, and having seen Rush in concert many times (and more recently seeing how good Tommy Clufetos can bang the skins), the drumming of Roger Taylor was another let down. It wasn’t bad. It just didn’t wow me. But in 2014, solos really are passé unless you are really amazing, and Roger Taylor was not. He does not have a great singing voice either, which really showed when he tried to fill in for David Bowie during “Under Pressure”.

His son is a real up and comer though, and I hope he finds his own way in the music industry. It seems especially tough on children of famous musicians.

After the horrible “Love of My Life”, Brian May talked about space travel and how we were all going on a journey and we may never come back, then all of the musicians(other than Lambert) went to the front of the stage and did “’39”. Pardon me while I yawn.

Please Adam, come back and save us from this snooze fest. As the lights go down and the audience sees Adam there is a huge cheer.

However, after a couple of classic Queen songs, they forced him to sing a remix of a little known Freddie Mercury disco song called “Love Kills”. He announced Queen was using this version in an upcoming album. In my opinion, they should do a new album with new material, perhaps throwing in a few B-sides of old material, or do a live album. They could include Freddie, Paul Rodgers, Freddie Tribute Concert songs and Adam. Just my two cents. Also in my opinion, the band had plenty of time to come out with this new album before the tour, but they didn’t. And all they had for sale at the swag booths were $40 T-shirts. I have enough T-shirts thanks. Not one CD or vinyl. Nothing.

The entire show for me was like “backwards day”. I assumed Brian May and Roger Taylor would be the highlight of the show. I told my wife the only reason I am going was to hear Brian May. But the cast of nobodies were better.

I should end the review by stating the whole is better than the sum of its parts for Queen + Adam Lambert. When they are together doing classic Queen songs, they sound great. When they do solos, and off-key singing, it didn’t work.

If they had included 8-10 more songs, and skipped a lot of the solos, I would have rated it higher.

My wife summed up the concert when we got back to the car by stating she liked The Lady Gaga concert a few nights before better (No, thankfully I did not attend that one). I told her “Don’t say that!”

For me, Adam Lambert was 8.5/10, the band without Adam 4/10, so together the show was 7.5/10. Too bad. It could have been much better.

[This works out to 3.75/5 on the five-point LeBrain scale.  Thank you Boppin for this amazing review! — LeBrain]

SETLIST:

  1. Now I’m Here
  2. Stone Cold Crazy
  3. Another One Bites the Dust
  4. Fat Bottomed Girls
  5. In the Lap of the Gods… Revisited
  6. Seven Seas of Rhye
  7. Killer Queen
  8. Somebody to Love
  9. I Want It All
  10. Love of My Life
  11. ’39
  12. These Are the Days of Our Lives
  13. Under Pressure
  14. Love Kills
  15. Who Wants to Live Forever
  16. Guitar Solo
  17. Tie Your Mother Down
  18. Radio Ga Ga
  19. Crazy Little Thing Called Love
  20. The Show Must Go On
  21. Bohemian Rhapsody
  22. Encore: We Will Rock You
  23. Encore: We Are the Champions

More QUEEN at mikeladano.com:
QUEEN – Queen’s First E.P. (1988 EMI, originally 1976)
QUEEN + PAUL RODGERS – The Cosmos Rocks (2008, iTunes bonus tracks)
QUEEN + PAUL RODGERS – ”Fire and Water” (2008 Amazon.com bonus track)
BRIAN MAY & FRIENDS – Star Fleet Project (1983 Capitol Records)

CO-REVIEW: Funky Junction – Play a Tribute to Deep Purple (1973)

AN INTERNET FIRST:  LeBrain and the Heavy Metal OverloRd have combined forces to bring you our very first co-review!  We have chosen the rare album album by Funky Junction — a little known outfit better recognized under the name Thin Lizzy!  Perhaps you have heard of them.

For the purposes of this review, LeBrain will be in black and HMO will be in blue.

FUNKY JUNCTION – Play a Tribute to Deep Purple (1973 Damont)

HMO: I like a challenge. Ever since hearing about Mike’s “Holy Grail” list of rarities I’ve been determined to find some for him here in Scotland. Given that I’m Scottish, this obsession with Holy Grails probably makes me Sean Connery to his Indiana Jones. Or something like that. At any rate, I’ll be calling him “Junior” from now on. I saw this record in Glasgow’s Missing Records and, knowing the hidden Thin Lizzy connection, I emailed Mike to see if he had it. He replied that it was on his Holy Grail list! Ya dancer! On closer inspection, however, the shop-copy looked too scratched to be worth even the £2.50 asking price. But the discovery gave me hope that I might find a better copy for him online… and here it is!

LeBrain: The band on the front cover wasn’t them. Their names appear nowhere on the LP packaging. All we’re told on the record jacket is that Funky Junction “are an exciting new group that has the pulse of today.” But for all intents and purposes, Funky Junction was Thin Lizzy:

Phil Lynott – bass guitar
Brian Downey – drums
Eric Bell – guitar
Benny White – vocals
Dave Lennox – keyboards

Since Phil Lynott couldn’t sing Ian Gillan’s high notes, and since Thin Lizzy didn’t have a keyboard player, the band hired members of another Irish group called Elmer Fudd to record the album, which they did in one day!

IMG_20140709_211154
“Fireball” is one of my favourite Deep Purple tracks. Even though Eric Bell referred to singer Benny White as an “Ian Gillan” clone, I don’t hear that at all. A Rod Evans clone, perhaps. “Fireball” is largely based on the drums, so we’re in safe territory here. Brian Downey is one of the few drummers who could give Ian Paice a run for his money in 1973. Not a bad cover I suppose, if you’re eager to hear was “Fireball” would have sounded like with Rod Evans singing.

Totally agree with you on the singer. The guy is so Rod Evans he was probably wearing gold lamé trousers while he was singing this. It’s an ok version in a “pub covers band” sort-of way. Brian Downey’s drumming is impressive, Phil’s bass solo… not so much.

“Dan” (credited to the German business man, Leo Muller, that conceived of and financed this project) is brief guitar instrumental. It’s supposed to sound like “Danny Boy” in a Hendrixian style, and I suppose that’s the right ballpark. Eric Bell fans will dig it, but as a song…next!

I like Eric’s tone here but it’s a lazy arrangement: just playing the melody and wanging his bar every now and again. It’s definitely the most Lizzy-esque song here though.

Funky Junction settle into a light groove on “Black Night”. This is a pretty faithful cover. What I like about this performance is Eric Bell’s way of improvising his own guitar solo within the style that Blackmore set for this song. The organ solo however is pretty caveman by comparison to Jon Lord. Pretty stock cover.

I’m actually fairly impressed by how faithful this one is, and a good approximation of the sound too. Eric Bell and Brian Downey are still the classiest acts here but it doesn’t have anywhere near the edge of the Purple original. Still, one of the more enjoyable outings here.

I like that I can hear Phil Lynott’s personal bass style on “Palamatoon” but the lame keyboards sound out of place on this album. I don’t know how to describe this instrumental original except to say that, as usual, Eric Bell’s soloing is a highlight.

It’s cool to hear Phil on this. His bass line reminded me of “Little Girl in Bloom” a bit. It’s just a shame that this tune is so bad. It’s like Emerson Lake and Palmer but pissed as farts. John Peel once described ELP as “a waste of talent and electricity”. He was wrong. But this song definitely is.

“Strange Kind of Woman” is pretty limp. Once again, if you were eager to hear this Purple classic performed by a Rod Evans clone, this is the one. Downey and Bell are the highlights of a pretty dull performance.

I’m finding the Rod Evans factor to be one of the more interesting aspects of this. If it wasn’t so workaday you could almost imagine these are some long-lost Deep Purple sessions from before they gave poor Rod the heave-ho. But apart from the “what if?” fantasising… dull.

IMG_20140709_211124

Side two commences with the Deep Purple Mk I hit, “Hush” (actually a Billy Joe Royal cover). I find this one irritating. The singer’s enunciation bugs me. Deep Purple decided to anchor their version with a long keyboard solo. Unfortunately Funky Junction struggle to make their solo as interesting.

I think I liked this one more than you, Junior. This and Black Night are the two best Purple covers here. Not very inspiring on record but if they were playing it live at a pub I think I’d get into it. Benny sounds totally at home here, finally giving it the full, glorious Rod Evans. Probably with bouffant hair and a frilly shirt now too! Gaun’ yersel’ big man!

Even though we all know “Rising Sun” is a cover of “House of the Rising Sun” (a traditional), here Leo Muller takes songwriting credit! I hope he enjoyed what little royalties he earned from the meager sales of this LP. This is another instrumental cover, with a snooze-inducing ending.

Cheeky scamp that Leo Muller, eh? I’m surprised he didn’t just change his name to Traditional and watch the money flood in. Nice sound and a decent performance on this song but mostly goes in one ear and out the other.

I appreciate that Funky Junction chose to retain that noisy, messy intro to “Speed King”. I’m afraid that of all the songs, “Speed King” suffers the most from the inadequate singer. Fortunately the Lizzy guys are talented enough to play the tune properly.

Everything we’ve mentioned previously seems to work against them on Speed King. The caveman keyboards, the tameness. And the poor Rod Evans impersonator sounding like all your worst Karaoke nightmares (but with the added embarrassment of those trousers). It’s cool that they included the noisy intro (I think Leo Muller wrote that) but this is the worst Purple version here by a good margin.

“Corina” closes the album, a vocal track credited to Muller. It’s a cool blues that fits in with a Deep Purple Mk I vibe. I don’t mind this track too much. It’s nothing special but at least it’s not overshadowed by a superior Deep Purple version.

An OK boogie. It’s still making me think of pubs mostly. The lead guitar is the best thing about this one.

2/5 stars. Recommended primarily to fans of Eric Bell.

2.5/5 stars. I agree with Mike but I’m going to throw in an extra half-point because I thought the Rod Evans impersonator was a hoot.

  1. “Fireball” (Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Paice)
  2. “Dan” (Leo Muller)
  3. “Black Night” (Blackmore, Gillan, Glover, Lord, Paice)
  4. “Palamatoon” (Muller)
  5. “Strange Kind of Woman” (Blackmore, Gillan, Glover, Lord, Paice)
  1. “Hush” (Joe South)
  2. “Rising Sun” (Muller)
  3. “Speed King” (Blackmore, Gillan, Glover, Lord, Paice)
  4. “Corina” (Muller)

R.I.P. Randy Coven – guest shot by Warren Murchie

I read the news today that bassist Randy Coven had passed away at age 54 of undisclosed causes.  My friend and former customer as well as a bassist himself, Warren Murchie, shared a few words regarding the passing of Mr. Coven.

COVEN

By Warren Murchie

I met Randy Coven first off at a gig he had doubling up with Stu Hamm. Now, Stu’s albums are really good, not only as a bassist but also as a songwriter, and his works with Joe Satriani were incredible to say the least. I do have to say though that at this double bill, with both Randy and Stu and their respective bands and solo CDs, it was Randy that really stepped forward and was nothing short of incredible.

I HAD to talk to the guy afterwards, knowing he was someone that really had something to say to bass players in my mag. He proved to be forthcoming, informative and knowledable, and a hell of a decent character. (Many years later I met Stu Hamm in Switzerland at a bass clinic and he was a great dude too!).

As to Randy,both then and now I regret the fact that he did not have the opportunity or perhaps the wish to really create a portfolio of works. The guy was a brilliant bassist, equal to Billy Sheehan or Gary Strater of Starcastle, but of a different bent musically. It seem to be a good fit that Randy worked both with Steve Vai and Yngwie Malmsteen over the years. He was, as Chris Squire was and is, a Lead Bassist. Like Chris however, Randy knew when to back off and work in a band environment. He could be a Team Player while still being so dazzlingly good he stood out regardless — perhaps because he could play at an Yngwie or Steve Vai level if he needed to, but also knew when to just shut up and hold the groove down.

We are all beholden to Randy, for all he added to the instrument over his all too short life. I know the world of bassists is head over heels in love with what Jaco Pastorius gave to us as a lighthouse in the dark for inspiration, but Randy, never receiving his just dues, added so much as well and demanded little. We are all lesser for the loss of him! If reincarnatinon is true, he will be screaming back here to bring us the next chapter of where bass is going to….

GUEST REVIEW: The Winery Dogs – The Winery Dogs (by Jon Wilmenius)

After hearing so much praise for The Winery Dogs, I finally bought a copy.  I decided for now there was no point in writing a review:  After all, Jon Wilmenius already said it all.  So for my own review, all I’ll write is:  “What he said!”  Enjoy this review from Jon’s own excellent site, Music and Festival Reviews, reprinted with his kind permission.

Read the original here.

GUEST REVIEW by: Jon Wilmenius

THE WINERY DOGS – The Winery Dogs (2013 Loud & Proud)

Way back in the late 80′s / early 90′s supergroups were popping up like mushrooms in your garden. Bands like Bad English, Mr Big and Badlands had big success with the odd album or two before breaking up, but when the 90′s grunge era took over, supergroups were as rare as money on your bank account. Today, things have turned around and with the music industry looking like it does, musicians are forming different projects and bands with each other like never before. One guy that seems to involved a little everywhere are former Dream Theater drummer Mike Portnoy. As of now he is involved in no less than four different bands, Transatlantic, Flying Colors, Adrenaline Mob and now this thing. When The Winery Dogs started out in 2011, they consisted of Portnoy, bassist Billy Sheehan of Mr Big (formerly of Talas and David Lee Roth) and guitarist / lead singer John Sykes (Tygers Of Pan Tang, Thin Lizzy, Whitensake, Blue Murder), but since Sykes seemed to have too much on his mind, he decided to split and was replaced by multi musician and guitar player / lead singer Richie Kotzen, who also has a successful solo career going on, but also a former member of Poison, Mr Big and Forty Deuce.

Without hearing a note of their music, just by looking at the line up makes expectations rise like a virgin’s dong at the Playboy Mansion. That means that nothing worse than ‘great’ would be acceptable for this trio’s debut release. Now, I don’t know how much music that was written with Sykes in the band and how much of it that ended up on this album, but the fact is, Kotzen is all over this record. Kotzen’s solo career sky rocketed after he got the boot from Poison, at least quality wise and even a tone-deaf  could spot his style miles away. Just listen to Poison’s Native Tongue, the best album they ever released, and you’ll hear pretty fast which songs he brought to the table. He really should re-record them as a solo artist someday. So, if you’re a fan of Kotzen’s, this album is a no-brainer – as a matter of fact, it really should be a no-brainer for any a rock fan to buy this CD, because this is amazing stuff. “Elevate” kicks this album into motion with a bang, a rootsy rocker that sounds a lot like Richie’s solo stuff only with Sheehan’s famous and personal bass sound and Portnoy’s heavy groove. “Desire” follows and it is a brilliant tune, full of catchiness and groovy rhythms, “I’m No Angel” has a fantastic refrain and a killer melody, you’re stuck after the first chorus, on “The Other Side”, Sheehan and Portnoy totally rules the groove and the bass and drums are both one and separated at the same time and they give us a brilliant blues ballad in “You Saved Me”. It has a bit of a U2 – feel and Kotzen sings the hell out of it. The guy has got some feel, to say the least.

Both “Not Impossible” and “One More Time” has a lot of Kotzen over them and I find myself thinking that they probably would have been a great fit on his last album 24 Hours. “Six Feet Deeper” has a major swing to it and it strikes me that this is the first album I have heard where Mike Portnoy plays rock ‘n’ roll like this. I mean, he’s an amazing drummer, but his skills has always been in progressive metal where he doesn’t groove that much. This album shows that Portnoy is a lot more all round than people might think. “Criminal” on the other hand, is a heavy piece – not a far cry from how a Kotzen fronted Mr Big would sound. “The Dying” is a ballad, but it leans way more towards heaviness than anything else which is really cool – and it is a great song. The album ends with “Regret”, a classic Kotzen ballad, very bluesy in a 70′s style. Wow! This really is a super trio and they have made one hell of a debut album and hopefully enough people will buy this to convince the guys to keep this project alive. Another thing, has Billy Sheehan and Mike Portnoy ever played with such a groove like they do here? I mean, they are both ace players and with Kotzen, groove is in his blood, but on here Sheehan and Portnoy really makes the rhythm section swing. When we’re writing January 2014 and making a list on the best albums of 2013, this album will no doubt be up there as a contender for the number one spot. Jon says: Get this!

Jon Wilmenius (9/10)

 

GUEST REVIEW: Dream Theater – The Number of the Beast (by Uncle Meat)

GUEST REVIEW by:  Uncle Meat

ST NUMBER BEAST_0003DREAM THEATER: The Number of the Beast (2002 Ytsejam Records, Covers Series)

For the most part, Dream Theater is a band you either love or you hate. Some Metal fans are put off by the keyboards perhaps, while many others find Dream Theater hard to listen to because of the effeminate tone to the voice of singer James LaBrie. On the other hand, music fans who are not into the sensibilities of progressive music would label Dream Theater as “pretentious,” or which have you. Most music fans though can appreciate the musical talent of everyone involved. They are also a very busy unit, often branching out into different projects between DT albums and tours.

While still in the band, and then after his departure from DT in 2010, Mike Portnoy has been the busiest of all the DT members. So much so, that while researching to do this review of Dream Theater’s Official Bootleg: The Number of the Beast, I was blown away with how many projects Portnoy has been a part of that I truly love. Simply said, Mike Portnoy comes off as the biggest music fan in the music business. On top of his resume of original music, his obsessively accurate tribute projects can only be pulled off by someone who is an authentic “music geek super fan”. Sound familiar, LeBrain? So yes, this review has morphed itself into a bit of a Mike Portnoy love fest. Check out this list of his accomplishments outside of Dream Theater.

LIQUID TENSION EXPERIMENT – The two studio albums with John Petrucci, Jordan Rudess and Tony Levin are fantastic albums. Their self-titled CD is one of my favorite progressive rock albums. With three subsequent live albums with that lineup and two albums with a name change to Liquid Trio Experiment, that makes seven albums with the great Tony Levin alone.

TRANSATLANTIC – Four studio albums and four live albums with this Prog super group along with Roine Stolt (The Flower Kings), Neal Morse(Spock’s Beard, Flying Colors) and the bassist from one of my favorite bands…Marillion…Pete Trewavas.

AVENGED SEVENFOLD – After the death of their drummer, Jimmy “The Rev” Sullivan, during the writing of a new album, Mike Portnoy stepped in and played drums on their 2010 CD titled Nightmare. He also joined them for a few shows over in Iran and Kuwait for American troops overseas.

ADRENALINE MOB – Two albums with this band consisting of members from Symphony X and Fozzy. I honestly do not think I have heard it so can’t say much really.

FLYING COLORS – One studio album and one live album playing with my favorite musician of all time… Steve Morse. Consisting of Neal Morse again and others, including the incredible Steve Morse Band bassist Dave LaRue. Maybe you should just read LeBrain’s review of this band right “here”.

WINERY DOGS – With a more straight ahead rock and roll approach, the Winery Dogs is his current gig with bassist Billy Sheehan and guitarist Richie Kotzen.  [Check out Jon Wilmenius’ excellent review here — LeBrain]

And that’s just the original music he has been a part of. He has gone to great lengths to put together live shows recreating the concerts of, and playing the music of, his favorite drummers. He has arranged one for Led Zeppelin called Hammer of the Gods. He has also done one for Rush called Cygnus & the Sea Monsters. I actually learned about these while researching the review that I haven’t even got around to yet (yes this has become a much larger project than initially thought), so I am curious to search these out. You should be as well. The one I can comment on is his Beatles tribute called Yellow Matter Custard, named from a lyric within the song “I Am the Walrus”.

Consisting of Matt Bissonette, Paul Gilbert and Neal Morse and himself, this unit recreates what it would have been like to see The Beatles live. A lot of the songs were never played by the Beatles live. I listened to this with a good friend of mine who himself is a great musician and huge Beatles fan. Listening to it brought the Beatles super-fan out of him, most especially loving the somewhat obscure tracks performed live by the band. I highly recommend checking this out if you are a Beatles fan. So that pretty much means everyone.

 

 

ST NUMBER BEAST_0002I can’t believe I am now just starting the intended review, but here goes. In 2002, while touring for the album Six Degrees of Inner Turbulence, Dream Theater went on a short club tour in Europe where they played a different album in its entirety, track for track. Among the albums covered in this tour were Master of Puppets – Metallica, Dark Side of the Moon – Pink Floyd and Made in Japan – Deep Purple. (Who covers a live album? And one of my favorite live albums of all time? Dream Theater does, that’s who).

On October 24, 2002 DT played a small club called La Mutualite in Paris, France. The album on the menu that night was The Number of the Beast by Iron Maiden. From the sound of the enthusiastic crowd you can clearly hear throughout the album, this was a well-appreciated re-creation of one of the greatest Metal albums of all time.

The show starts off with album opener “Invaders”. My first impression was how great it sounded. Lively version and a thick guitar sound. Another thing I quickly realized is this: say what you want about James LaBrie and his effeminate style. Not many singers, including Bruce Dickinson himself can sing these songs live. I have seen Iron Maiden play several of these songs live, and even in a reduced key it is a struggle for Dickinson to sing the songs how they are recorded on the album. The opening track just left me looking forward to the rest of the set.

“Children of the Damned” was a joy to listen to, again mostly because of the vocals. This is probably his best singing on the album. Bruce Dickinson would have to get himself on a Lance Armstrong-like drug program to ever have a chance of singing this song in this key again. This song is also where I first really noted one of the truly great and original things about this album. Iron Maiden is a classic two-guitar fueled machine. DT is doing this with one guitar and a keyboard. Check out the twin guitar/keyboard solo in this song and hear throughout as the guitar and keyboard trade solos. A magnificent treat for the ears and surprisingly seamlessly done.

The crowd revs up as the classic Patrick McGoohan intro to “The Prisoner” plays as it is on the album. Chanting along with the intro just before Portnoy launches into the classic Clive Burr drum beat, this makes for a great listen, hearing the energy of the crowd and their appreciation of this show. Awesome version as well I must say.

“22 Acacia Avenue” is another track that is a treat to hear live. Live favorites “The Number of the Beast” and “Run to the Hills” follow. These two Heavy Metal anthems go over with the crowd extremely well as you would think they would. A case could be made that these back to back songs are the two most popular Iron Maiden songs of all time. Agreed? Discuss….

Coming next is their amazing version of “Gangland”. This is easily the most ambitious moment of the show. Kind of making the song their own, they begin the song off as a piano ballad and then make a left turn and turn it into a progressive, almost jazz fusion-ish groove as the song closes out. Absolutely brilliant and is probably my favorite track on the album. The show ends with a perfect version of “Hallowed Be Thy Name”, and the performance is over.

This is not just re-hashing of a great album. This was a well thought out and rehearsed celebration of this album, allowing true Maiden fans to hear what these songs may have sounded like when the album was toured in the 80’s. A friend of mine scoffed at the idea of DT covering this album and I may have shared some of his trepidation before I heard this recording. After listening to it now several times it has become obvious that this is not only a very relevant capturing of Number of the Beast, but it makes a very simple statement. Love ‘em or hate ‘em, the players in Dream Theater have a higher level of musicianship than really any of their peers in popular music. And as listed earlier, it seems that everything Mike Portnoy does comes from the heart of just another music fan like you and I. So who is gonna come along and play one of Dream Theater’s albums track for track? Well Dream Theater of course. Who else possibly could? Good luck with that, Three Days Grace.

5/5 stars

Blu-ray REVIEW: Machete Kills (2013)

NEW RELEASE

“Oh my goodness.  That lady just shot blades out of her boobs.” – Mrs. LeBrain’s Mom

MACHETE KILLS_0003MACHETE KILLS (2013 Aldamisa)
Directed by Robert Rodriguez

Machete Kills is the sequel to Robert Rodriguez’ Machete (2010), starring 69 year old cult hero Danny Trejo.  Minor spoiler alert:  It begins with an over the top preview trailer for the third Machete movie, guest starring “Justin Bieber” as “Bleep”.  (Guess what happens to “Bleep”!)*  Hold on to your hats.

For Machete Kills, I decided to co-review it with special guest, Mrs. LeBrain’s Mom.  I enjoy subjecting Mrs. LeBrain’s Mom to movies now and then.  Sometimes she likes them:  Paul (2011) was her favourite of my selections.  Jackass 3D (2010) was definitely her least favourite.

Machete Kills sort of has a plot:  The US military is selling weapons to the cartel.  Another mysterious faction with black Venom-like masks are also after the weapons.    The masked leader of this group gives Machete something terrible to avenge.  Then, the President of the United States of America (Carlos Estevez/Charlie Sheen) makes him offer he can’t refuse, and he is soon back in Mexico fighting a one-man war.  But he is not completely on his own, as undercover agent Miss San Antonio (Amber Heard) has plenty of gadgets that go boom.  His target: Marcos Mendez, the head of the cartel with a nuke aimed at Washington.

Add in a master of disguise after a $20M bounty, a Star Wars-obsessed evil genius, Sofía Vergara’s machine gun boobs, a madman with multiple personalities and a load of evil clones, and we’re in for a good time.

The story as such serves simply to introduce the complex of characters.  Machete is less a film and more a series of action sequences separated by dialogue explaining what’s happening.  As the movie goes on, many interested parties emerge (all played by big name actors or Rodriguez regulars).  There are so many back-stabs and switcheroos that we are well past incredulity and into outlandish.  Machete is a perfect mix of camp and violence.  Although the movie seems built to support the large cast, the actors in turn are all pros clearly having a good time.  I liked them all…all but Amber Heard.  Something about her, so wooden.

I made three minor observations. 1) It’s convenient that the bad guys only attack Machete one at a time.  2) It’s also a good thing for Machete that none of the generic bad guys can aim. 3) The female characters in the movie might want to put on some pants next time they go into combat.

As for my co-reviewer, Mrs. LeBrain’s Mom didn’t like when Machete’s girlfriend Sartana (Jessica Alba) gets shot in the head.  “She was a pretty girl,” she says.  “She shouldn’t have been shot.”  She also didn’t like seeing Marko Zaror getting sucked into helicopter blades by his intestines.  Mrs. LeBrain’s Mom had a few choice words for Lady Gaga, which she asked me to edit out so to avoid the wrath of her Little Monsters.  She did not enjoy the number of heads that got removed from their bodies (at least a dozen), but I did see her laugh at several points.  She largely enjoyed the cast, particularly Mel Gibson.  Upon seeing Carlos Estevez, she shrieked “He’s the President?  Oh my God!”  She did not enjoy the foul language, particularly when out of the mouths of the young female characters.

4/5 stars – LeBrain

A “solid” 3/5 stars – Mrs. LeBrain’s Mom  (“It was really kind of…strange.”)

* actors subject to change

GUEST WTF Search Terms: Fan Favorites – Thussy Edition

Happy Friday, everyone.  WTF Search Terms is a series in which I reveal actual search terms that somehow led real people to mikeladano.com.  This time I asked my buddy Chris to pick 10 of his favourites from the pile, which he did — along with his own commentary.  Enjoy!

For the last installment of WTF Search Terms, Unsolved Mysteries edition, click here!
For more shits n’ giggles, check out WTF Comments, too!

SWAYZE

WTF Search Terms XV: Fan Favorites – Thussy Edition

Lebrain has wanted me to collaborate with him for a while, and I am no writer, so we decided to do a WTF Search Terms. He sent me a big list of weird search terms, and all I can say is a lot of people looking for porn found Lebrain’s blog. Also, no one can spell anymore.  So, keep reading below to find out my top ten WTF Search Terms!

10. google videos jethu tull too juong old to rock and roll and too juomg to died

“Me fail English? That’s un-possible!”

ME FAIL

9. boobsy animation whores wearing glasses acquire screwed hardcore 4 full animation

Someone was looking for some very specific porn, and ran into Lebrain.

8. toronto shemales tumblr

“If the girl did something to you but you didn’t do it back then you didn’t really do anything.”

7. videos da bada white snack

I had to include this one, because it apparently got 9 hits! Why?

6. oshawa women that like to fuck

Local easy girls, for when hookers are too expensive.

5. marilyn manson without ribs

Even I know that rumour isn’t true.

4. (Three-in-one!)
a. queensryche queensryche eyes of the strangers japan bonus
b. queensryche queensryche eye of the strangers japan import
c. queensrycheeye of the strangers japan bonus youtube

Japanese imports are very expensive.

3. sequined bathrobe

I think Lebrain has one of these.

2. poop in the shower guy

I remember when Lebrain first told me this story, still don’t understand why you would do that.

1. trailer park boys model train rod stewart

Where does Rod Stewart fit into this? “You know what, Patrick Swayze uses illegal parts. That is why he’s winning all the time.”

 

Part 260: GUEST SHOT! Sho’ Nuff – The Return of STATHAM

Good things come to those who wait.  Longtime contributor STATHAM has returned to talk about shoppin’ for Black Crowes.  He’s in italics, me in burgundy.  (That makes him Snake Eyes while I remain the Crimson Guard.)  Let’s boogie!

RECORD STORE TALES Part 260:  Sho’ Nuff – The Return of Statham

I believe in being friendly to record store employees. A lot of people just treat them like any other retail clerk, but not me. Talk to them, find out common ground. They learn your interests, make recommendations… it’s a way better world than just treating them like a gas jockey. And there’s no reason why you can’t be nice to the people at the gas station, either, you know.

I started going to Mike’s shop sometime in 1995. And I left to go live in Montreal in 1999. In those four years I was in that shop a lot. I like music, and it was basically across the street from where I lived. My favourite was the Bargain Bin. Always a treasure or three in there. And Mike always seemed to be there. Rare was the trip in that he wasn’t on duty. I think he slept in the back room.

True to my practice, I talked to the guy, we discovered a lot of common ground. He was most fair on CDs I was trading in. He steered me to many great records (and laughed with [or at] me when I chose some stinkers). We never hung out outside the store, though there’s no reason why not. But over that time I got to know him as a stand-up guy.

IMG_00001779In late 1998, The Black Crowes were gearing up for what was hyped to be a “comeback”; a “return to their classic sounds.” The fact that Chris Robinson had shaved off his cave-beard was supposed to indicate something to fans that fell off the wagon after 1994’s Amorica. Part of this calculated campaign including reissuing all four original Black Crowes studio albums, remastered, with bonus tracks and videos.

Statham kept me apprised of the latest Crowes happenings. He had his finger on the pulse, and during his regular visits he would update me. We discussed the band, the reissues, what we hoped for, and as always we disagreed over favourite albums. I’m an Amorica guy.  He’s a Southern guy.

One day, Statham phoned me at the store with some exciting news.

IMG_00001780Somewhere in 1998, my sister (who took my introduction of her to the Black Crowes and ran with it something fierce) told me the Crowes had announced a box set, called Sho’ Nuff. This was exciting for many reasons, mainly the extra tracks that were rare (at that point), two on each album, and the live EP to be included. We already owned the four albums in the box, and couldn’t care less about any remastering job done to them.

Also remember, this was in the days when the internet existed, but it was nowhere near what it is now. We certainly never ordered CDs online. It was pure brick and mortar for us. Seemed this set was (purportedly) some kind of exclusive release. We HAD to have it.

IMG_00001784He’s right, the box set was an American exclusive — no Canadian release. However, the big HMV in Toronto was going to be importing a limited quantity. The live EP included within was from the Amorica tour which put it high on my priority list, and it was also exclusive to the box set. It is simply titled The Black Crowes Live.

I told Mike about the set, and how we were going to Toronto to get them ASAP. I’d called ahead to the HMV at 333 Yonge and they said they might still have a couple on hand. We panicked. “A couple?” Gah! We need to get these! Our course was set. I asked Mike, did he want us to bring one back for him? I don’t think his reply was precisely “hell yes!” but the level of enthusiasm was in that ballpark.

Even today I can recall the tingle of anticipation, the trip there taking too long. We got downtown, made the trek to the flagship HMV and… the staff didn’t know where the sets were. Computer said there should be some on-hand, they’d have to look… finally they were found in some corner, nowhere near anywhere that one would think (like, near the Crowes section, or in a Boxed Sets section. No, that would’ve been too easy). And there were enough for each of us (and not many more). Hooray!

Box sets procurred, we made the most of the rest of our day, and headed home. I brought Mike his copy on my next trip in to the store. He seemed pretty damn happy about it. I wouldn’t do something like that for everyone I meet, probably, but Mike was another story and it was a pleasure to help out. He’d helped me out with a lot, in the store. It was good to return the favour, in some small way.

I wouldn’t be lying if I said whenever I listen to that Black Crowes set, it always reminds me of all the great conversations with Statham. Some obscure memory always flashes back, be it a conversation or a long meandering email thread.

I still have the box set (of course), everything intact including the four stickers (one included in each studio CD) and the fragile blue jewel case for Three Snakes and One Charm. I’m not sure how I would have acquired (or even known about) Sho’ Nuff without Statham. Thanks man. I still owe you for this one! (Figuratively, I did pay him!)