Reviews

REVIEW: Absolva – Justice (2025)

ABSOLVA – Justice (2025 Rocksector records)

Here on Absolva’s latest album Justice, the band have come up with a strong crop of new songs featuring some cool guests, such as Ronnie Romero of Rainbow and Stu Block from Iced Earth.  Blaze Bayley fans take note that the man himself sings lead on “Atlas (War Between the Gods)”!  Blaze has effectively utilized members of Absolva in his own solo band, and fans worldwide have grown to love the brothers Appleton, Chris and Luke.  The band is completed by Martin Mcnee on drums, and Karl Shramm on bass.

Major standout track “Hero In Your Life” really shows what a strong singer Chris Appleton is.  Yes there are guest vocalists here, but do Absolva really need anyone outside themselves?  Chris combines rasp with a pleasing voice, with enough power to do these songs “justice” (see what we did there?)  “Hero In Your Life” is replete with blazing solos.  (As is “Left Behind”.)  Both Chris and Luke are credited on lead guitar on the album, so one must conclude that both of these guys can rip.  They can also write catchy, classic sounding riffs.  The total package!  Check out “The City is Burning” for an example of some cool riffs.

The mighty Ronnie Romero appears on “Find My Identity”, a dark vibed rocker.  Romero brings his trademark powerful rasp to the fore, which is a welcome flavour.  He is a seriously great vocalist and his addition here was a stroke of genius.

Another standout is “Justice” the title track, which again features some pretty incredible and memorable solo work, like a mini composition.  The chorus is also pretty powerful.

Of course, it goes without saying that Blaze’s track is magnificent.  It sounds like Blaze, which makes sense, but hearing Blaze and Chris sing lead together is a pretty cool moment.  Their styles contrast.  Blaze delivers the chilling lows, while Chris accents him from up high.  A great song that could easily take its place with Blaze’s best.

A strong metal album.  It combines classic metal sounding riffage with modern styles and production.  It has the sheen and power that you desire, so check out some Absolva.

3.5/5 stars

REVIEW: Steve Earle – Shut Up and Die Like an Aviator (1991)

STEVE EARLE – Shut Up and Die Like an Aviator (1991 MCA)

Steve Earle was nearing the end of the first chapter of his career, when he rolled into London and Kitchener Ontario, to record his live album Shut Up and Die Like an Aviator, with his band the Dukes.  Amusingly, Kitchener is misspelled “Kitchner” on the inner sleeve, which led to no end of amusement to us who live here.  Steve had a bad spell with drugs and jail before making a triumphant comeback with the albums Train a Comin’ and I Feel Alright.  This is simplifying and shortening the story quite a bit, but the point is that the Steve Earle that was on tour supporting the album The Hard Way was not as strong as past or future Steves.  Yet the album he made, his first live, remains an important part of the discography to own.  He even produced it himself.  The reality was, this was a contractual obligation album with MCA that received mixed reviews.

The brief album intro featuring news clips from the time sure brings you back to the early 1990s.  Canadians will recognize the Oka crisis (which is addressed during the encores), and the Gulf War too is mentioned.  It’s almost like Steve wanted a time stamp for his first live album.

The crowd fades in and we open with Guitar Town classic “Good Ol’ Boy (Gettin’ Tough)”, and indeed the live version is a bit tougher with louder guitars and backing organ.  After a brief intro, a rasp Steve introduces “The Devil’s Right Hand”, and the cracks appear in the armor with a shaky start.  According to the liner notes, all the lead vocals are 100% live (some guitars were overdubbed where there were technical difficulties).  Even when Steve is pushing his voice, the Dukes are solid as rock, with solos and rhythm anchoring the singer.

A personal favourite, “I Ain’t Ever Satisfied”, one of the best songs from Exit 0, is a slightly more delicate song.  Here, you wish the piano hooks and backing vocals were more audible, but it’s a beautiful song even in this rougher guise.  Once again the Dukes save the day when Steve sometimes flounders.  It leads well into the 1986 single “Someday” from Guitar Town, which is performed slower than the album, with crunchier guitars.  Steve delivers a wonderful performance here.

A jamming “West Nashville Boogie” gives you a ZZ Top vibe.  It’s over twice as long as The Hard Way studio version.  It really smokes as an album highlight, and a showcase for the abilities of the Dukes.  Zip Gibson rips on the solos with Bucky Baxter shredding the steel guitar, while bassist Kelly Looney holds down the groove with some flavour.  Then a blazing “Snake Oil” from Copperhead Road keeps the momentum going.  This is all before a big change of pace.

“Blue Yodel #9” is as folksy as it gets, a Jimmy Rodgers cover, which surprisingly leads into the ballad “The Other Kind” from The Hard Way, one of Steve’s best!  Regardless of the state of affairs, it sounds as if Steve is pouring 100% of what he’s got into the song.  The chorus still rings powerful.  “There are those that break and bend, I’m the other kind, I’m the other kind.”  The song seems to be expressing unhappiness in the face of success, but with Steve singing it in full rasp, it sounds like defiance.  Listen to that beautiful mandolin accompaniment.

Sticking with the new album, it’s “Billy Austin”, captured big and bold on stage.  “Doin’ fine,” says Steve to an audience member who asks.  Unaccompanied, Steve and his guitar tell the story of fictional Billy, on death row.  Again, Steve is a little shaky at first but he soon finds the notes.  This long, slow version reveals both the flaws and the passion.  This was Steve’s big statement on capitol punishment, which he is vehemently opposed to.  “I didn’t even make the paper, ’cause I only killed one man.  But my trial was over quickly, then the long hard wait began.”  It really is chill inducing, as keyboards enter the fray to add soft backing texture.  Even at a weaker moment in his career, Steve Earle manages to deliver an awe inspiring performance, and makes us question our hearts.

“Copperhead Road” was the big hit, and it lies somewhere in the the middle of the set.  “My name’s John Lee Pettimore, same as my daddy and his daddy before.”  The ode to moonshine remains a signature song.  This is not a definitive live version (there is a brilliant later version on the bonus disc to Transcendental Blues).  Once again though, the Dukes absolutely smash it.  Even if Steve has trouble delivering, the guitars compensate.

A version of the ballad “Fearless Heart” features prominent drums by Craig Wright, but the song feels off.  It’s the first Steve Earle classic that just doesn’t sound quite right.  He’s very raspy in his A cappella intro to “Guitar Town”, but the song kicks.  A little sloppy but full speed and it holds together, with all the hooks delivered satisfyingly.  “I Love You Too Much” keeps that momentum going, a smashing performance.  From there it’s goodnight and of course the obligatory three song encore:  A punchy “She’s About A Mover” (Sir Douglas Quintet cover), ballad “The Rain Came Down”, and the Stones cover “Dead Flowers”.  These are solid closers, of different styles.  “The Rain Came Down” is raspy glory, while the other two songs just make you want to party.

Though a rough ride to the end, Shut Up and Die Like an Aviator should be applauded for its “all lead vocals are live” approach.  It’s not as bad as some reviews would have you believe.  It is most definitely a snapshot in a time of the life of Steve.

3.25/5 stars

REVIEW: The Black Crowes – Happiness Bastards – “Wanting Waiting” (2024)

THE BLACK CROWES – Happiness Bastards (2024 Silver Arrow)

One could not help but be struck by a mixture of happiness and healthy skepticism when the Black Crowes announced yet another reunion.  With a mostly new band, Chris and Rich Robinson didn’t ask drummer Steve Gorman back.  Instead they asked bassist Sven Pipien (who they once famously edited out of the photos for the Black Crowes & Jimmy Page album).  On the album are Nico Bereciartúa (guitar), Erik Deutsch (keyboards) Brian Griffin (drums).  It’s not really a “band”, but maybe the Black Crowes always were Chris, Rich and whoever was along for the ride?

The good news is, no matter the motivations, the Crowes succeeded in putting out another fine studio album.  It’s not a “back to basics” record, like “Here’s Shake Your Moneymaker Part II“.  It’s also not a rootsy, The Band-like record such as Before the Frost… Until the Freeze.  It’s more like the next step beyond those two.  Happiness Bastards is also shorter than either:  10 tracks, with one additional Record Store Day B-side to discuss.

Opening with “Bedside Manners”, it’s the classic Crowes rock and roll sound, but with a slide guitar lick to make it a bit more southern.  It actually sounds a little like Deep Purple Mk IV.  A strong opener, Chris has barely aged and still belts much like Young Chris did 25 years ago.  The lyrics sound cool, but the booklet is printed in such a way that you will never want to read the words.

A smoking riff kicks off a groove unlike any the Crowes have some before.  “Rats and Clowns” clearly recalls Aerosmith, but not “hit” Aerosmith.  No, this recalls “deep cut” Aerosmith, riff-based and snotty.  This will go down as one of the most memorable Crowes tunes in the discography.

A really surprising number is “Cross Your Fingers”, which begins as an acoustic soulful ballad.  It then transforms into a bass-driven groove.  This is a sound that the Crowes do so well, when they choose to do it.  Rich’s abbreviated closing solo is gravy.  Three tracks in, and the Crowes have done three different directions, on three awesome songs.

The single “Wanting Waiting” has an AC/DC (Bon Scott) groove, mixed with Hammond organ and the Crowes’ own swagger.  The drummer even has a Phil Rudd vibe.  It’s clear why a song like this was chosen as single.  Though it sounds like something from another band in another decade, the soulful rock and roll here is timeless.  A “greatest hit” kind of song to be sure.

Side One ends with “Wilted Rose” featuring country singer Lainey Wilson.  Though it’s only the first ballad, the Crowes do have a lot of more memorable songs like this.

The second side opens with another rippin’ riff backed by Hammond organ.  Then Chris struts his way through the verses, sounding as cool as a cat.  It’s a song called “Dirty Cold Sun”, but again the Crowes have captured a really solid groove, before they go off experimenting again.

“Bleed It Dry” is pure blues, acoustics and pedal steels crying away with some honky-tonk piano and a moaning Chris Robinson.  The harmonica blasts, telling the timeless tale of woe.

It’s off on another direction again.  Pop rock inflects the jubilant “Flesh Wound”!  This high speed blast sounds like the Crowes travelled back in time to the new wave era of the 80s, wrote a song, and came back to the present in order to record it.   It’s an absolutely brilliant song.  Wait until you hear the chanted chorus accompaniment at the end!   If it wasn’t so different for this band, it probably would have made a better single.  “Flesh Wound” is the diamond of a deep cut that you will find when you play the album through.

“Follow the Moon” takes us back to a bluesy groove, with a funk Rich riff leading the way.  When Rich plays his lead solo, the rhythm guitar drops out just like a 70s record, allowing the bass to come up.   Great song, slick playing, and very much a traditional Crowes sound.

The sequencing of the album leads us to feel like a ballad would be the way to close.  And so, “Kindred Friend” ends the album with acoustics, slide, and harmonica, done up with sentiment and nostalgia.  It has a similar feel to a previous Crowes closer, “Time Will Tell”.

Happiness Bastards feels like a journey.  Listening to it, you are taken from peak to valley, and a variety of colours and sounds.  It doesn’t feel like a cash-in, a sell-out, or a phone-in.  It legitimately sounds like the Black Crowes moving on to their newest incarnation.

It’s wonderful.

4/5 stars

THE BLACK CROWES – “Wanting Waiting” / “Morsels for Mongrels” (2024 Silver Arrow RSD single)

One bonus B-side to Happiness Bastards can be found in “Morsels for Mongrels”, the B-side to the “Wanting Waiting” single.  The most different of all the songs, it’s still based on bluesy slide guitar, but with a distant distorted lead vocal.  It’s like the Crowes doing their version of garage rock.  You can understand why it wasn’t included on the album, as it’s just a little too far out there for the record.  Yet it’s a valuable add-on; a fun additional direction that the Crowes explored with typical joie-de-vivre.  A blast to slide into your file folder as a bonus track.

3.5/5 stars

And that’s the latest from the Black Crowes.  An unexpectedly excellent comeback.  Keep it going, guys.

EPSON MFP image

 

 

RE-REVIEW: Poison – Open Up and Say… Ahh! (1988, 2018 180 gram coloured vinyl reissue)

Our review of the deluxe CD edition of this album can be found here.

POISON – Open Up and Say… Ahh! (1988, 2018 Capitol 180 gram coloured vinyl reissue)

There are some bands I find myself constantly having to defend my enjoyment of.  Poison is definitely up there in the top five, if not #1.   They’re not incredible musicians (Richie Kotzen and Blues Saraceno notwithstanding).  They put out some junk.  But they also did at least three legitimately great hard rock albums, and Open Up and Say… Ahh! is one of them.  Poison had good producers behind their best albums.  Bruce Fairbairn, Richie Zito, and in this case, Tom Werman, who had plenty of experience getting great records out of mediocre musicians (and great ones too).

This 180 gram vinyl reissue, on red vinyl and spinning at 45 rpm, still sounds great.  This was a good sounding album 1988 and this record spins well.  The drum sound is a little synthetic sounding, but that was a common issue in the 80s.  Rikki Rocket got a better snare sound later on in the 1990s.  CC’s guitar is like an over-the-top Ace Frehley.  Harsh with more of that 80s transistor amp sound, but actually not that bad on this album.  Frehley was probably the model.  Werman got a solid performance out of Bret Michaels, and layers the choruses with ample backing vocals, but just enough for sweetener.

The album was loaded with mostly good songs.  Opening with the terrific riffing of “Love on the Rocks”, Poison started with a rocker, as if to prove a point.   “She goes down slow, like a shot ‘o gin…” and 14 year old me had no idea what Bret was really signing about, so you have to give the lyricist credit for that.  “You wanna taste my love, why don’t ya swallow this.”  Well, maybe I did get the picture after all.  Swallow This was the original album title, but cooler heads prevailed.  It was later used as the title for Poison’s premature double-live.

Smash hit and first single “Nothin’ But A Good Time” is in the second position, exactly where it belongs, hitting it home immediately.  The riff always struck me as something inspired by Kiss (“Deuce), but later on Kiss ripped off this song for one of their own (“Never Enough”).  Although it’s bubblegum hard rock fun, there’s nothing wimpy about “Nothin’ But A Good Time”.  “Back to the Rocking Horse” is a good track, a sort of Poison deep cut, as is the harmonica-laden “Good Love”.  The first side ends with the darker “Tearin’ Down the Walls”.  Songs like this show that Poison were more than the sum of the public’s perception.  CC’s guitar solos speak.  The lyrics may be shallow (coming home from the road for a good romp in bed), but there’s something about the music that is more than meets the ear.

Opening side two, “Look But You Can’t Touch” has a completely different vibe.  A vicious CC riff kicks it off.  We’ll ignore Bret’s ill-advised lyrics about plying an unwilling young woman with drink.  Not cool, Bret!  (I didn’t think so back in 1988 and I don’t think so now, so don’t come at me.)   Great song otherwise, thanks to CC’s killer riff.  As if to make up for the previous song, Poison got a bit serious on “Fallen Angel”.  In the music video, a predatory manager played by actor Anthony James takes advantage of young girls heading to Hollywood looking for stardom.  It’s a re-enactment of the lyrics:  “She stepped off the bus out into the city streets, just a small town girl with her whole life packed in a suitcase by her feet.”  Things gradually go bad, and Bret’s words serve as a warning.  The song itself remains in the top Poison tracks of all time.  It has it all:  great riff, terrific chorus, strong verses, and another in a series of memorable CC guitar solos.  He didn’t break new ground as a lead soloist, but like many that receive far more praise than he does, CD composes his solos.  The one in “Fallen Angel” is like a mini-song inside a song.

“Every Rose Has Its Thorn” was respected in its time for being a bit further out in the acoustic direction than many bands were comfortable.  “Too country!” said some.  Bret was right on the money with this song, as time has shown.  It didn’t take long (only three years) to become something of a pop culture phenomenon, being quoted in the second Bill & Ted film.  You’ve heard it a million times, but it still stands as a good, well written and well performed ballad, with another great little CC solo.

The cover of “Your Mama Don’t Dance” was cute, and we’ve all heard it a million times now.  It’s fun but at this point we don’t need to discuss it.  We close on “Bad to be Good”, which actually focuses on Bobby Dall’s bass line as the main backbone of the song.  Not to be ignored, listen to CC’s opening guitar licks.  This is a fine song, but not an album cornerstone.  Just a way to take the album out on a dark, sassy note.

One thing we always appreciated about Open Up And Say… Ahh! back in the 80s was that it came with ample photos on the lyric sheet.  Though the cover was always garish and ugly, Poison gave you value when you bought their records.

4/5 stars

 

 

REVIEW: Iron Maiden – The Early Days (2004 DVD)

IRON MAIDEN – The History of Iron Maiden Part 1: The Early Days (2004 EMI DVD)

Staying on the cutting edge, Iron Maiden released one of the best and most value-packed videos of anyone’s career with The History of Iron Maiden Part 1: The Early Days.  We won’t get too much into how they never really properly followed it.  We’ll just praise it for what it is:  A must-buy DVD for your Iron Maiden collection, and your education.

The DVD is divided into several sections, with the main feature The Early Days winding up on Disc Two.  That’s where we’ll start.

 

 

Disc Two

The Early Days

Released to DVD on, The Early Days is a 90 minute feature directed by Matthew Amos.  Impressively and most importantly, they gathered together as many past members as were willing and able.  Many of them have never seen interviewed before:  Doug Sampson, Rob “Rebel” Matthews, Dave Sullivan, Terry Rance, Bob Sawyer, Terry Wapram, Paul Di’Anno, Dennis Stratton, and Clive Burr.  This in addition to Steve Harris, Bruce Dickinson, Dave Murray, Adrian Smith, and Nicko McBrain.  We gain some insight into the formation of Steve’s early band Gypsy’s Kiss.  What Steve really needed was a band where he could lead.   Gypsy’s Kiss broke up after a mere five gigs, due to the usual “musical differences”.  Iron Maiden formed, and gained fans via word of mouth.  There is the claim that original singer Paul Mario Day didn’t have a great stage presence, according to original drummer Ron “Rebel” Matthews.  Looking for a showman, they went with Wilcock who was highly influenced by Kiss.  He had this sword gimmick with fake blood coming from his mouth.  Musically, Dave Murray was the turning point, but Dennis Wilcock convinced Steve to fire the whole band.  Steve and Wilcock formed a new Iron Maiden, with Thunderstick on drums.  You know!  The guy with the leather mask, best known from Samson.  He blew a gig (on drugs) and was fired.  Maiden tried a keyboard player instead of a second guitarist, until Wilcock suddenly left the band.  Doug Sampson from one of Steve’s first bands, Smiler, joined in.  Dave Murray came back, and they found Paul Di’Anno.  This would prove to be the foundation of Iron Maiden.  They toiled with a four-man lineup, as they tried out guitarists.  Paul Todd, Tony Parsons, and “Mad Mac” all their moments, but don’t last.  Parsons, at least, was recorded on a number of tracks now released on Eddie’s Archive.  Speaking of whom, Eddie is finally created (as a smoke-breathing head), and Maiden had a mascot.  The Soundhouse Tapes were recorded, and handed to DJ Neal Kaye.  This led to a live gig at the Soundhouse and things began to snowball.

Future manager Rod Smallwood got hold of the tape.  Somehow he managed to sign Iron Maiden to a three record deal, which was an incredible guarantee for Iron Maiden.  Doug Sampson unfortunately was not healthy enough to enjoy the spoils.  He would not be able to tour, and had to be replaced.  The talented Dennis Stratton came aboard on guitar and backing vocals, bringing drummer Clive Burr with him.  The lineup that recorded the EMI debut was set.

The band were not happy with original producer Will Malone, who was disengaged and uninterested.  Artist Derek Riggs was found, and Eddie was brought to life.  Iron Maiden performed live on Top of the Pops, the first band to actually play live since the Who in the 1970s. Touring with Kiss, Maiden took note of their stage and performance.  It is acknowledged that Kiss were their model when they chose to get more theatrical on future tours.  Unfortunately for Stratton, Dennis was let go at the end of the Kiss tour.  Regardless of his talent, they were not cut from the same cloth.   They knew Adrian Smith from his band Urchin (“Roller” is shown).  Martin Birch (Deep Purple) is recruited to produce the more satisfying second album, and they band embark on their first world tour.

The beloved Paul Di’Anno began to falter.  Even Paul acknowledges that Maiden did the right thing by getting Bruce Bruce from Samson.  Bruce electrified the band, in the studio and on stage.  He enabled them to push it further.  On stage, he was an acrobat.  This caused some friction with the bass player, who was quite used to standing next to the singer on center stage.  Now, there was a madman running about, colliding with Steve Harris at center stage as they battled for position.  It only made the band that much better live.

It’s clearly a tough gig.  Clive Burr was not doing well.  The drummer was given three months to sort himself out but he couldn’t.  Lacking time, the band had to move on.  Nicko McBrain was known from the band Trust, and was the natural guy to take over.  Food For Thought was considered for the next album title, but we all know it became Piece of Mind.

Cut to Maiden live at Dortmund.  To be continued.

 

Disc One

Live at The Rainbow (originally released on VHS on 11 May 1981) – 30 minutes

Recorded 21 December 1980

The video quality on Live at the Rainbow is incredible – feels more like late 80s than early 80s quality!  However it was recorded and remastered for DVD, they did a smashing job here.  This lineup features a short-haired Adrian Smith on guitar, and has a stage set with the first album Eddie as the backdrop.  Paul Di’Anno is rocking mega spikes on his arms and belt, as was the look at the time.

The set begins with a cracking good version of “Wrathchild”.  Then Paul introduces the “Title track from the second album!”, but the lyrics are the early version from before the words were finalized.  “Killers” features an incredible top-speed Clive Burr.  There are great closeup of Davey playing the descending harmonics.  The lights go dim, and the band are in darkness for the quiet opening of “Remember Tomorrow”.  The lights really go nuts on heavy parts.  Steve moves to the front for the instrumental “Transylvania” as he becomes the focus on stage.  The epic “Phantom of the Opera” follows.  Clive shows the world why he was so beloved in Iron Maiden.  He’s absolutely hammering here.  This could be the greatest version of the song ever released.  The set closes with “Iron Maiden”.  Davey starts with a whammy dive, before going into the main lick.  Paul has jacket on.  You can tell there was some editing here, as Paul had no shirt on the previous song, and now he has his jacket.  It’s a treat to see Dave and Adrian play those harmonies and leads though.

Beast Over Hammersmith (full audio available on Eddie’s Archive, video previously unreleased) – 45 minutes

Recorded 20 March 1982

They claim the full show is unwatchable.  They say they had to do a lot of work just to restore the nine songs on this DVD.  Regardless, this show including Bruce is great to watch because of the contrast.  Now the band were on the big stage.  Now they had a stage show.  Now they had Bruce.

There is an opening montage of the crowd entering the venue, lots of jean jackets and patches, to the tune of “Murders in the Rue Morgue”.  Bruce enters like a whirlwind!  The lighting rig is cool – like a “V” of lights on stage below Clive.  “Run to the Hills” is early in the set and now it’s refreshing to go back to 1982 and hear Young Bruce singing it at full lungs.  Bruce is noticeably a far more visual frontman than Paul was.  Only one studded arm though!  “Children of the Damned” is next, as the lights dim a bit and Bruce stands center stage.  No running about, this time.

“The Number of the Beast” sees the crowd fairly calm during the opening, since it is a new song and they don’t know the opening yet.  Davey headbangs through the whole thing!  Annoyingly, the camera avoids Adrian during his part of the guitar solo.  During “22 Acacia Avenue”, Bruce reveals that Adrian had some bruised or broken ribs!  Though musically brilliant, this is where the band lost their way.  Charlotte appears on stage in the flesh, dancing next to Adrian, raising her legs, and moving to center stage in front of Bruce.  It’s a rare miss for Iron Maiden as it takes the focus away from the band.

Bruce introduces the “B-side of our current single!”, and it’s the rarely played “Total Eclipse”.  Bruce’s vocal is far more expressive than the studio version.  This time the camera focuses on the appropriate guitar players during the split solo, thankfully.  Bruce then removes his leather jacket for the melodic masterpiece “The Prisoner”  For “Hallowed Be Thy Name”, he most dramatic song of the set, Bruce stands on the “V” steps by the drums.  Then, he comes down later to rile up the crowd as the song gets faster and harder.  Finally, it’s “Iron Maiden” and Bruce explains to the crowd what the torture device does.  The band really explode onstage for this fast blaster!

Live In Dortmund – Rock and Pop Festival (previously unreleased) – 45 minutes

Recorded 18 Dec 1983, broadcast only once

Maiden headlined over Ozzy, Scorpions, Def Leppard, Priest and Michael Schenker if you can believe it.  Maiden over Ozzy.  For this Piece of Mind era show including Nicko McBrain, we only have the surviving broadcast tapes.  “Iron Maiden” was also played, but cut from broadcast due to an Eddie “lobotomy” with tissues and ribbons counting as “excessive violence”.  The recording of that song is now lost.

Bruce had what we’ll call his “caveman look” with a shirt like something Fred would wear on the Flintstones, paired with some leather trousers.  We open with “Sanctuary” and a very animated Nicko on the cymbals, when he stands for the cheer break.  Bruce’s vocal delivery is a tad too operatic for this song.  Davey’s solo is gravy.  Onto “The Trooper”!  Bruce waves the union Jack, with smoke all over the stage.  The guitars are a bit thin sounding on this recording.  One cool moment is when Steve runs up drum riser and plays face to face with Nicko.  Steve is a real band leader, interacting with all the members on stage.  It is during “Revelations” that Bruce plays a Les Paul during the guitar harmonies.  Plays, or “plays”, it was rarely seen and here it is documented.  (It is this version that is included on the Best of the Beast vinyl LP limited edition.  His vocal here is powerful and far more expressive than the album.  It is a brilliant, full sounding version, loaded with energy.  There is however an annoying close-up on the stage Eddie (behind Nicko) during instrumental mid-section that keeps repeating.

“Scream for me, Dortmund!  The Flight of Icarus!”  The bass sounds heavier on this version.  Bruce nails the chorus.  No backing vocals audible as on Live After Death.  An absolutely killer rendition.  Back to “22 Acacia Avenue”, there is no dancing girl this time, Maiden having learned their lessons.  The audience is a sea of hands.  A great live version, with Bruce adding extra flair.

Now that they are familiar with the song, the audience speaks along to “The Number of the Beast” and its opening narration.  A grim reaper, concealed in smoke, appears on stage.  The band leaves, and then returns for the encore “Run to the Hills” and final song of the included set.  The chorus sounds different this time, lower perhaps.  Maybe it is because Steve’s backing vocals being so high in the mix?  At the end, Bruce destroys a drum kit!

 

Disc Two

There is plenty more to be seen and heard on disc two of this set, besides just The Early Days documentary.  There is a whole other 45 minute unreleased set of music from the band’s own archive, and lots of TV stuff included as well.  Here is a detailed breakdown of everything else on Disc Two.

20th Century Box – 21 minutes

Recorded & broadcast 1981

This television special is primarily framed in terms of the New Wave of British Heavy Metal (here called a “revival”), and the musical culture of the time with Punk also reigning high.  There is rare black and white footage from the Marquee club, including “Phantom of the Opera”, “Drifter” and “Iron Maiden”.  There are interviews with Steve and Paul (in a comics shop!), Neal Kaye, Geoff Barton, famed air guitarist Rob Loonhouse (age 23), and many fans.  Produced for television, everything is slick and pro-shot.  A valuable time capsule.

Live at the Ruskin (previously unreleased) – 45 minutes

Recorded 14 April 1980

As of this DVD, Live at the Ruskin is the oldest known video of Iron Maiden live.  It is single camera of surprising quality, probably filmed by road tech Vic Vella.  The Ruskin was kind of a home base to Iron Maiden, and so the introduction goes:  “Welcome, your very own Iron Maiden!”  Paul is very talkative, as if presiding over a party with friends.  Heck, his own mum is in the house!  And so is guitarist Dennis Stratton, not yet sacked, and very much showing his value in this video.

“This is a song you should all know by now, it’s our next single.” And know it they do.  “Sanctuary” lights the place up.  The young band appears crowded on that small stage.  Dennis’ Les Paul solo is speedy magnificence.  Davey takes the second solo, with wah wah pedal.  Paul Di’Anno is very growly, and the “chuggy” section at the end is longer.  The video gets blurry a bit on “Wrathchild”, but it’s awesome to hear a version with Dennis’ solos.  The sweat is visible on Di’Anno’s face during “Prowler”.  Again, it is amazing to hear a live version with Dennis, as his tone was not the same as Davey’s or Adrian’s.  He also sings ample backing vocals, and his voice is different from Adrian’s.

A touch slower version of “Remember Tomorrow” follows, and then Clive leads the clapping on “Running Free”.  Vocally this is one of the best versions available, and that’s partly due to Dennis’ audible backing vocals.  Dennis and Davey perfectly in sync on guitar harmonies.  Outstanding version.  The instrumental “Transylviania” also features a lot of Dennis.  He does the first solo, and the main guitar lick of the song.

Time for band intros, as Paul removes his shirt.  Then it’s onto “Another Life”, the only official live version with Dennis ever released.  Steve’s bass is dominant, with a lot of high notes.  This is back when Maiden still had drum solos.  “Clive Burr on drums!” The audio goes out for a second, it’s not your DVD.

“Phantom of the Opera” features Steve and Dennis on backing vocals, in a very version.  Amusingly , you can spy lots of beer cans visible behind Davey on his amp.  Then we end the recording with “Charlotte the Harlot”.  Paul explains that it’s a song about a whorehouse, a brothel!  He can’t say more, as his mum is in the house!  There is a meandering intro, but Iron Maiden were not an arena act yet.  Another powerful version!

Top of the Pops

Two tracks here:  “Women in Uniform” (22/02/1980) with Adrian on guitar.  Actually live!  This is the only official live version of “Women in Uniform”, ever.  The drums sound shit, and you can hardly hear the guitars.  It’s not like Top of the Pops knew how to broadcast a live rock band.  The second track is “Running Free” (13/11/1980) which sounds better.  Paul is wearing the striped shirt under leather jacket.

Rock and Pop ZTV

Only one track here, from a German broadcast in 1980.  It’s a mimed “Running Free” with Adrian on guitar.

Five Promo Videos

You’ve seen ’em on TV, on Visions of the Beast, and now here too:  “Women In Uniform”, “Run to the Hills”, “The Number of the Beast”, “The Trooper” and “Flight of Icarus”, all original versions.  It doesn’t matter what people think today; back in the 80s these were some of the coolest music videos ever!  “Flight of Icarus” even had footage from inside the recording studio, which was not common for a lot of metal bands.

Steve’s Diary & Scrapbook, On The Road

Click and flick through the scans!  Interesting stuff about seeing Genesis at the Hammersmith, and the Stones at Knebworth.  There’s even some band bookkeeping:   getting paid 5 pounds for expenses, 10 pounds for a gig at Cart and Horses.  The biggest payout you see in these receipts was 25 pounds.  Steve even documents his bass amp payment installments.  Some major Maiden history is recorded:  the day Dennis Wilcock auditions to replace Paul Day (“Mon the 20th”).  Steve’s thoughts: “Now the hard part is to tell Paul…”  Paul Mario Day did 26 gigs in total, and understood when Steve broke the bad news.  The scrapbook has gig ads back to 1976.  One gig has them second to Samson (at the Music Machine, in Camden).  The section titled “On the Road” contains photo galleries going all the way back to 1973, Smiler, and the first Iron Maiden lineup.  There are pictures of Vic Vella, Rob Loonhouse, and many more.   This goes up to 1983, and includes tour programs, tour dates (back to 1979), shirts, backstage passes and assorted art.  All very fascinating stuff, but limited by the DVD format.  Today you’d do this on a website.

There is also an album and singles discography, with art.  Again this is something that works better on a website today.

And that’s an exhaustive review on an essential Maiden DVD.  There is even a beefy booklet with liner notes to read.  Maiden even toured for the DVD, playing only songs from the “Early Days”.  Now that’s how you do a release.  If only we had a live album from that tour!  Deluxe edition, lads?

4.5/5 stars

 

 

 

 

REVIEW: Paul Stanley – You Can’t Escape His KISS – Andrew Lloyd Webber’s The Phantom of the Opera (1999 Bootleg CD)

Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA – Toronto Cast Recording featuring Paul Stanley (1999 Phantom Music bootleg CD You Can’t Escape His KISS)

Seeing Paul Stanley perform as the titular Phantom in Andrew Lloyd Webber’s Phantom of the Opera was an experience I’ll never forget.  It was fall, 1999.  I remember hearing an ad on the radio on the way to work that the show was being extended due to popular demand – six more weeks!  I remember jumping around at the Beat Goes On (Cambridge location) chanting “SIX MORE WEEKS!  SIX MORE WEEKS!”  I knew I wasn’t going to miss Paul as the Phantom.  There were a lot of leather jackets in the audience.  A few Kiss shirts.  Not the usual Pantages crowd, but that’s what Paul did for Phantom of the Opera.  He crossed barriers with it.  A little later on, I was gifted a genuine Paul Stanley autograph from DJ Donnie D, who bumped into Paul on the streets of Toronto.  I had a program, an autograph, and the live experience.  All I needed was a CD of the show.

“They’d be stupid not to release a CD version of Phantom with Paul,” I reasoned.  The London and Canadian cast CD releases were bestsellers for us, despite their prices.  A Paul Stanley release would cross over to the rock crowd.  An official CD never came, but fortunately somebody in the audience was recording one of of those shows, and bootlegged it.  The date is unlisted, the CD says “Made in Japan” while the sleeve says “Printed in USA”.  (The number on the CD, 27/110/99 does not refer to a date as the ended on Oct 31 1999.)  This CD bootleg was gifted all the way from Australia, by the Mad Metal Man Harrison Kopp, who knew I had been seeking it a long time.  From Canada to Australia and back to Canada again.

A single CD release with unrelated bonus tracks, this disc focuses on the musical numbers that involved Paul and skips the rest.  This is probably sufficient for Kiss fans.

Being an audience recording, quality is all subjective.  There is some tape warble, which may or may not hinder your enjoyment.  There are people coughing in the audience; the usual sonic flaws.  You can clearly hear that Melissa Dye, Paul’s co-star playing Christine, is a professional while Paul is not.  He often resorts to a “rock frontman” voice to exclaim certain lines.  However, Paul also does an admirable job.  His tenor voice was no longer at its peak in 1999.  He was still up to the task, insofar as a rock star goes.  A tenor like Paul would never have made it to the starring role without his name marquee value.  That doesn’t actually matter when you consider that Paul helmed this show from May to October, to positive reviews.  Of course, there is more to it than just singing.  There is also the acting; the stage performance in costume and makeup.  You don’t get to see that here, but I can assure that Paul knew something about performing to music on stage in costume and makeup.  He brought the same bombast to the physical role as he did the vocal part.

The most memorable musical moments on this CD are the “Phantom of the Opera” and “Music of the Night”, which most people will be familiar with.  Paul’s performance on both is a knockout.  This bootleg recording serves as a reminder that Paul might have been an unorthodox Phantom, but he was still capable, and did the job well…even if you can hear the Kiss frontman in him, from time to time.

The track list on the back of the CD is incorrect.  There are 25 tracks total, provided below.  The bonus material includes four of the 1989 Paul Stanley solo demos:  “When 2 Hearts Collide”, “Don’t Let Go”, “Best Man For You” and the familiar “Time Traveler”.   These are followed by a 1978 interview in seven parts.  An odd potpouri of bonus material to be sure, but such is the liberty of bootleg recordings.

“When 2 Hearts Collide” belies the late 80s recording date with its ballady keyboard direction.  It sounds like a Journey ballad, but it wouldn’t have done Kiss much good back then, when fans were tiring of ballads.  Good chorus and would probably benefit from a quality official release so we can really appreciate Paul’s singing.  “Don’t Let Go” is another ballad, but more in that “power ballad” mold, with a blaring chorus.  Just like every band was doing in 1989.  It could have been a hit, or it could have been forgotten.  Either way, Paul should do his own “Vault” release and get this stuff out there in better quality.  “Best Man For You” is, you guessed it, a ballad.  It sounds like something related to “Reason to Believe” from Crazy Nights.  Fortunately, the last and best song “Time Traveler” did get an official release on the Kiss Box Set.  This one actually rocks!  In that late 80s way, with a drum machine thudding away where you wish it was Eric Carr.  The tape sounds slightly sped up from the official release.  (It happens when it’s tape-based bootlegs.)

Finally the 1978 Paul interviews aren’t too action-packed.  They lack the question portions of the recordings.  The subject is Paul’s 1978 solo album, and what Paul was looking to accomplish.  (Sing more, apparently!)   He was also hoping to appeal to all Kiss fans, and new fans too.  He also hopes that none of the four solo albums would disappoint the fans.  That didn’t happen, but then there is some praise for the late great Bob Kulick and the other players on the record.  He also prophesizes that one day, Kiss will become an institution.  Was he right?  In total, it’s 8 and a half minutes of interview.

A worthwhile purchase if you can find a copy.  There isn’t much in terms of 1999 Phantom recordings out there, and this might be the best of them.

3/5 stars, balancing collectability and sound quality.  Still a must for Paul fans.

 

1. Overture
2. Angel Of Music / The Mirror / Phantom of the Opera
3. Music of the Night
4. I Remember / Stranger Than You Dreamt It
5. The Phantom’s Instructions
6. The Phantom Threats
7. The Phantom Attacks
8. All I Ask Of You
9. Masquerade
10. Wandering Child
11. Let My Opera Begin
12. The Point of No Return / All I Ask Of You
13. Down Once More
14. Finale
15. Paul Stanley – When 2 Hearts Collide
16. Paul Stanley – Don’t Let Go
17. Paul Stanley – Best Man For You
18. Paul Stanley – Time Traveler
19. Paul Stanley Interview 1978 Pt. 1
20. Paul Stanley Interview 1978 Pt. 2
21. Paul Stanley Interview 1978 Pt. 3
22. Paul Stanley Interview 1978 Pt. 4
23. Paul Stanley Interview 1978 Pt. 5
24. Paul Stanley Interview 1978 Pt. 6
25. Paul Stanley Interview 1978 Pt. 7

REVIEW: Led Zeppelin – Live EP (2025)

LED ZEPPELIN – Live EP (2025 Atlantic)

Feast or famine:  Led Zeppelin have always been weird with their archival releases.  There are numerous valid complaints about the release of this live EP, sourced from their 1975 Earls Court and 1979 Knebworth concerts.   Why not just release the whole shows, as they were on the DVD set?  Why not indeed?  We have no good answers to that, so instead we’ll focus on what we did get:  a smoking hot live EP by Led Zeppelin, including a magnificent “Kashmir”.  It also tickles the nostalgic funnybone that they simply called it Live EP.  From the band that brought you a DVD called DVD, and a box set called Box Set 2.  The cover art recalls Physical Graffiti in such a way that you know without guessing that it’s a Led Zeppelin release.

Of course, calling it an EP is a matter of perspective.  At over 34 minutes, it’s a live album.

“In My Time of Dying” was played fourth at Earl’s Court, but here it opens the affair with a slower, more brooding tempo.  Then things pick up.  You know how the song goes:  “Oh Gabriel, let me blow your horn!” as things get faster and funkier.  Plant drives this beast with orgasmic shouts and declarations, while Pagey plies the neck of his guitar with a slide.  In the back, John Paul Jones and John Bonham are so locked in, it’s boggling.  With Jones playing countermelodies, Bonham accentuates the groove.  You could listen to the song multiple times, focusing on different musicians, and not get tired despite the 11 minute running time.  Plant’s vocal outro is the kind of bombastic exercise you expect in any decent Zep parody – but done with sincerity.  This is is peak Led Zeppelin.

13th in the Earl’s Court set was “Trampled Underfoot”, but here it appears without a gap.  You want funky?  You got funky.  Talk about love!  Plant brings the love.  This accelerated version is locked into the groove, with Bonham adding flair when necessary, and John Paul holding it down.  Pagey is free to possess that riff like a six string demon, all before John Paul goes into a keyboard solo.  At about seven minutes, they just bring the whole thing to a boiling jam.  Not just a jam, but a memorable part of the performance.  A definitive version of a classic.

There is a fade before we get to the Knebworth 1979 tracks.  Something about late Led Zeppelin.  You know they were not at their peak, health-wise, and there are tales of mixed reviews live.  Knebworth was one such concert, considered a show with incredible moments of Led Zeppelin’s chemistry, and others a display of a tentative, nervous band.  “Sick Again” shows absolutely none of the weakness.  It was played 15th in the set.  Perhaps by that time, Zeppelin had felt warmed up and comfortable?

“Knebworth was useless. It was no good at all. It was no good because we weren’t ready to do it, the whole thing was a management decision. It felt like I was cheating myself because I wasn’t as relaxed as I could have been. There was so much expectation there, and the least we could have done was to have been confident enough to kill. We maimed the beast for life, but we didn’t kill it. It was good, but only because everybody made it good.” – Robert Plant

None of that is evident to the untrained ear on “Kashmir”, which was 13th in the set.  “Kashmir” is somewhat a rarity as far as official Led Zeppelin live audio versions go.  The only other officially released live version in audio format was on Celebration Day, a 2007 reunion concert with Jason Bonham on drums.  This sounds brilliant.  There might be more energetic performances out there, but as the only live one by the vintage band on CD goes, it’ll probably get repeat plays in your deck.

As a Live EP (or album if you will), this is a brilliant way to spend 34 minutes with Led Zeppelin.

4/5 stars

REVIEW: Bruce Dickinson – More Balls to Picasso (2025)

For a review of the original Balls to Picasso album, click here.

BRUCE DICKINSON – More Balls to Picasso (2025 BMG)

A time of turmoil!  As Bruce explains in the excellent liner notes within, there was a lot going on in the early 1990s.  Aside from leaving Iron Maiden in order to spread his wings as an artist, Bruce ended up scrapping the new solo album a couple times.  The first was an attempt with the UK band Skin.  Bruce was dissatisfied.  He tried again in America with Keith Olsen, a more pop version that Bruce said was influenced by Peter Gabriel.  Olsen had some issues, and that record too was scrapped when Bruce met a band called Tribe of Gypsies.  Immediately finding chemistry with guitarist Roy Z, Bruce started over again with producer Shay Baby, retaining only the song “Tears of the Dragon” from the earlier attempts.  Most of the Olsen album was ultimately released on B-sides, and on the 2 CD deluxe edition of Balls to Picasso.  The released 1994 album was heavy, and very 90s.  Little did we know, however, that Bruce wasn’t fully satisfied with the final album either.  By the time Bruce reunited with Roy and the Tribe of Gypsies in the late 1990s on Accident of Birth and Chemical Wedding, Bruce was questioning if Balls to Picasso should have been heavier.  More guitars.

Now, you can decide for yourself.  More Balls to Picasso is a remixed version of the album, with guitars added after the fact, and other enhancements made using the original tapes.  Given that the original is considered an important album in Bruce’s solo j0urney, it’s a risky record to revisit in this way.  Yet, Bruce did have a point.  As good as it was, it stands out in the discography as different; a lone rock.

The running order is unchanged.  “Cyclops”, a song more relevant today lyrically, is about living in the camera’s eye.  The sonic changes are immediate.  You can hear the sparse instrumentation of the original mix, but with thicker guitars and an added keyboard part that just shrieks.  It’s a very cool enhancement and the first clue that messing with this album was not a bad idea.  All the original elements are there, from Roy’s sparse guitar to the exotic percussion that often set the stage on this album.  Now there is just more to listen to.  You realize, there was always room for more.

“Hell No” opens as the original did, with more percussion and more guitar chords.  The bass has more thump, and the keyboard licks are a nice touch.  “Gods of War” has an added “war drum” part, along with some keys that sound like howling winds.  This song is one of the more transformed of the lot, though still not drastically so.  “1000 Points of Light” has one of the best enhancements.  In the chorus, you get a sudden guitar and keyboard duo lick that was never there before, and never would have existed in 1994.  It’s much more in line with the kind of metal melodies that Bruce did later in his solo career.  This hook improves the song 1000 percent, but never would have made the 1994 record.

Side two would have come at this point on the original album, which opens with “Laughing in the Hiding Bush”, never a standout song, but similarly remixed with additional atmosphere.  Now, “Change of Heart” is one that shouldn’t be messed with.  You don’t enhance perfection.  The keyboard/string arrangement is a nice touch, but the original is just too ingrained.  Its sparse arrangement was part of what gave it such lonely impact.  Now it sounds less special.  Less unique.  Less like a dark room with a sole occupant.  On the other hand, “Shoot All the Clowns” (which was a single) is much improved.  The song always felt a little cringey, with Bruce doing that rap part.  Now, with a horn section added, it makes much more sense.  A solid improvement.  “Fire”, meanwhile has more going on with the guitar and bass, and feels more engaging.  There are also what sounds like keyboards playing horn-like parts.  Moving on to the blazing “Sacred Cowboys”, this one would be difficult to improve upon.  Bruce’s double-tracked vocal on the original was so hypnotic.  This remixed version sounds strangely nasal.  Finally, “Tears of the Dragon” is another sacred song that you don’t want to mess around with.  The added string-like keys don’t really add.  Once again, the original was already perfect and this new one is like Bruce’s version of Drastic Symphonies.  Some may love it, but the original will remain the go-to for most.

Two added “live in the studio” bonus tracks are included.  Previously unreleased, these are heavy versions that should have been issued last time they released this album!  Bruce absolutely wails on “Gods of War”.  “Shoot All the Clowns” meanwhile gives you something to compare the horn version with, but Bruce’s vocals are very different on the verses.  They’re actually cooler here.

What this sounds like is Bigger Balls to Picasso.  It’s the same album.  With a couple exceptions, what we loved about the original record is still here.   In the liner notes, Bruce talks about being most comfortable in a “band” situation, rather than just with a bunch of hired musicians.  This sounds like the same band, but bigger.  It’s basically the Balls to Picasso band, as if they added a backing guitarist and a keyboardist and went out to play the songs live in the new configuration.  Some songs lose in the exchange, but more end up sounding better.  That’s it in a nutshell.

4/5 stars

 

REVIEW: Sammy Hagar & the Best of All Worlds Band – The Residency (2025)

SAMMY HAGAR & THE BEST OF ALL WORLDS BAND – The Residency (2025 Big Machine Rock)

Chickenfoot are back!  A rose by any other name, right?  Nothing wrong with it.  Nothing at all.  It would have been nice if there was some kind of official Van Halen tribute show, but since nobody else wanted to do it, it’s up to Sammy.  The songs deserve to be kept alive, both Sammy and Roth eras.  There are only two Roth songs here, but we didn’t expect more.  Recorded in Vegas during April and May 2025, the album was produced by Sammy Hagar, Joe Satriani, and Chris Lord-Alge.

The truth is that when Michael Anthony sings those backing vocals, things just sound a little Van Halen-y.  Joe Satriani is one of the only guys in the world I’d want to hear play Van Halen songs besides Eddie himself.  Sure, Joe doesn’t play the same.  Eddie was freewheeling and improvisational.  Joe is schooled and plays with forethought.  He is more than capable of pulling Eddie’s tricks and trademarks, but tends to stay away from slavish imitation.  He may do a pick scrape exactly where Eddie did it on “Top of the World”, but he doesn’t necessarily play all the hooks and fills exactly as Ed did.  He usually plays them close enough that the solos are true to the original while not being exact copies.  In other places, he goes off into jazzy territory that wouldn’t have been explored before.  That is really the way it should be when it comes to a tribute to the greatest guitar player who ever lived.  He wouldn’t want to hear Joe imitating him, either.

Kenny Aronoff is one of the best drummers suited around, always in demand.  It would have been nice if Jason Bonham was still around, but Kenny might be better suited to the Van Halen material (listen to him on “Summer Nights”).  Adding those necessary backing keyboards (and guitars and vocals) is Rai Thistlethwayte, from Australia’s Thirsty Merc.  Normally he’s a frontman and hitmaker unto himself, but this is a pretty tempting gig to take.

As for Sammy himself, Hagar is one of the most reliable figures in all of hard rock.  Barely aging as the decades pass, and always releasing new music and touring behind it, Sammy Hagar is rock and roll’s unsung stalwart.  He may often say too much, but on stage, he’s still in great shape.  Now, the songs are detuned a little bit to accommodate the aging human voice.  This is unavoidable.

The live album opens with the tribute to Eddie aptly called “Encore, Thank You, Goodnight”.  (The studio version is on a rare 7″ single that is very hard to find.)   Joe Satriani plays several licks that are in homage to Edward the Great.  Simple but poignant lyrics like “Since you’ve been gone, things don’t feel the same.”  It’s a decent enough song, but likely wouldn’t have attracted much attention if not for the words.  Decent song but only notable for its lyrics and intent.  It would not have been a standout on either of the two Chickenfoot albums.

It soon becomes evident that this album is as much a tribute to Sammy as to Eddie.  There are five Sammy solo hits included:  “One Way To Rock” (which admittedly Van Halen played live on the 5150 tour), “Eagles Fly” (unnecessary), “Mas Tequila!” (almost insulting considering that Eddie disapproved of Sammy promoting his tequila while on tour with Van Halen), “Heavy Metal” (which Van Halen never played live) and “I Can’t Drive 55”.  Contrast this with the two David Lee Roth era songs included:  “Panama”, and “Ain’t Talkin’ ‘Bout Love” (which Sammy doesn’t even sing; Rai does!).  Not even “Jump”, which Van Halen released as a live single with Sammy singing.  Throw in Montrose’s “Rock Candy” and it’s clear this isn’t entirely about the mighty Van Halen.

The setlist includes a few delights.  “There’s Only One Way to Rock” gives Joe a chance to really stretch out.  “Humans Being” was neglected by Van Halen, but this band does a great live version of it.  The only shame is that due to the decades past, Sammy doesn’t sing it in that monotone rasp.  Joe though, wow, he really nails the Eddie vibe on the guitar solo!  This version of “Humans Being” really shows why Joe was the right guy for this gig.  Meanwhile, Michael’s bass reminds us of why he was so integral to the band’s sound.  It’s great to hear “5150” (though the title should be in quotes on the back cover).  “Rock Candy” and “Heavy Metal” are awesome, regardless of the shift in focus away from Eddie.  “Love Walks In” is an interesting way to close the album, but it does work.

We always like to complain about setlists for shows like this.  It would probably have been appropriate to drop “Eagles Fly” and “Mas Tequila!” in favour of other songs (definitely not “Little White Lie”).  Anything to represent the Balance album would be welcome.  Sammy even could have included something from I Never Said Goodbye, an album that Eddie played bass on and co-produced.  That said, the album remains a solid listen.

Some diehards (or those who claim to be) won’t give The Residency a chance, but any fan of these musicians will love to hear how they interpret the works of Van Halen.  Pretty satisfying.

4/5 stars