Reviews

DVD/CD RE-REVIEW: Iron Maiden – Flight 666 – The Film – The Original Soundtrack (2009)

“Since their debut in 1980, Iron Maiden have become one of the biggest bands in the world.  With little support from radio or mainstream media, they have sold over 70 million records and played some of the most legendary concerts in rock history – including Britain’s Donington Festival, Rock In Rio, and Poland during the height of communism.  In 2008, they embarked on the most challenging and adventurous tour of their career…”  – Sam Dunn

IRON MAIDEN:

Flight 666 – The Film (2009 UM DVD)
Flight 666 – The Original Soundtrack (2009 EMI CD)

Supporting their newest compilation album, Somewhere Back In Time (released May 11 or 12 2008), Iron Maiden embarked upon a new kind of tour.  Lead singer and licensed pilot Bruce Dickinson wondered if there was a way for the band to buy a plane, modify it to carry all their gear and still have room for the road crew, and fly it from gig to gig.  As an added twist, Bruce often flew the plane himself.  The tour had to be captured on a documentary, so Sam Dunn and Scot McFadyen of Banger films took the job.

Since Somewhere Back In Time focused on the Dickinson albums from Number of the Beast to Seventh Son of a Seventh Son, Iron Maiden chose a setlist that (mostly) reflected this, with one notable exception.  The interesting thing about this setlist is, because there is only one song played from the Janick Gers era of Iron Maiden (which we’ll get to), he gets more solos on older songs than usual.  The final film was released theatrically, and later on DVD with a CD soundtrack.  The film featured 16 songs, each taped in a different city all over the world, from India to Japan to Brazil.  The concert footage was edited seamlessly into the documentary, but the DVD offers a second disc with the complete songs, unedited.  If you just want the audio experience, the 2 CD soundtrack has you covered.  Since the film had the songs in a certain order to suit the timeline of the tour, we will (mostly) follow the film song order for this review.  The CD features fade-outs between songs, since we all know they are from different shows.  This is the first and only Iron Maiden live album to date, to fade out from song to song.

Flight 666 was recorded over six weeks, from February 1 to March 16, 2008.  The film was released on April 21, 2009 with the soundtrack following on May 11, and the DVD on June 9.  With a running time of 113 minutes, the film made $233,193 at the box office.

1. “ACES HIGH” (Mumbai)

Cut to the airport, and Sam Dunn is boarding the plane Ed Force One.  Bruce is in his pilot’s uniform, and he explains how he came up with this idea to fly themselves on their own plane.  The plane had to be specially modified to carry the gear.  Guitarist Adrian Smith was skeptical.  Special authorization was needed and only came last minute.  Then, a wheel had to be replaced.  The road crew loved the luxury of it, and Dickie Bells gives the slovenly ex-colonial Canadians hell for standing there with their hands in their pockets.  First stop: India.  The band is completely mobbed by a crowd that has been waiting since 6 am.  “Wrathchild” can be heard at soundcheck.  The stage is just made of wood!

You can see a glimpse of the backstage prep before the band hits the stage.  Nicko walks to the stage in flip flops.  The show begins with “Churchill’s Speech”.  The “Aces High” song intro is the studio recording, before breaking into noticeably thicker live version (because of the three guitars).  Bruce in a toque, jumping and leaping everywhere!  He also enjoys playing a gong!  Davey and Adrian’s solo are both magnificent.  First song of the set, and Janick is already dancing!  Bruce’s voice is rougher and lower than Live After Death after 23 years past, and less melodic, but this is still a rather strong version of “Aces High”.

Bruce isn’t flying the plane in the next flight after the show; he is a passenger.  He is only allowed so many hours of work time if he is to fly the plane.  The band talk about manager Rod Smallwood, and they all do their Rod impressions.  Off to Malaysia and Perth Australia, before hitting Melbourne.

The song “Moonchild” is heard but not seen at this point in the film.  On the second DVD, it appears later, so we’ll pick it up then.

 

2. “2 MINUTES TO MIDNIGHT” (Melbourne)

“SCREAM FOR ME MELBOURNE!”   The crowd handles most of the chorus!  The Australians are absolutely nuts.  Bruce is in great voice.  Janick, dancing once again, twirling his guitar around his body,  irritating some and delighting others.  Adrian’s solo is more effects-laden than the album, but still the same notes.  Bruce and Steve run all over the stage, from left to right.  Top version of “Midnight ” – the best since Live After Death, in fact.

After the show, Adrian seems unhappy about the sound that night, but stresses that you have to push through for the crowd.  Bruce and Nicko praises Adrian’s ability to find all the right notes.

The band enjoys a day off, Adrian plays tennis with Wimbleton champ Pat Cash.  Nicko and Davey go golfing.  Steve brings his kids and enjoys family time.

 

3. “REVELATIONS” (Sydney)

Bruce comments that it took them a while to get to Sydney.  “WAKIE WAKIE!”  His vocals are powerful – no issue with the demanding song.  On this track, the triple guitar harmonies are…revelatory!  Bruce’s vocal is as passionate as it gets.  This is a top version of “Revelations”, second only to Live After Death.  Davey’s solo is like butter, and then Janick’s is sharp like a blade.  Nicko’s powerful right foot does what some drummers do with two bass pedals.  Bruce disappears backstage during the solos to re-hydrate.

 

4. “THE TROOPER” (Japan)

Bruce talks about his family heritage with the RAF.  On flying:  “You can never be the master of it.  It is a very humbling experience.”  There is an Eddie on the dashboard as they fly to Japan.  It is a place that Nicko has always wanted to visit.  The fans are polite and give gifts.  Backstage, Adrian plays some bluesy jams revealing his talent.  Dick Bell is constantly teased about retirement, and if this will be his last tour.  He is stern and hilarious.

For “The Trooper”, Bruce changes into the red coat waving the Union Jack!  The song is a tad faster but Bruce keeps up, and puts in an impressive powerhouse performance.  We’ve had a lot of live versions of “The Trooper” on their many live albums and singles, but this is a good one.  It’s cool when Bruce says “Hey Tokyo…”  The three guitars are blended really well here.  It is a pleasure to watch Davey bend his strings – wide, accurate and with great “guitar mouth” too.

Maiden fly to Anchorage Alaska, and then south to Los Angeles.  The palm trees are a stark contrast to the February snow!  Steve goes to the studio with Kevin Shirley. and works.  You can hear them listening to “The Longest Day” from A Matter of Life and Death.

 

5. “THE NUMBER OF THE BEAST” (Los Angeles)

Kerry King, Lars Ulrich, Scott Ian, Vinnie Appice, Tom Morello and Chad Kroeger are all at the star-studded gig.

Bruce is now down to a T-shirt.  His voice is pushed to the limits here, but he still manages a pretty great opening scream.  The pyro begins, and Bruce is once again leaping, and Janick is kicking up a storm.  Davey’s solo is wonderful when he extends that one note that he is prone to doing.  He really lets it ring.

Back on the plane, Bruce is flying once again and marvels at the change of seasons as they travel, as the jetlag sets in.  Off to Mexico!  Bruce senses there is always a sense of something exploding in Latin America when they arrive.  OLE OLE OLE OLE OLE!  MAIDEN MAIDEN!

 

6. “WASTED YEARS” (Monterey, Mexico)

A potential highlight of the film and sound track is “Wasted Yeats” from Somewhere In Time.   “It’s great to be in Mexico!” exclaims Bruce, as he playfully sits as the crowd cheers “ole ole ole ole ole”.   It’s cool to watch how Adrian plays the main guitar hook – a lot of open strings.  His solo has slightly evolved but it is now even better!  More energy, more shred!  It is skin-tingling when Bruce shouts out “ADRIAN!” and then Smith sings the next line: “So, understand…”   Later, he contributes vocals to the chorus: “Don’t waste your time always searching for those Wasted Years…”  He did write the song, after all.

Off to Mexico City.  Nicko describes Janick as a “lone soldier”, usually looking for an Irish bar.  Janick is also the jester, says Nicko.  Apparently has a degree in sociology.  He’s a free spirit and plays guitar as a free spirit, says Rod.  In Mexico, he explores a pyramid with Nicko.

 

7. “CAN I PLAY WITH MADNESS” (Mexico City)

Bruce’s voice is a bit rougher, but his huge sombrero is hilarious!  It’s so out of place!  This is a solid version of the song which is always challenging vocally.  Adrian’s presence on backing vocals improves the song over versions without him, such as Donington and A Real Live One.

Off to San Jose, Costa Rica. Maiden are playing a 27,000 seat football stadium.  Fans line the streets! The fans are a whole level above the rest!  They cannot imagine that Iron Maiden has come to Costa Rica , a once in a lifetime experience for them.  These people are truly starved of metal concerts like Maiden, and they are not shy about showing it.  Nicko goes golfing, but gets hit by a golf ball in the wrist.  Fortunately, a minor injury.  Nicko is the social side of Maiden, says Rod.

 

8. “POWERSLAVE” (San Jose, Costa Rica)

Bruce is wearing the full bird mask!  In full voice too!  SCREAM FOR ME COSTA RICA!  This version of the song thumps harder during the riff.  You can also hear keyboards providing backing melody.  Bruce riles up the crowd with a “HEY HEY HEY HEY!”, and this could be the second best version of “Powerslave” ever, after Live After Death.  Adrian’s solo is actually a very different version, a variation perhaps, of the album solo.  Still great, just new.

Iron Maiden now head Columbia, where soldiers are everywhere.  Bruce is very apprehensive, in case something goes wrong outside.  People camped out for days, sleeping under tarps waiting for Iron Maiden.  Security confiscates all food and all cameras.  There is a lot of tension in the air.

 

9. “RUN TO THE HILLS” (Bogota, Columbia)

Now Bruce is wearing a vest.  The crowd is mixed very loud in the chorus.  Davey’s wah-wah laden solo is cool, but otherwise this is just another version of “Run to the Hills”.  The crowd is what makes this version different as they are absolutely nuts.  One fan who caught Nicko’s drum stick is crying with emotion at the end of the show (during “Always Look on the Bright Side of Life”).  He thanks God, as other fans nearby weep in joy.

Nicko eats a pizza – says he likes the “sweaty feet” kind of cheese.   Off to Sao Paulo, Brazil next.  Bruce talks about their 1985 visit to Rock In Rio, and old video footage is shown from the televised event (which is also “Run to the Hills”).  Fascinatingly, there is a Priest who has a ministry in Brazil with 162 Iron Maiden tattoos.  He includes their lyrics in his sermons.  He named his son Steve Harris.  Incredible.

 

10. “HEAVEN CAN WAIT” (Sao Paulo, Brazil)

The band is seen playing football, and then we cut to the stage.  The football players have joined for the “Woah oh oh!” singing on “Heaven Can Wait”.   It’s pandemonium on stage, with dozens of people jumping up and down.  Janick takes the first guitar solo while Bruce hides behind a sarcophagus.  Bruce kicks the gong this time!  The triple guitars don’t seem to blend so well on the harmony solo, but Bruce is killing it on the vocals (aside from only singing “Heaven can…” most of the time.)   Janick’s solos are great here, defying those who call him second rate.  Again, Nicko’s right foot is doing the work of two feet.

The band continues to travel through South America for several more gigs, into Buenos Ares, Argentina.  They are greeted by fans at the airport once again.  Fans following them around 24 hours a day and it gets to be a bit much for Adrian.  He wants peace and quiet when he’s at the hotel, but fans are a mob at the front door.

 

11. “FEAR OF THE DARK” (Buenos Ares, Argentina)

This is the one and only song that does not fit into the Somewhere Back In Time era.  Why was it included?  It probably serves a dual purpose:  to give Janick a song from his era on this tour, and because it has become a concert staple.  The Argentinians don’t seem to mind.  The crowd are almost louder than the band.  Though we have many versions of “Fear of the Dark”, this one is solid.  Janick’s single harmonic note is always a favourite part.  The way the crowd blends with Bruce on the chorus is powerful.  Dickinson is in great voice, and you can hear every delicious pick scrape on the guitars.  This is a solid go-to version.

Off to Chile, and once again the fans are over-the-top crazy to see the band, mobbing them at the airport and making the national news.  At one point, Iron Maiden were banned in Chile for “Satanic” lyrics, so this is a big deal for the fans.

 

12. “IRON MAIDEN” (Santiago, Chile)

Bruce creates a neat muffled voice effect by singing “SCREAM FOR ME SANTIAGO!” into a paper drinking cup.

Out comes the Somewhere In Time Eddie!  You can see the guy controlling him too, with a massive remote.  Nicko is particularly pounding on this version of “Iron Maiden”.  Janick throws guitar in the air, and twirls it around, which the South Americans don’t seem to be complaining about.

 

13. “MOONCHILD” (San Juan, Puerto Rico)  Full song on CD and DVD disc two

Contrary to other live versions, the acoustic intro is live this time, not pre-recorded.  The usual synth part is re-created on guitar with an echo effect, by Adrian.  A unique version unlike the prior ones, and Steve is killing it on the bass, too.  Thge bass is  very prominent in the mix.  This is a great version of “Moonchild” and a delight to fans of Seventh Son era Maiden.

 

14. “THE CLAIRVOYANT” (Curitiba, Brazil)  Not in film at all – only on CD and DVD disc two

A fan makes it on stage and is promptly escorted off, you can see Bruce mouth “Who’s he?” to the audience.  The opening guitar harmonies are rich with the three guitars, and Bruce is in strong voice, bellowing the verses.

 

15. “RIME OF THE ANCIENT MARINER” (New Jersey)

Back to North America.  This the other show highlight.  “Rime” has a heavier riff with the three guitars.

Bruce is now dressed in a black cloak, spending a lot of time on the ramp over the drum kit.  This is the song he was most excited to revisit.  It really is a dramatic scene, and the fans are clearly psyched to hear this song again.  Keyboard accents (in spots) are added to provide a melodic backing.  There are loads of explosions and after the middle section is finished.  Quite a spectacle!  Adrian throws in a brand new tapping section into the guitar solo.  The triple harmony part at the end of the solos is thick, fresh and exciting.  Never before have we had this with three guitars.  A landmark version of the song.

Bruce is interviewed by Eddie Trunk.  He explains that they are doing this setlist for new, young fans who never got to hear these songs before.  Bruce notes that their audience keeps getting younger.  He doesn’t mention backlash to the Matter of Life and Death tour, which featured the new album played live in its entirety, but that probably also impacted their seasons to “play classics” this time.

Finally, onto Toronto Canada!  The CN tower can be clearly seen as they land in snowy Toronto.  Last show.  They did it.  It’s a successful tour.

 

16. “HALLOWED BE THY NAME” (Toronto)

SCREAM FOR ME TORONTO!  The atmosphere is electric as the fans clap along, and sing the opening section.  The beautiful harmonics on the guitar by Janick add texture.  Once the song picks up, everyone is leaping in the air.  Bruce is in great voice here, hitting the higher notes, and clearly putting 100% into his performance.  One of the heaviest versions of “Hallowed” available.  A good go-to live version of the song.

That’s the album, and that’s the film.  We go out to the end credits music:  Monty Python’s “Always Look On The Bright Side of Life”.

 

Taken as an album, this is a top three Iron Maiden live album.  Taken as a film, it is for fans only.  Unlike other metal documentaries, there is not much in terms of narrative or drama.  Nicko being hit by a golf ball, and Adrian complaining about mobs is as dramatic as it gets.  Who cares?  It’s Iron Maiden.  It’s a fascinating trip around the world in under two hours.   To be able to be a fly on the plane bulkhead wall with Iron Maiden is the whole point.

5/5 stars

 

RE-REVIEW: Eric Carr – Unfinished Business (2011/2025 RSD)

The KISS RE-REVIEW SERIES Part 42 Redux:  Eric Carr solo #2 (Reissued).

ERIC CARR – Unfinished Business (Originally 2011, 2025 Culture Factory)

Beloved drummer Eric Carr has two posthumous “solo albums”:  Rockology and Unfinished Business.  Both contain previously unreleased songs written and performed by Carr, some of which are polished up and finished properly, some of which are basic demos.  2000’s Rockology compilation contained a treasure trove of unheard goodies for the fans, but since there is always more to sell, another batch of tracks were unearthed to mark the 20th anniversary of Eric’s passing.  This time they called it Unfinished Business, and this time you can tell that there wasn’t much left in the vaults to release.   Yet, somehow, the Carr estate found even more tracks to release.  In 2023 a “remastered” version of Rockology was released for Record Store Day.  It included five more tracks, including very harsh demos from 1967, and 1974.  It also included a few alternate versions of previously released tracks, of limited value.  Then in 2025, and hopefully for the last time, five more tracks were coughed up on a similar reissue of Unfinished Business.  It is now an hour and 14 minutes long, so buckle up for a bumpy ride.

Getting the cosmestics out of the way first, Culture Factory do a fantastic job with these reissues.  The CDs are designed to look like vinyl.  Rockology was reissued on a black CD, and Unfinished Business is a lovely blue.  While the last album was designed to resemble the Kiss solo albums, this one looks like Creatures of the Night.  The style and obi strips for these reissues mean they also match each other.  Inside is a two-page booklet with very small print, and a sleeve for the CD, featuring two Kiss-era photos of Eric:  One from Creatures and one from Animalize.

There are a few Eric interviews and audio clips included, and the album opens appropriately with Eric introducing himself.  The first song is an updated version of “Just Can’t Wait” from Rockology.  Like a classic early 80s Bon Jovi song, it had slick hooks and hit potential.  This fine demo was just crying out for a lead vocal to finish it off.  This was completed by Ted Poley of Danger Danger.  Though the backing track lacks the fidelity of a proper Kiss recording, the song has taken shape as the shoulda-coulda-been hit that it is.  Eric would have been proud and very happy to hear it as a finished song, even though it sounds like you’re playing an old cassette.

The unfinished “Troubles Inside You” is a demo with regular Kiss collaborator and Beatlemania member Mitch Weissman.  It was recorded at Gene Simmons’ house, but the old cassette must have deteriorated pretty badly.  The music is barely audible, though hints of a good song shine through.  It clearly needed work, particularly on the chorus.  Weissman is on lead vocals, and Eric programmed the drum machine.  It sounds like a Creatures outtake, but this demo is truly chore to listen to.

There are a couple Kiss songs here for the diehard fans.  “No One’s Messin’ With You” is accompanied by an audio clip of Eric explaining that he insisted on singing a song this time.  Yes, that means this is yet another demo of what would become “Little Caesar” from Hot in the Shade (Another called “Ain’t That Peculiar” was released on the 2001 Kiss Box Set.)  This is an almost completely different set of lyrics, although it does have the “Hey Little Caesar” chorus.  In chronological terms, this version probably falls between the other two, with lyrics still a work in progress and a different verse melody.

Disappointingly, some songs here are not recorded by Eric Carr.  “Carr Jam 1991” and “All Hell’s Breakin’ Loose” are not demos.  They are remakes by Zo2 drummer Joey Cassata as a tribute.  Sonically both sound great, but why do we need these?  For “Carr Jam”, we already have a Kiss version which has Eric Carr on drums and Bruce Kulick on guitar.  This one has a guitarist named Benny Doro playing all the electric instruments.  Giving Cassata credit, he plays homage to the Fox’s drum hooks and style very admirably.  “All Hell’s Breakin’ Loose” with Paulie Z on vocals, belongs on a tribute album.  Not an album billed as an Eric Carr CD.

“Carr Jam” is followed by an interview about Eric’s audition, but it is followed by one of the very worst tracks in terms of quality.  This is “Shandi”, from Eric’s Kiss audition tape, with brand new acoustic backing music.  Unfortunately, Eric’s shaky voice (or a warbly tape) makes this totally unlistenable.  We have to assume it’s the tape, because nobody would dream of sending this to Kiss as an audition.

Two more Kiss outtakes include the legendary “Dial L For Love” and “Elephant Man”.  These were written for Crazy Nights and Revenge, respectively.  Neither were finished by Carr.  “Dial L For Love” has the bones of a good song with a unique 80s riff, including harmonics.  Eric only managed to finish the lyrics for “Elephant Man”, but here it is given music and life by a group of musicians including the late A.J. Pero of Twisted Sister, and ex-Europe guitarist Kee Marcello.  Singer Bob Gilmartin did a great job of it, turning “Elephant Man” into a cross between ballad and rocker, and something Kiss actually could have done on Revenge. “Elephant Man” does not feature Eric, only the lyrics he wrote, but it actually turned out pretty good.  We’ll allow this one, even though Eric isn’t on it, because there was no better way for us to hear his lyrics.

Eric’s Kiss bandmate, Mark St. John, found the cassette tape for “Midnight Stranger”.  It is another unfinished riff.  Mark was slated to overdub brand new solos for this instrumental, but he too passed before he could finish.  This is the original cassette demo.  The riff sounds like a brother to “Carr Jam”.  They are definitely related.  One has to assume that Eric gave this tape to Mark at some time during the making of Animalize.  Obviously, neither Mark nor Eric would be allowed to write on the album, so this is an interesting oddity.

Rockology featured a good Eric original called “Eyes of Love”, which Bruce Kulick finished by adding his guitar.  This version has Eric’s lead vocals backed by a new recording by Benny Doro and drummer John Humphrey.  Obviously, the Kulick version is the go-to.  This version doesn’t add much in terms of value to the fan.  It’s an artificially created “new” version, to flesh out an already dubious CD release.

“Through the Years” features some Eric Carr drum solos edited together, and dedicated to Bill Aucoin (who also features in an audio clip).  The drum solos themselves will sound familiar, as many ended up in “Carr Jam” and Kiss concerts live.

Finally there is a 1967 recording by Eric’s first band The Cellarmen, with Eric on lead vocals.  At the time of the original release for Unfinished Business, this was considered something really rare and special, but it turns out they had more that they were hanging on to.  Now, we get two more Cellarmen tracks:  1967’s Beatles-y “I Cry At Night” and 1968’s “I Found You (One I Adore)”.  These tracks sound pretty decent considering their age.  An official release like this is certainly welcome for these old tapes.  The late 1960s are alive again when you push play.

Several of the remaining bonus tracks are quite long.  Into the 1970s, we have a lengthy jam of “Down By The River”, performed by Salt and Pepper, recorded in 1974.  According to the CD, that is Eric on lead vocals and drums.  It sounds like when Deep Purple Mk I used to do slow psychedelic cover versions, complete with slamming drums.  Not a great cover, but certainly of interest to Eric fans.

“Get Down” is an overlong disco demo by Creation, dating to 1974.  This one is complete with a horn section, sax solos, and organ.  The surviving tape quality limits its listenability.  It’s interesting not only to hear Eric play the disco beats (quite awesomely), but also to hear him sing this soulful style.

Rewinding to 1972, Salt and Pepper also covered “Black Magic Woman”, this time keeping it to about five minutes.  Eric’s drumming on this is absolutely thunderous.  Though it is hard to shake the Deep Purple Mk I vibes, comparing Eric to Ian Paice on this is not out of the question.

The final track, a cover of “Listen to the Music”, dates back to 1977 and is recorded by Mother Nature Father Time.  This is a nice pop rock song with twangy country guitars.  Eric’s vocals are present but a bit muffled, making it hard to fully enjoy the tracks.  It is a pretty impressive version of the song, with ample accompaniment.

Never mind that the five bonus tracks from Rockology and the five from Unfinished Business could have been released as a single standalone disc, a third Eric Carr album perhaps.  That’s what should have been been done, for the fans who are tired of endless reissues.  Let us hope that more tracks don’t mysteriously turn up on a third go-round of reissues.

2/5 stars

 

 

#1234: The Legendarium of George: The Official CB Dictionary

Part Four in the Legendarium of George Trilogy

  1. #1182:  The Legendarium of George
  2. #1184: The Legendarium of George: Gene Simmonsarillion
  3. #1186: Reunion of the Legendariumites

 

RECORD STORE TALES #1234: The Legendarium of George: The Official CB Dictionary

“George is a stealer!” said Michelle Szabo from across the street.  It was a well-known fact by the mid-80s.  George was first caught stealing when he was just in grade school.  He stole Play-Dough from Crestview school.  He was caught and shamed via the gossip that spread down the street.  I already knew he was a thief.  He stole some of my Lego pieces from before I was even old enough to go to school.  Eventually, George’s shoplifting became an open secret.  He would boast of things he took.  You’d always wonder if that new “whatever” that he was showing off, was in fact stolen.  He had the balls to steal John Schipper’s bicycle and then store it in his open garage.  I believe he received a righteous pummeling from John over that.

One day he showed up on the front yard while the rest of us were playing, with his latest acquisition:  the Official CB Dictionary.  It was a red hard-cover handbook with gold writing on the front.  It translated CB radio slang into English, and from English back into CB.  Why he stole it, and from where it was stolen, I know not.  But stolen it was.  I suppose he thought it would be entertaining.  None of us owned a CB radio, but every once in a while you could get a trucker on your walkie-talkie if you were lucky.  George had no need for a CB dictionary, but steal it he did, followed by showing off later.

At some point in the book’s history, it was acquired by me.  I don’t know how anymore, but it was probably one of several items that George traded me in exchange for something he wanted.  Indeed, my first Kiss albums were acquired from him in a complex series of trades that, in the end, netted me Kiss Alive! on vinyl, an Iron Maiden single, a Black Sabbath Paranoid cassette, and a Walkman among other scores.  The CB Dictionary probably came into my possession in such a trade.

I thought I could use the book in my fiction writing, but not once did it come in handy for that.  In my younger years, I took it upon myself to write adventure fiction based on similar concepts to GI Joe and the Transformers, but with a heavy metal image.  Alas, my characters never spoke CB.

All these decades, there was only one slang phrase that I remember.  It’s a good one at least.

I remember being confused and befuddled when I opened the book to “A”.

Abuse it:  masturbate

That haunted me for the rest of my days.

Thanks George.

REVIEW: Helix – 50: The Best Of (2025 LP + CD set)

HELIX – 50: The Best Of (2025 Crown X CD/LP)

In 2024, Helix celebrated their 50th anniversary as a band.  In 2025, they marked it with a new compilation album, at least their 11th to date.  Much like the legendary Rush, they went with a simple title for this milestone:  Helix 50.

This was a frustrating set to finally buy.  All I wanted was the CD, which has three extra tracks on top of what the vinyl has.  I don’t know if the CD was ever available separately but I never found one.  Then I waited and waited for the CD/LP combo set to show up at one of my preferred retailers and it never did.  I decided to order it from the Helix store with some Christmas money, and it took a month to arrive.  Weirdly, it was “in stock” when I ordered it, but when I emailed to ask about my order after almost a month, I was told they were awaiting more signed stock.  Then, it arrived three days later at my house.  Brian Vollmer’s autograph is in silver pen on top.  (Gold pen would have looked amazing!)

This CD/LP combo of Helix 50 has a gorgeous looking record inside, but is bare-bones packaging-wise.  The set came with a Helix guitar pick and a turntable mat, but lacks the booklet and liner notes that a 50th anniversary compilation deserves.  (I’m always available to write guest liner notes, boys!)  It comes housed in a gatefold sleeve, with the CD tucked inside the front cover.  There are roughly 45 monochromatic photos in the inner sleeve, celebrating the classic era of the band.  The album itself consists of 11 tracks, plus three bonus from the 1993 It’s A Business Doing Pleasure album.  (The first of several mistakes on the liner notes:  the songs are credited to ‘It’s A Pleasure Doing Business (1993)’, but that re-issued title actually came out in 2024, while the original It’s A Business Doing Pleasure was 1993.)  Of the songs, here is how they break down:

  • Seven are re-recordings of classic hits from the EMI years 1983-1987.  Two of these are unplugged re-recordings.  Only “Rock You” is new.
  • One track is from 1990’s Back For Another Taste unaltered.
  • Another track is a single mix from Back For Another Taste, previously released on other compilations.
  • One song is from 2009’s Vagabond Bones, unaltered.
  • Four are from 1993’s It’s A Business Doing Pleasure.
  • One is a “Radio Remix” of 2025’s download-only single “Stand Up”.  (At least we think so – on the back cover it says “Radio Remix”, but in a misprint, on the label it simply says “Remastered”, not “Remix”.)

In some more mis-prints, on the back cover “Heavy Metal Love”, “Deep Cuts the Knife”, “Wild in the Streets” “Make Me Do Anything You Want”, “Dream On” and “The Kids Are All Shakin'” are listed as “2025” versions, but these appear to be the previously released 2006, 2010 and 2011 recordings.  Only “Rock You” appears to be a new 2025 version.  The other versions were only “remastered” in 2025.  Some of the remasters leave something to be desired.  “Good to the Last Drop” sounds blunted compared to other offerings of it.

According to the internet, “Rock You” includes three special guests: Phil X (Bon Jovi) on guitar, Todd Kerns (Slash) on guitar and Brent Fitz (Slash) on drums.  In a tragic omission, none of this information is included in the Helix 50 package.  The only way you’d know is by Googling it.

The acoustic songs have been released before.  Of these re-recordings, it is the power ballad “Deep Cuts The Knife” that packs the most punch.  They went to great effort to replicate the keyboards and backing vocals of the original.  The songs also stay faithful to the original Doerner/Hackman solos.  This acoustic version of “(Make You Do) Anything You Want” is breezy and lighter, and Brian Vollmer absolutely nails everything about the vocals.  It’s a different, slightly softer take on the old classic.  It must also be pointed out that bassist Daryl Gray is an articulate musician with chops, who always finds the right notes.  An under-appreciated bassist.

The remix of “Stand Up” is the first physical release of this standalone download-only single.  The new mix sounds muffled compared to the 2024 version, which is still unreleased on CD or vinyl.  It’s a good song with blazing guitars and a melodic chorus.

Standouts include “The Animal Inside” from Vagabond Bones, which snarls out of the gates.  The acoustic numbers offer subtlety, but there are too many soft moments that don’t really reflect the full gestault of 50 years of Helix.

There are no songs representing the legendary first two albums (Breaking Loose and White Lace & Black Leather) which really takes the bite out of the Helix 50 concept.  “Billy Oxygen” would have been more than welcome.  Only two songs come from the last 30 years of the band, a period in which Helix released plenty of great unrepresented albums and singles.  Notably missing from this period:  Standalone download singles “Brother From A Different Mother” and “Not My Circus, Not My Clowns” which should have been included as bonus tracks.  As of 2025, there is no physical release with those two songs.  Helix 50 easily could have been a double!

One final mis-print:  “The Kids Are All Shakin’ Unplugged (2025 Unplugged)”.  Not only is it actually the 2010 version, but “Unplugged” is printed twice.  Not quite a misprint, but it is weird that guest players Lee Aaron and Kim Mitchell are not credited on the back cover.  (A booklet with credits would fix this issue.)

The classy cover art, with the Helix 50 logo and sparks, is perfect to represent this golden anniversary.  The track listing offers less value to the fans who have been here for 50 years.  The band is limited by what versions of what songs they have access to, and vinyl is limited by run time, but the CD has room for at least five more songs.  Had the full length of the disc been utilized, a more well-rounded representation of the last 50 years of Helix could have been realized.  Ultimately, Helix 50 will please most casual fans who don’t have any Helix on vinyl (which is stunningly gorgeous in black and gold), but leaves a taste of disappointment for those of us who have been here the whole time.

3/5 stars

Dr. Kathryn Ladano accepts Distinguished Alumni Service Award from Conrad Grebel University

Dr. Kathryn received this award on Wednesday February 4 in front of a crowd of students who were spellbound by her speech.  This will be interesting to anyone who is curious about music, improvisation, and education.  Did you know that Dr. Kathryn struggled to find a school who were willing to support her musical instrument of choice, the bass clarinet?  Snobby classical musicians felt the bass clarinet, invented in the 1800s, was too “new” an instrument.  Bach never wrote for bass clarinet, for example.  Hear about the struggle and the tenacity that it takes to follow your musical dreams in a world that doesn’t like to accept new things.  This is a fascinating talk.  Please enjoy.

REVIEW/VIDEO: Rick Hughes – Redemption (Japanese CD) with Dan @OfftheCharts

Please join Dan from OfftheCharts and I for this review and unboxing!

RICK HUGHES – Redemption (2025 Deko/Rubicon Japanese import)

Rick Hughes of Sword fame is back with some of his most personal music to date.  In short:  it rocks!

Highlights:

  • “Dead End Road”
  • “The Real Me”
  • “Will of the Gun”
  • “Someday”

The Who cover “The Real Me” features Ozzy’s Speak of the Devil band!  Rudy Sarzo (Quiet Riot, Whitesnake), Tommy Aldridge (Whitesnake) and Brad Gillis (Night Ranger).  This smashing version destroys other cover versions you know.  Meanwhile, “Someday” is not really a cover of an Aldo Nova song.  It is a Rick song he has reclaimed as his own.

There are more guests such as Lee Aaron and Robby Krieger (the Doors), and not one weak song in the batch of rockers, ballads, and soulful swingers.

Check out the video below, where Rick explains the origins of “Someday” while we take a good look at the Japanese CD and compare to the domestic vinyl.

4/5 stars

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.

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