AEROSMITH – Music From Another Dimension! (2012 Sony Music Japan)
When this album came out in 2012, Tommy Morais and I both took a shot at reviewing it, and you can find both those reviews here. With the benefit of hindsight, Tommy’s review (2/5 stars) is more in line with how I feel now, compared to the 4/5 stars I rated it in 2012.
Having recently acquired a Japanese import of Music From Another Dimension, with two exclusive bonus cuts, now is the time to revisit the album for yet another review. It can be interesting to document how music does or doesn’t grow on you over the years. Unfortunately for me, Music From Another Dimension has become more irritating, and I am less willing to overlook its flaws.
The core weakness is that the album sounds like a collection of soundalike outtakes from Get A Grip. The modern production and layers and layers of overdubs do it no favours. “Luv XXX” sounds incomplete. I praised it as “really good” before; I’m not willing to go that far this time. The production is unnecessary and that’s true of most of the album. I think that’s why nobody believes Aerosmith when they say “it sounds like Rocks“.It was never going to sound like Rocks. Aerosmith simply do not record things basic and live like that anymore.
“Oh Yeah” is still pretty good, as is “Street Jesus” and the funky “Out Go the Lights”. Given a few years to absorb the album, “Out Go the Lights” is one of the few tracks that really does harken back to better days. More cowbell! Probably the best tune on the album, and certainly the most vintage. The ballads, as before, are largely crud. “Another Last Goodbye” is the only one still memorable today.
The Japanese fans did not get the same bonus tracks that we got on our North American deluxe edition (“Sunny Side of Love”, “Oasis in the Night”, “Up on the Mountain”). They got some equally interesting stuff instead. “Shakey Ground” is so good, it’s insane that it wasn’t included on the album proper. Just nuts — “Shakey Ground” is the most authentic thing Aerosmith have done in decades. With full-on horns, sax and female backing vocals at the ready, Aerosmith finally really turn up the funk again! I want to know who’s playing clavinet, but the credits don’t say. Tyler? “I’m Not Talkin'” is also quite good, being a rockabilly experiment. No layers of production, no additional accoutrements, this is just Aerosmith playing, and Tyler singin’. Unlike much of the rest of the album, this sounds like something real; an actual band!
Can you imagine if Aerosmith had cut just a little bit of fat from the album (mainly ballads), and included the bonus tracks instead? You’d have a shorter, harder, more Aero-sounding disc. Less is more. Music From Another Dimension is the musical proof of this concept. The less fiddling in the studio, the less overdubbing, the better. And fewer songs are better, too. Aerosmith albums used to have 10 songs on them. Maybe they should get back to that, especially considering that Music From Another Dimension has 20 altogether.
THE TEA PARTY – The Edges of Twilight (20th anniversary Universal deluxe edition, originally 1995)
The Tea Party have long been slagged as derivative. “They sound too much like the Doors!” screams one corner. “Zeppelin copy-cats!” cries another. The first complaint isn’t true; singer Jeff Martin has a Morrison-like vibe but the Tea Party sound nothing at all like the Doors. The second carries some weight to it, especially when it’s 1995’s The Edges of Twilight we’re talking about.
Due to an early connection with folk singer Roy Harper, a cover of “Train Kept a-Rolling”, and exotic world music influences, the Tea Party have long been compared to the mighty Led Zeppelin. This was cranked up a notch on The Edges of Twilight. From dirty electric blues, folksy English-sounding ditties, and and wealth of stringed instruments from all around the world, the Tea Party just went for it. Though many praise the band’s prior album Splendor Solis (their major label debut) as a high water mark, Twilight exceeds it in almost every way. I seem to remember reading that the album had something like 50 different instruments on it. The sheer ambition and skill involved in pulling off an album this complex has to be admired.
That all sounds very heady and sophisticated, but the first single and opening track “Fire in the Head” rocks plenty hard. A perfect 50/50 mix of the exotic and heavy sides of the Tea Party, “Fire in the Head” is savoury. The Zeppelin comparisons are unavoidable, but because Jeff Martin is not that kind of singer, it has a darker more ominous ambience. “The Bazaar” then takes it up a notch and into North Africa. Still heavy, but with the world music more prominent, “The Bazaar” too was a single and a hit. Let’s face it, the last major band to combine Gibson Les Pauls and world music in this way was in fact Led Zeppelin. Is that a reason to criticize the Tea Party? The answer is no, because they did not choose to do something easy. They took the hard road with The Edges of Twilight.
There are many excellent songs on the album, including another single “Sister Awake”, one of the most complex tracks. There are heavy electric blues tracks like “Turn the Lamp Down Low” and “Drawing Down the Moon”, and fully acoustic songs like “Shadows on the Mountainside”. The best tracks are the most pompous. Similar to the singles from the CD, tracks such as “Walk With Me” and “Coming Home” are big and bold with loud choruses. Though not a single, “Walk With Me” is a fan favourite and considered one of their must-haves.
But that’s not all! After several minutes of silence (oh, the 1990’s!) there is a hidden unlisted bonus track! “The Edges of Twilight” is a poem written and spoken by Roy Harper backed with music by Jeff Martin. Having a guy like Harper in the band’s extended family lent them credibility that other bands could not hope for. And then there’s even another hidden snip of music. After another silence is a few seconds of a rehearsal of the song “Correspondences”.
Harper also appears on the bonus CD, on a song called “Time” which originally appeared on the 1996 Alhambra EP. This is a full-on 70 minute Tea Party track with Roy Harper singing instead of Jeff Martin. Ballady and somber, and then explosively electric, “Time” is a triumph that deserves a second look. (Other tracks lifted from that EP are acoustic versions of “Inanna” and “Silence”.) The bonus disc is otherwise loaded with demos, acoustic versions and alternate versions, and live takes. With the exception of “Time”, this is all purely supplemental stuff and mostly interesting to fans of the band. The demo versions are remarkable for how near-complete they are. The band did not need to tinker much with arrangements in the studio.
There are ample liner notes and photos. Co-producer Ed Stasium praises the CD and says it is one of the top five he has ever been involved in. Serious praise, but the album deserves it. The Tea Party took a detour after this into the world of electronica, with 1997’s Transmission. 20 years later, The Edges of Twilight remains the most impressive Tea Party album and the most heady mix of world music and rock and roll.
FACT #1: Covers albums rarely have enough fuel in the tank to get an engine running.
FACT #2: Ace Frehley has never done a covers album before.
The main thing is that Ace Frehley is still alive and making music. He’s never been the most prolific writer in Kiss, hence this diverse assortment of covers. In the pot are songs from bands that influenced Ace, a few Kiss covers (including one that Ace never played on originally), and a guest shot by Paul Stanley (among others). Sometimes it’s hard to feign interest in a covers album, but these factors make Ace’s enticing. Not to mention, it’s a clean and sober Ace playing these songs.
Ace and drummer Scot Coogan play everything on Cream’s “White Room”, with Coogan singing the bridges. This guitar-heavy version takes what Clapton did, and “Aces” it up. It’s guitar solo nirvana, though the Stones’ “Street Fighting Man” takes a few minutes to get to that same point. Ace has always done well with Stones covers, and it seems he can identify with songs like “Street Fighting Man” due to his rough past. It’s a fun excursion but the solos are the draw. Imagine the Stones but with the bright fun Gibson stylings of Ace Frehley. Hendrix’s “Spanish Castle Magic” is a natural choice since Ace’s speak-sing style always seemed influenced by Jimi. Purists may scoff, but Ace’s take on “Spanish Castle Magic” is pretty enjoyable and guitar-heavy (John 5 on guest guitars).
The online hype focused on Paul Stanley’s return to Ace’s orbit. While Ace plays all the guitars, Paul ably takes all the vocals on Free’s “Fire and Water”. As Kiss fans are well aware, Paul has suffered from some serious vocal issues in the last few years. Live, Paul can be a bit of a mess. In the studio, he makes it work. Paul lacks the power he had back in the Kiss days, but his singing here is great considering. It’s over far too quickly. Paul singing Rodgers is quite a moment.
Ace is well suited to Thin Lizzy, a band you don’t think of as influential to Kiss since they were contemporaries more or less. “Emerald” has gone down in history of one of Lizzy’s heaviest favourites. Predictably, the highlight of “Emerald” is the solo section. Lizzy were a two-guitar band, so Ace got Slash to come in and solo back and forth, answering each other like Gorham and Robertson. The two go toe-to-toe in a blur of Gibson Les Pauls.
Led Zeppelin had a serious impact on young Kiss, and Ace’s covering of “Bring it on Home” is inspired and transformational. Lord knows what guitar effects Ace has up his sleeve, but he nails this Zep classic without any missteps. Ace sings the bluesy intro, but drummer Scot Coogan ably handles the higher main vocal.
One of the most notorious and difficult songs to cover without sounding like an asshole is “Wild Thing”, 51 years old and still inspiring cover versions. Lita Ford makes a surprise appearance on both lead guitar and vocals, and she sounds amazing on both counts. There is just no good reason to cover “Wild Thing”, because the Troggs did that definitively in 1966 and that’s that. More significant is Frehley’s update to his own “Parasite”, a song originally from 1974’s Hotter Than Hell. Gene Simmons sang it originally, though Ace wrote it. Speaking of “definitive”, it’s very tempting to think of this as Ace’s conclusive statement on “Parasite”. After all, Hotter Than Hell was sonically pretty disappointing. Plus Ace had 40+ years to grow as a guitarist since then, and believe it — Ace blows the doors off “Parasite”. This is a song worth buying the CD for.
Unfortunately “Parasite” is book-ended by two songs that didn’t need remakes, the first being “Wild Thing” and the second “Magic Carpet Ride”. Ace does inject it with his trademark fun style, but it’s all very unnecessary. Brilliant playing though.
A second Kiss update is “Cold Gin”, featuring Mike McCready of Pearl Jam. Like “Parasite”, Gene Simmons sang the original, but “Cold Gin” was one of the first stone cold classic Ace-written Kiss tunes. Ace has every right to try and reclaim it as his, a difficult task since the Kiss Alive! version is the only one you will ever truly need. Now with Ace doing the vocals and more soloing added, this version can perhaps be considered the second most important take — the one with Ace singing.
A pretty standard Kinks cover (“Til the End of the Day”) works fine. You can trust Ace to know how to treat the Kinks. The final and possibly biggest surprise is the final Kiss cover. The odd thing about it is that Ace never played on the original version of “Rock and Roll Hell”. This tune came from the batch that Kiss wrote with Bryan Adams and Jim Vallance in the early 80’s. It was recorded for 1982’s Creatures of the Night, the album that Ace didn’t participate in, before leaving the band. He appeared on the cover, he appeared in the videos, and fans didn’t know any differently, but Ace didn’t play or write anything on Creatures. In fact Ace never heard “Rock and Roll Hell” until recently. When coming up for ideas of songs to cover for Origins Vol. 1, Ace’s label rep Ken Gulick burned Ace a CD of tracks to listen to for consideration. (The CD contained two Who songs, two Cheap Trick songs, and mind-blowingly, two by Rush.)* Because Gulick felt that Ace had some unfinished business with Creatures of the Night, he also included two songs from Creatures on the CD. The ballad “I Still Love You” was the other track. Frehley apparently went bonkers for the Simmons-sung “Rock and Roll Hell”, and now we finally get to hear what might have been if Ace hadn’t left Kiss when he did. Perhaps if Ace was in good enough shape, Simmons could have given him “Rock and Roll Hell” to sing, and it would have sounded something like this. Matt Starr’s drums are given a similar echoey treatment to replicate Eric Carr’s sound from the original LP.
Does this close the book for Ace making amends with his Kiss past? I sure hope note. Vol. 1 implies a Vol. 2. If Ace were to continue covering Kiss tunes he never had the chance to sing in the studio, that leaves “Strange Ways”, “Comin’ Home” and possibly more that he could consider updating with his stamp. Although Origins has some “blah” moments as most covers albums do, among the highlights are undoubtedly the Kiss tracks. They push the album out from being a mere curiosity, to a must-have for any Kiss fan.**
** Made a double must-have by the low low price. I paid $12.88 at Wally World (plus I scored a“holy shit, jackpot”load of rare Star Wars figures). HMV were charging $15.99, and had him filed under “Ace Freshley“. HMV – the music store – has Ace’s name spelled wrong. Yet one more strike against the once-mighty HMV chain! See below for the evidence.
“ACE FRESHLEY” at HMV
Jackpot at Wally World
For Jon Wilmenius’ excellent review of this album, click here.
IRON MAIDEN -“Empire of the Clouds” (2016 Parlophone Record Store Day picture disc single)
The story of acquiring this single and RSD 2016 can be read right here, so without getting into the details again this is what you need to know:
This was a Record Store Day exclusive (April 16 2016).
There were only 5500 copies made.
Everybody wanted one.
The picture disc and packaging are gorgeous. The record is a depiction of the Eddie destroying the R-101 airship, but fear not, this is not how history actually unfolded! This picture disc is ensconced in a die card cover with reprintings of the Daily Mirror newspaper article from the day following the disaster. It’s a lovely keepsake for sure, but it also has an exclusive interview on the B-side.
Not that the A side is unimportant. From my original review for The Book of Souls, I had much praise for “Empire of the Clouds”:
“Written solely by Bruce and coming in at almost 20 minutes, it is unprecedented in the Maiden canon. Never before have the credits ‘Bruce Dickinson – vocals, piano’ been written inside one of their albums. For the first time ever, the piano is a part of Iron Maiden’s makeup. Maiden have used orchestras before, and the strings return as well. ‘Empire of the Clouds’ is a peak accomplishment, something that they (and Bruce) can proudly proclaim, ‘we did that’. The piano is a natural fit, in the way it is used to make an epic song even more dramatic. Aviation has been one of Bruce’s favourite lyrical subjects for a long time, but ‘Empire of the Clouds’ might be his first song about airships. You can trust him to instil it with all the drama and heaviness that you expect from Iron Maiden.”
Nicko McBrain and Bruce Dickinson discuss the making of the song, almost an album in itself, on the B-side “Maiden Voyage”. The R101 was a massive airship (“the Titanic fits inside”) that was rushed into service and caught flame in 1930. Bruce wrote the song on piano, which he had learned to play over the last three years. He then researched the history of the airship and worked on the words. The way he describes the incident on this interview track, it was a perfect storm of everything going wrong. In its context, the airship was an expression of the ambition of the British Empire to stretch to all corners of the Earth and above as well. Bruce says the crash was the end of this era.
Part of the story involves a storm, so Bruce came up with a piano part to depict that. Before long he had enough components from his piano writings to build the different parts of the song. One of the bits was written when Jon Lord (from Deep Purple) was ill with cancer. After his death, Bruce used this piece for the part when the airship initially sets off. It’s interesting that this era of British ambition inspired the most ambitious track that the singer had ever attempted. This includes a musical “S.O.S.” in Morse code, something I picked up on upon first listen.
Bruce has particular praise for drummer Nicko McBrain in the building and recording of this song. Nicko was not only a help in a technical respect, but also as a cheerleader keeping the band driven, so much was he into it.
Bruce Dickinson is a remarkable individual in heavy metal. You don’t see many metal stars as well educated in history as Bruce, or as capable at communicating it to his audience. Indeed, as a presenter on the BBC, Bruce has brought history to many diverse audiences. You would think Iron Maiden fans would be one of the more challenging groups to reach, but Maiden followers are hungry for this kind of content. We can only respect the band that much more when we realize the true depth of their work. This coming from a licensed airline pilot, published fiction author, cancer survivor and amature fencer who also happens to be in Iron Maiden. Extraordinary!
I’m not sure if this disc was worth the buying frenzy it spawned or the online prices you are about to see, but I’m sure glad I got my copy.
THE SWORD – London Music Hall, London Ontario 04/12/2016
I don’t think we ever found out the name of the first band that played on this night. They had some great riffy moments, nothing too spectacular but a good way to warm up the crowd. Seconds after they finished their set, Tom turned to me and said, “Never too old to enjoy a Rock Show.” A month earlier we had enjoyed another Rock Show, catching ZZ (that little band from Texas) Top when they rode into town. Ironically enough, tonight was all about seeing The Sword, another band of Texans who actually cite ZZ as a major influence. Six degrees of integrity, or something like that. Thus begins yet another musical journey, and yes Thomas is right. In our 40’s and still lovin’ the Rock Show.
I had the pleasure of seeing The Sword once before as openers for Kyuss Lives: Relentless hard-rock riffing personified. We realized that this would be quite the different experience. Not only because they were playing a headlining set, but more importantly, we were seeing a completely different band than they were just a few years ago. Debuting in 2006, The Sword released four great metal albums. Albums that I definitely enjoyed, but apart from a few exceptional tracks, to me they were just another metal band. While I can still appreciate a good thrashing once in a red Satanic moon, the genre as a whole has kind of taken a nostalgic back seat for me. Before their latest album High Country was released, I didn’t LOVE The Sword. When I read comments from The Sword that basically stated that this new album would reflect more of who they really are, and that if they made another similar “metal” album it wouldn’t be authentic, it instantly intrigued me. From the first listen I connected with the polarizing High Country in a serious way. So much so that I actually over-played it and had to put it away for a bit. However “metal” fans had a different take on it. Almost every review I read was negative and most of them could have been summed up with three words: “not heavy enough”. That’s OK, cement-heads. They didn’t make this album for you. They made this album for themselves, and apparently me. Several songs on High Country tap into the 70’s soft-rock genre (Ambrosia/Little River Band/Bee Gees) that I am a huge sucker for. Thank you The Sword.
Since this is the home of Record Store Tales, I should include this. While we were in London we stopped by the Record Store Tom used to own in London. I don’t think the name of this particular chain can be mentioned around these parts, but I swear it doesn’t rhyme with “Pete Rose Con”. Anyways, I witnessed first-hand that while record stores are a dying breed, there are still gems to be mined out there. Tom’s face lights up as he finds a new copy of a Spiritual Beggars CD being sold new, at a used record store. Irony ensues as we find out that the store manager that ordered in that particular CD was a guy Tom trained 20 years ago. Sowing the seeds of Rock. But I digress.
Second opening band Royal Thunder took the stage and began doing a…umm…sound check? Considering there was a fair crowd in the London Music Theater at this point, this was something I haven’t seen very often, if at all. After their first song which understandably sounded pretty shitty, the female lead singer goes on a bit of a tirade about problems at the border and that Canadian cops are assholes. Aha! Live sound check explained. Royal Thunder had some great groove moments, but too many scattered riffs going nowhere. And too much “plinkilly plinkilly” with the guitars going on; it overall needed some more beef to it. Female lead singer/bass player certainly had some good pipes on her, but and I quote from Tom, “I liked their sound check better than most of their set.” To me they kinda sounded as if Bonnie Tyler developed an affinity for Satan and became the singer of Concrete Blonde. I also enjoyed that the drummer looked like our friend Tyler Generoux or 1971 Ian Paice, and he played like 1971 Bill Ward. In all reality their whole set acted as a glorified sound check for The Sword anyways. Step aside…this is High Country.
The lights go down and before The Sword come out, Christopher Cross’s “Ride Like the Wind” blares through the theater and it’s a glorious confirmation to me. This band is making a statement right away. High Country’s opening track “Unicorn Farm” plays as the hombres walk on stage. Launching into the album’s next track, Empty Temples, all sound issues have been corrected and they sound great. It’s during this song that it hits me. The Sword is one of my favorite bands and I don’t know even the first name of any band member on stage. I can still tell you off the top of my head that the classic lineup of Ratt is Stephen Pearcy, Juan Croucier, Bobby Blotzer, Warren DiMartini and Robbin Crosby. I even know how to spell them. But I have to use Google to find out the names of the members of one of my favourite bands. That’s just freakin’ stupid.
Lead singer John D. Cronise (who also plays rhythm/lead guitar) never had your typical heavy metal voice, so their new direction sits right in his wheelhouse. His partner in axemanship, Kyle Shutt, is the most rambunctious one in the band, and these two guys trade rhythm/lead guitar with the grace and prowess of combos like Adrian Smith/Dave Murray or any or all of the twin guitar combinations within the under-appreciated Thin Lizzy, and the great Wishbone Ash. Watching these guys together was a pure joy. Perhaps the most interesting musician on stage was bass player Bryan Richie, realizing early on that the standing synthesizer and keyboard foot pedals surrounding him make it possible for them to play some of the more eclectic material from High Country on stage. The band’s new direction has basically made him the most important member of the band, for live performances. Last but not least, in the immortal words of David St. Hubbins…“Great drummah…great drummah”. Fittingly enough, he even has a Spinal Tap-esque name. His name is Santiago “Jimmy” Vela III. You just can’t make that shit up. But seriously, he was a very solid drummer. Every few songs he would ride that cowbell all the way to Valhalla! There is just something about the cowbell that cuts clean through, especially with live music. It’s powers certainly worked on Tom and I, as we often found ourselves screaming ROCK SHOW!!…ROCK SHOW!!, in appreciation of The majestic Sword.
Staying mostly within the hallowed fields of High Country, more aggressive tracks “Ghost Eye” and “Suffer No Fools” actually conjured up a mini mosh-pit, which thankfully faded away as fast as it started. Who needs that bullshit anymore. Stand-out track “The Dreamthieves” was executed perfectly with background vocals and keyboards abound. The mind-blowing portion of the night comes when they play the robust “Mist & Shadow”, putting everyone in a rock and roll haze. I have been calling this song “The ‘Layla’ of hard rock” since I first heard it, and the patience in the composition and performance of “Mist & Shadow” defines not only this show for me but what this band has become.
The Sword left and subsequently returned to the stage for their encore. This is when I believe the band made its most profound statement of the night. I am sure that the metal fans wanted to hear their classic riffer “How Heavy This Axe”: Great heavy tune off their second album that I wanted to hear as well. Almost seemed to be what they should do. Instead, they chose to play the two tracks on High Country that are the most un-metal songs of not only the album, but their career. It was a brilliant choice and the message was clear. A message that became clearer as the lights come on and America’s “You Can Do Magic” starts playing. The look on some of the stunned faces around me in the crowd were pretty comical, and made me almost me feel proud of this band for not taking the easy way and going through the motions with just another metal album. This is what happens when musicians know who they are and what they want to become. Maybe the message is that once you get to this magical place that The Sword are in musically…You can do magic. You can play anything that you desire.
Part one of a THE SWORD two-parter. Epic conclusion comes tomorrow!
THE SWORD – High Country(2015 Razor & Tie)
Right, so let’s get to it! The brief intro “Unicorn Farm” sounds like Queens of the Stone Age discovering synthesizers for the first time, or The Sword’s version of “Sunday Afternoon in the Park” by Van Halen. Then “Empty Temples”, the first real song, sounds like The Cream gone stoner metal. The truth is these songs do not sound as if recorded in 2015. They inhabit a netherworld between 1975 and 2015, where the two are one. The sonics have the quality of today, the grooves are as valid as anything in the Fu Manchu catalogue, but the songs are out of the 70’s. “High Country” is Sabbath meets the Eagles in its metally groove.
The laid-back psychedelic metal of “Tears Like Diamonds” is right up my alley. Lead vocals by John D. Cronise are relaxed and somehow hypnotic in an Ozzy-like fashion. “Mist and Shadow” on the other hand is swampy and blues-laden. Of course it’s as heavy as weapons grade plutonium, but it still resides in some swamp in the deep south. Either way it’s an album highlight.
Progressive synth with crazy drums up your alley? “Agartha” is the instrumental for you, like something out of an old Tom Baker-era Dr. Who, but amped and hard to resist. Continuing with the synth, “Seriously Mysterious” is impossible to categorize and very difficult to describe. Synth rock with balls? That’s the best I can do. Again I can’t help but think that 1984-era Van Halen must be an inspiration, somewhere. This is the “I’ll Wait” of the album.
We gallop off with “Suffer No Fools”, plenty heavy enough and this time sounding inspired by another album from 1984, but this one’s called Powerslave. This is only an instrumental, which in a way is too bad, but not really because it’s awesome. “Early Snow” then takes inspiration from the slowest and heaviest Sabbath grooves. Even lyrically, you could imagine Ozzy howling about the days getting shorter and leaves falling from the trees. Then the horns blast in. What the fuck? Chicago/Sabbath! This is absolutely insane stuff! Into “The Dreamthieves”, riffs and melody coalesce perfectly into a sweetly pummelling song. The mixture of guitars, sweet vocals and keys render it strangely Ghost-like. The riff and guitar solo section seem directly inspired by Judas Priest’s version of “Green Manalishi”. “Dreamthieves” is classic, and instantly so.
Watch out for the “Buzzards”: straight heavy rock, but at the same quality level as the rest of the album. The final instrumental, “Silver Petals” showcases the acoustic guitar, much like how Savatage would throw an acoustic thing right after something heavy. Or right before something heavy: “Ghost Eye” is certainly that. A jagged Dio-ish riff precedes some quiet picking and melodic vocals, but it is quickly back to the heavy again. The penultimate track “Turned to Dust” is quiet and spare, though dramatic. Finally make way for “The Bees of Spring”, a strange Deep Purple circa 1968-ish track that is as great as it is bizarre. Hippie-era Purple with Rod Evans on vocals is the perfect description. It could have fit right in on their self titled record.
There is little question that High Country is a great album. It has diverse influences, but a cohesive sound. It packs in more great riffs per minute than most bands can write in a single album. Instrumental excellent is a given. How do you rate something like that?
SCORPIONS – Animal Magnetism (2015 BMG deluxe edition, originally 1980)
Post-Lovedrive, the Scorpions were on a roll. American chart success had finally come their way, and the pressure was on to follow it up. Rather than break under the strain, the Scorpions thrived in that atmosphere and put together another solid Euro-metal album with commercial tendencies. Newest member Matthias Jabs was now integrated with the band, and they were ready to roll.
The modern Scorpions thrived on simple, heavy metal riffage and melodic vocals. “Make It Real”, the opening track on Animal Magnetism, exemplifies these qualities. Chunky chugs and soaring guitar melodies are only topped by Klaus Meine’s voice of power. “Make It Real” remains one of the classic, unforgettable Scorpions rockers today and it’s easy to hear why. It’s a perfect concoction of what melodic heavy metal can be.
I don’t like to be too hard on the Scorpions for their lyrics, because their English is a hell of a lot better than my German! With that in mind, “Don’t Make No Promises (Your Body Can’t Keep)” is one of those Scorpions titles that makes me cringe. Thankfully it’s a blitzkrieg of a track, full steam ahead and dripping sleaze. Scorpions had easily mastered the fast metal stylings that put them in similar territory as Judas Priest, but they also had a knack for slow and relentless riffs. “Hold Me Tight” is one of these, like a slow Dio-era Sabbath prowler.
The album is strong throughout. “Twenthiest Century Man” continues a chopping onslaught of rock, but the Scorpions also have a knack for a ballad. “Lady Starlight”, acoustic with a full-on string section with woodwinds, is one of their finer early examples. It’s bizarre to hear a song this tender on the same album as “Don’t Make No Promises (Your Body Can’t Keep)”.
In case you were worried the Scorps had lost it, “Falling in Love” continues the bruising on side two with another simple and effective riff. “Only a Man” is about the only stumble, an off-kilter track that rests in the shadows of the songs before and after. The chorus is great, but next to amazing metal classics like “The Zoo”, there is no contest. And speaking of “The Zoo”, has there ever been such a slow yet so menacing track? Written about their time spent in America, the lyrics are pretty silly. “We eat the night, we drink the time, make our dreams come true. And hungry eyes are passing by, on streets we call the Zoo.” You don’t want to be hard on the guys for their skills with the language, but at the same time…this is also bizarrely catchy!
The title track “Animal Magnetism” is saved for last, an exotic slow crawl preceded by thunderclaps of noisy guitars. Zeppelin meets Black Sabbath on this one, and it’s over and out. Unless you own this deluxe edition….
“Hey You” is tacked on as the first bonus track, a strangely catchy pop rocker with Rudolph Schenker singing lead on the verses. It has a remarkable uniqueness. It was first released as a single, but most of us didn’t hear it until 1989’s Best of Rockers and Ballads. That’s the easiest place to find this fun little tune. A slew of rare demos end the deluxe CD: “Animal Magnetism” (not at all like the album version), “American Girls”, “Get Your Love”, Restless Man”, and “All Night Long”. Some of these songs are exactly what they are — outtakes! Some are better than that. “Get Your Love” was reworked on 1995’s Live Bites CD as “Heroes Don’t Cry”. “Heroes Don’t Cry” has better lyrics and more meat on the bones, but “Get Your Love” has a raw basic quality. “Restless Man” is an early version of “Twentieth Century Man”, all but complete including prototype guitar solos.
There will always be those fans who think albums like Lovedrive and Animal Magnetism were the beginnings of a long slide in quality. When Uli Jon Roth left the band in 1978, he took with him their adventurous side. Their post-Uli music was streamlined and more calculated. Animal Magnetism remains one of their finest albums since.
Down to the nitty gritty! This is the second last review in this series. Mike andAaron have been doing simultaneous daily reviews of albums that they have sent to each other. This one was gifted to Aaron when Mike upgraded to the Japanese edition. Enjoy!
DEF LEPPARD – Mirrorball: Live & More (2011 Marquee Japan)
Def Leppard hyped this baby as their “first official live album”. First official live album? Maybe, but the astute collector had already been aware of a 1984 live album included with the deluxe 2 CD edition of Pyromania. For vintage 80’s Leppard thrills featuring Steve Clark, that’s the ultimate go-to live CD. More obscurely, after the Euphoria album, Def Leppard issued an entire live album’s worth (11 songs) of MP3 files for free, which are no longer around. You can read our review of that untitled release right here.
Regardless, this is the first stand-alone Leppard live album (double live, in fact) that you can walk into a store and buy. The domestic version comes with a bonus DVD, with behind-the-scenes stuff and music videos (“Nine Lives” and “C’mon C’mon” from the Sparkle Lounge album).
Upon inserting Mirrorball into the car drive and hitting “play”, the first thing I was impressed with was Joe Elliot’s voice. The singer is often the member who suffers most from the ageing process. Singers like Joe who basically screamed for the first few albums don’t always have the ability to do it convincingly anymore. The “old voice” is usually gone. However here it is, right in the opening of “Rock! Rock! (‘Til You Drop)”. It recurs many times over the course of the album.
All the hits are here, even the ones you’d rather forget like “Let’s Get Rocked” and “Make Love Like a Man”. The set leans heavily of course on Pyromania and Hysteria, with most of the singles being rolled out: “Rock Of Ages”, “Foolin'”, “Photograph”, “Animal”, “Hysteria”, “Love Bites”, “Sugar”, and “Armageddon”. Album classic “Too Late For Love” is also present, as is the perennial medley of “Bringing On The Heartbreak/Switch 625”. “Heartbreak” has a nice acoustic intro, different from the one that Leppard used to do back in the 80’s (see: Live in the Round in Your Face).
Then, you get a few boring tracks. Some of these, such as cover tunes, I have no idea why they still play them live. Do they not have enough old originals that fans are clamouring for? Did we really need covers on Leppard’s first official live album? No. But there’s “Rock On” anyway. I hate that song. And The Sweet’s “Action” is here, again, which I guess has almost become a Def Leppard song itself. For other dull content, the B-side-later-A-side “Two Steps Behind” also appears, a song which was never more than a throw-away to me.
As far as more recent material goes: Two songs from Adrenalize, none from Slang, none from Euphoria, none from X.
At least they included three songs from the latest album, Songs From the Sparkle Lounge: The awful, derivative heard-it-all-before “C’mon C’mon”, as well as a smokin’ version of “Bad Actress” and the single “Nine Lives” (without Tim McGraw!). Regardless of what’s included and what’s not (you can make your own wishlist of tunes!), Mirrorball does represent the Def Leppard live experience well. They are bang-on, every track. These five guys have really grown together as a band. It doesn’t sound like much fixing was done; indeed it doesn’t sound like much needed to be done. Four of them can sing well enough, so the trademark Leppard layers are well represented live.
Onto the new studio songs: None are very special, but at least two rock: “Undefeated” is the catchiest, even though it has derivative “Sugar”-like moments that don’t help. It has a thick Zepp-y chorus riff though, and that gives it some heft. “It’s All About Believin'” also rocks, but Sav’s “Kings Of The World” is too soft. Leppard need to stay away from the ballady-stuff. They’ve got more than enough now.
As is the norm, those lucky Japanese fans got a bonus track. It is the descriptively titled “different version” of “Kings of the World”. What’s different? It doesn’t appear to be a demo, but it is a shorter version, piano-based with most of the instrumentation stripped off and an acoustic guitar solo. My preference is to the more bombastic and Queen-like album mix.
For a first official one, Mirrorball is a pretty good live album. It could have been a lot better. It should have been better, considering. However they did do better, when they released the next live package, Viva Hysteria! That one scratches virtually every musical itch you have. And don’t forget, you can pick up that aforementioned deluxe edition of Pyromania for a youthful, smokin’ set.
Mike andAaron are doing simultaneous daily reviews of albums that these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!
“You guys do like to drink, don’t ya? You are Canadian aren’t ya? Most of us are Canadian in here, except for there’s one guy that I know of. Security!” — Russ Dwarf
KILLER DWARFS – Reunion of Scribes Live 2001 (2002 Bullseye)
Aaron scored this for cheap at his “junk shop” and passed it down to me. It was the only Killer Dwarfs CD I was missing — and for good reason. I had the chance to hear it once, at the Record Store, while I was working for a stretch in Hamilton. I didn’t think much of it then. Has anything changed?
The Killer Dwarfs quietly went extinct after their final studio album, 1992’s Method to the Madness. 10 years later, the band reunited including Mike (Hall) Dwarf, who had actually left the band prior to 1992. This is a full reunion of the classic lineup: The Dwarfs Russty, Mike, Darrell and Bad Ronbo. Let’s “Go DuNK” and see what the Killer Dwarfs 2001 sounded like. At one hour and 11 minutes, Reunion of Scribes is the longest Killer Dwarfs album to date.
Strangely enough for a Canadian band, the concert begins with a recording of “The U.S. Air Force” (also known as “The Wild Blue Yonder”) before the band emerges with a limp version of their own “Dirty Weapons”. What’s the problem? It’s certainly not Russ Dwarf, who sounds vintage strong. The guitar is too thin, and blemished with sour notes here and there. Hey, it’s been a long time since Mike was a Dwarf! The drums also sound disconnected from the song from time to time. Chock it up to a bad recording? (At the Docks, in Toronto.) “Stand Tall” also suffers: the guitar needs to be front and center. The sound of the band suddenly becomes sparse and weak every time Mike Dwarf stops playing the riff in order to lay down a solo. The bass isn’t fat enough to fill the gap.
Another weakness to this recording is a concentration on songs from 1988-1992. There’s nothing at all from their first self-titled album, even their first single “Heavy Mental Breakdown”, the song that helped put them on the map. Instead the Dwarfs focused on more radio-friendly later music for this set. Of that tunage, most of the hits are here: “Stand Tall”, “Keep the Spirit Alive”, “Dirty Weapons”, “Doesn’t Matter”, “Hard Luck Town”. Their first big label single, “We Stand Alone” is missing from the set, which instead includes lots of notable album cuts. The best of these include “Believe in Me” from their second album Stand Tall. Russ Dwarf’s ageless voice delivers hard-edged numbers like “Starting to Shine”, “Last Laugh”, “Nothin’ Gets Nothin'”, and “Comin’ Through” with all its usual intensity.
The most emotional moment (for fans) has to be the ballad “Doesn’t Matter”. “Roll the dice and play the game, for the fortune and the fame.” The Dwarfs did roll the dice, at least they tried. “Doesn’t Matter” is a pretty simple lyrically: get out there and give’r.* The live recording doesn’t deliver its full power, but I do get the feels to hear them return to Toronto and play this song for their friends.
Most of these songs are still high-quality hard rock workhorses. While Russ Dwarf brings it all and then some, the poor recording renders Reunion of Scribes an album that will only get infrequent plays at LeBrain HQ.
2/5 stars
* The Killer Dwarfs are the only band I can think of who actually used the word “give’r” in a song lyric.
Mike andAaron are doing simultaneous daily reviews of albums that these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!
You know what really grinds my gears? How the media goes ape-shit gaga over every fart or burp that Dave Grohl makes.
The only problem with that is, most of what Dave Grohl says and does is usually quite good.
He’s been on a roll lately, too. The last real clunker he’s released (under any guise, be it Foo Fighters, Them Crooked Vultures, or whoever else) was Foo Fighters’ One By One. None of the following albums could be considered poor by any stretch, though Wasting Light has to be the high water mark of them. Perhaps Grohl’s only weakness is his prolific output. After a while, many of the songs just blur together in a haze of Fooey rock.
Saint Cecilia, released on iTunes last year but only now getting the vinyl treatment, is another quality Foo Fighters release. They dedicated its release to the victims of the terrorist attacks on the Bataclan hall. As usual, it boasts a variety of Foo stylings, all of them loud.
“Saint Cecilia” has become a radio smash, and while its indistinguishable from any other fast melodic Foo rocker, it does stick to your brain. This is my favourite kind of Foo Fighters song anyway — fast, easy to remember, guitar-heavy and loaded with killer drums. A great albeit obvious choice for a single. Faster still is “Sean” recalling Dave’s punk roots. It recalls the sound of the first Foo Fighters album back in ’95, but amped up with a full three guitar band. Two minutes, in-and-out, that’s it for “Sean”. Then “Savior Breath” is vintage metal, making this three genres in three songs and nine minutes! It’s good stuff and even boasts a pretty smoking 80’s guitar solo.
The B-side of the EP commences with the nifty acoustic “Iron Rooster”. It has a cool atmospheric vibe, peaceful, but with the occasional loud bursts of electric guitar. It’s the only break on an otherwise pretty relentless stream of music. “The Neverending Sigh” is anything but. It’s instead a blast of riffage, three guitar’s worth and layered effectively. It defies categorization so we’ll just call it pure Foo Fighters. It’s action packed, complex and it qualifies as one of the finest Foo Fighters compositions in recent memory. Bully for you, Mr. Grohl and Co.!
Incidentally, according to the liner notes, Foo Fighters lineup appears to have expanded to a six piece. Joining Dave, Taylor, Pat (Smear – guitars), Chris (Shiflett – guitars) and Nate (Mendel – bass) is Rami Jaffee on keyboards, listed as a member of Foo Fighters. That’s cool. I always seem to get excited when a band expands its lineup. It’s my Kryptonite!
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