It’s a late start, but welcome to Purple Week! It’s going to be all Deep Purple and Deep Purple alumni all week to Saturday, with at least two Epic Reviews lined up. Let’s go!
DEEP PURPLE – Shades of (1968 EMI, 2000 remaster)
I’m not a big fan of Shades of Deep Purple, and that’s not because I don’t like Deep Purple Mk I. I do like Deep Purple Mk I, or at least some of it. I think the third Purple album from ’69 is one of the band’s all-time best, and an underrated classic. Shades of only scratches the surface. In 1968, these five guys didn’t have the road experience together yet to really gel as a unit. They had just formed and almost immediately began recording demos that landed them a record deal. Ritchie Blackmore, a session player, had yet to emerge as the confident axeman that he is, still shyly putting together his solos while Jon Lord takes the forefront more often than not.
Deep Purple opened their very first vinyl with an instrumental. “And the Address” is remarkably recognizable as Deep Purple, particularly because of Ian Paice and Jon Lord.
“Hush” was and is still an extraordinary version, and my preferred take over the 1988 Ian Gillan version. “I’m So Glad” isn’t bad, but “Mandrake Root” is not what it would later become live. “Help” has been slowed down to a crawl (reportedly, the way the Beatles wanted to do it) but it doesn’t rock. “Love Help Me” is 60’s pop rock goodness, as is “One More Rainy Day”, but “Hey Joe” is another one that would come across better live. It doesn’t help that Shades of Deep Purple doesn’t really sound that great.
The five bonus tracks are all valuable, as these are some of Purple’s earliest live performances. Something like “Hey Joe” live (from the BBC) begins to show what the band would make of it. There’s also the rare track “Shadows” which is better than some of the tracks on the album itself. This outtake probably could have used a little additional polishing, but it is what it is, and it’s worth checking out if only for Ritchie’s solo. The audio fidelity on these tracks is sketchy, be forewarned. That shouldn’t be unexpected for demos of this age.
2/5 stars. Hold tight, rock fans — a year later, the best of Mk I was yet to come!
MOMOIRO CLOVER Z vs KISS – “Yume no Ukiyo ni Saitemina” / “Samurai Son” (2015 King Records Japan CD singles, sold separately)
Here they are, the new singles featuring the Kiss vs Momoiro Clover Z collaboration. “Samurai Son” appeared on the current Best of Kiss 40 CD, billed there as the “U.S. Mix”. That meant there are other versions out there, so I ordered the singles (two separate releases) from Japan. Even if I did not like the other versions of the song, the single covers were cool enough to keep as collectibles. As it turns out they are printed on high quality textured parchment style paper, and have stunning inner and outer art. They also come with transparent outer shells with shiny embossed symbols and writing. For packaging, it’s 5/5 stars for these singles.
Between the two singles, there are four different mixes from the “U.S. Mix” of “Samurai Son”. All feature Kiss, to a certain degree. Here’s how the versions break down, from “Least Kiss” to “Most Kiss”:
5. “Yume no Ukiyo ni Saitemina”. This is the full-on Japanese version with the spotlight primarily on Momoiro Clover Z. They take the lead vocals and their elements of the song and style and brought up in the mix. It’s funny to hear Kiss singing background vocals in English, underneath the Japanese lead vocals! Who know if the words actually go together in any way.
4. “Yume no Ukiyo ni Saitemina” (instrumental version). Kiss are the backing band on this track and you can clearly hear Tommy soloing, but the Kiss and J-pop elements are mixed fairly equally here. These first two renditions of the song are on both versions of the single.
3. “Samurai Son” (instrumental version). From the CD with the artwork emphasizing Kiss. This instrumental is based on the Kiss rather than the Momoclo version of the song. Tommy is in the spotlight a bit more on this version, as the instrumental mix leaves more room for his guitar licks to take the spotlight.
2. “Samurai Son”. From the same CD as the above track, this is a Kiss-heavy version similar to the “U.S. Mix” on Best of Kiss 40…but not quite the same. It follows the same blueprint of Kiss being up front and the Momoclo girls audible in the background and on the chorus. It has vocal, guitar and J-pop parts that are not as apparent in the “U.S. Mix”. Gene’s vocals also sound higher in the mix. It’s audibly mastered way, way louder than Kiss 40, as you can see from the Audacity waveform below. Track 3 from the CD is on top, the “U.S. Mix” from Kiss 40 is beneath.
1. “Samurai Son” (U.S. Mix). The Kiss 40 version; the mix that is geared to appeal mostly to Kiss fans. Logically, it sounds the most like Kiss. It’s only on Kiss 40; neither of these two singles have this mix which makes it a little more special for Kiss fans.
There are more tracks, but I’ll be frank — I didn’t even rip them to the computer. These tracks are vocals and instrumental covers by Momoiro Clover Z of “Rock and Roll all Nite”. I listened to it; it’s cute. If you want to try and get your little niece into rock music, this might be the way to do it. It has some guitars but it’s very cutesy. (Probably still better than Poison’s version though, Mr. Rockett.)
Finally there is the Blu-ray containing the music video, that I cannot play due to region restrictions. That’s why they invented Youtube, I think….
I give Kiss credit for doing something different like this and making it accessible to different audiences. My favourite version is the one on Kiss 40, but that one was custom built for people like me. These two singles are fun additions to the collection. It’s one of those conversation pieces you can show that one guy you know who says he has “all” the Kiss CDs.
FLEETWOOD MAC – Live, February 4 2015 at the Air Canada Center, Toronto
Before reviewing the concert I have to give a brief history of my introduction to Fleetwood Mac. In the early 90’s, one of my buddies took out whatever hair band CD was in the player and put in Fleetwood Mac Rumours. WTF is that crap? It sounded like the love child of ABBA and The Eagles! After a while the band grew on me. I wasn’t exactly going to cruise down main street with Fleetwood Mac blasting out the T-tops, but I did start to enjoy it. It became one of my guilty pleasures, and my wife loves them, so this is a bonus.
Fast forward to February 4 2015. My wife and I were early, so we got to our seats before the show started. The band was not on time, but only 20 minutes or so behind schedule. By Axl Rose standards, they were 2 hours early. This gave me time to Google the setlist as I always do before a concert. 24 songs and two encores. 24 songs? Holy crap. I also read reviews of many of the recent shows. All glowing love-fests proclaiming Fleetwood Mac as the next best thing since sliced bread, with nary a whisper of negativity. Well. We shall see about that.
The lights dim and we see the shadows of band members entering the stage. The crowd roars. When the music starts you get a feeling why this band has remained so popular. The rhythm section of this band is awesome. These guys are in their late 60’s, and they still sound incredible. John McVie is the guy that likes to stay in the background. I don’t think I ever saw any hint of showmanship from him, but he played his bass flawlessly, and that is all you can ask. Mick Fleetwood is a really underrated drummer. His talents are not shown off in the mostly pop rock songs that made the band famous, but over the years I have heard enough of his songs to know he has what it takes. And for his age, he still has it. Lindsey Buckingham is a guitarist that wasn’t on my radar: until I saw him live. He was not awesome, but a very unique guitar player. For starters, he does not play with a pick. I have seen many players play acoustic without a pick but not many electric players. His right thumb seems to act kind of like a pick, but his right hand fingers do this kind of spastic fingerpicking that is hard to describe. Kind of like, if he was trying to flick crumbs from all of his fingers at the same time. I can’t quite figure out how the guitar sounds so good when his thumb and all 4 fingers seem to be flicking at the strings at the same time. But it works.
Piano and accordion duties were handled by Christine McVie. Her strength however is her vocal prowess. All I can say is that anyone that saw this band in the last 16 years prior to this tour should ask for their money back. She left the band during that time due to an intense fear of flying. What an absolute loss that was. She completes this band, the way Van Halen was completed when David Lee Roth came back. They were great without him, but awesome with him. Her voice is so crisp and it reminds me of the first robin you hear in the spring. You can’t help but smile. For a 71 year old lady, she still looks and sounds beautiful. Kind of like an older Judith Light. She must have been a real force to deal with in her heyday.
The final member is the resident scarf twirler, tambourine banging, top hat wearing lady named Stevie Nicks — probably the most famous member of the band. She is the only member to have a productive solo career. Unfortunately life, and possibly hard partying have caught up to Stevie. Her voice is down at least 1 octave, and she can’t hit the high notes anymore. She still has a great stage presence and she is possibly better at her age than some singers in their prime.
Now for the bad.
“Tusk”. The mere mention of this song turns me off. However, I did prefer the live version of this song to the original, but that is not saying much.
“Second Hand News” is my favourite song by this version of the band. This live rendition however was ruined by whatever annoying sound effect they had in place of the bass line that the original had. And the “bowm bowm bowm bowm bowm…” is a little off. It might be too fast paced for the elder statesmen.
Even though I commended Lindsey, he is not without fault. His voice progressively got worse as the night wore on. I was hoping they would actually mute his mike, and just let his guitar do the talking. When he did a vocal solo, his voice reminded me of a pre-pubescent mixed with The Hobbit. I was waiting for him to say “precious’. There were also times in the night that he yelled and screamed much louder than he needed to. And I won’t even mention the skinny jeans he borrowed from One Direction.
The song choices could have been better in my opinion. There were a few duds near the middle, and even one song from the Peter Green era would have been nice. Not many people realize the band did “Black Magic Woman” before Santana. Also, they could have done a cover of “Werewolves of London”. John and Mick were the rhythm section on the Warren Zevon song. These would have been good substitutions.
Stevie Nicks though a good stage presence, kind of reminds me of an old hippie cat lady from Woodstock, New York. She is about three puffs on a reefer away from being bat shit crazy. She was rambling a few times during the night. Something about Lindsey in high school and he knew her but she didn’t know him blah, blah. Next about the store that influenced the song “Gypsy”…zzzzzzzzzzzzzzzzzzzzzzzzzz. I told my wife to nudge when she stopped rambling.
I read in another interview how the giant screen behind the stage and the smaller screens near the front made the show so much better. Apparently this person was not sitting where I sat. The smaller screens blocked my view of members of the band. When Mick was doing a sweet solo, I wanted to watch his arms flailing. But instead I got to see a stupid screen in my way.
In conclusion, this was a concert worth seeing. I watched the Youtube clips of the show, and they don’t shed a good light on the band. The band does sound much better when you are seeing them in concert than what it looks and sounds like on a computer. Although I was much worse on them than any other reviewer I read, I still enjoyed the show. I can finally say I saw them, and I would recommend them to others.
I would rate them:
7.5/10
(3.75/5 stars on the LeBrain scale)
Thanks Boppin for the awesome review once again! — LeBrain
Here’s a blast from the past for your Throwback Thursday! Most readers will never have heard of Zero Option. Too bad! Zero Option blasted out Kitchener Ontario in the early 90’s with a fresh power metal sound. They released a debut album on indi label Fringe, a label best known for its punk rock roster including bands like Dayglo Abortions. Singer Phil Maddox was well known about town for his powerful pipes. Lead guitarist Rick VanDyk is probably best recognized for his later stint in another (more famous) Kitchener band — Helix. The Helix connection must go way back to this album, because Greg “Fritz” Hinz is thanked in the liner notes, as is legendary vocal coach Ed Johnston from Fergus Ontario, who also coached Brian Vollmer in the technique of Bel canto. (Johnston passed away in 2008.)
Zero Option sound nothing at all like Helix. They present their metal with a bass-heavy Megadeth groove. Maddox’s voice is nothing like Mustaine’s, but it too is a matter of taste. He has a smooth singing voice, and the ability to belt it out, but lacks the range to hit some of the notes he’s going for. Gates of Utopia is only a first album, and the guy probably would have grown as a singer had they made a second CD. He already had a pretty unique voice, as I struggle to compare him to someone else.
Opener “State of Panic” occupies that Mega-groove (think “Symphony of Destruction”) and boasts some pretty wailing solos and a decent chorus. “Face to Face” is a standout track, a thrash metal mash with a variety of cool elements: time changes, busy drums, guitar harmonies, and smoking riffage. In 1991, Zero Option were going for a sound that was based equally in classic metal and thrash, and they were considered to be on the cutting edge with Gates of Utopia. Listening back today I still get a feeling of “they were onto something cool”. You can understand why people were raving about the CD back then. The guitar work on “Face to Face” is top notch and the band were capable of tricky arrangements.
Other tracks good enough to put the CD on your want list include “Lords of the New Church”, which has a memorable chorus and tasty guitar harmonies. “Think Tank” thrashes pretty hard and has dualing guitar solos, a gimmick I always enjoy. “Right Off the Face” is one of the slow, grindy catchy ones. Gates of Utopia is less about the individual songs and more about the overall impact: there are lots of guitar and vocal hooks over the course of this solidly made album. It’s hard to judge it fairly by 2015 standards. In 1991, these guys were right on the cusp of something new. Something that bands such as Megadeth and Metallica would master and exploit to sell multi-platinum albums in just a short while: a cross pollination of thrash metal heaviness with more mainstream metal sounds. Gates of Utopia couldn’t have done what those mega-sellers did, but another record or two and who knows what Zero Option could have sounded like fully sharpened?
The serious weak link here is the lyrical department. For example, from “Rise and Fall”:
When the universe was created, Man was not around. Centuries later, Evidence was found.
Subject matter discussed on Gates of Utopia are standard fare: censorship, TV preachers, the dangers of drugs, insanity, pollution, and girls. They are adequate, but pretty highschool. Of course, these guys were barely out of highschool.
Rick VanDyk still plays music today, in a Metallica tribute act called Sandman with former Helix members Brent “Ned” Neimi and Paul Fonseca. So there ya go!
Nobody was shocked when Ozzy Osbourne, the man who said he hated live albums, put out his fourth (!) solo live release in 1990. (His other three live releases were the Mr. Crowley EP, Speak of the Devil, and Randy Rhoads Tribute. This does not include the Ultimate Live Ozzy EP which was…not live.) The liner note by Ozzy attempts to justify its release. “Firstly, ‘Shot in the Dark’,” begins Ozzy. “I am happier with this version than the original.” (Oooh, sick burn on Jake.) Ozzy continues, “Secondly, the Sabbath songs – To have recorded them one last time with Geezer Butler, Zakk and Randy says it all for me. It’s a chapter of my musical career I can now close.”
What the fuck did that mean?
Was Ozzy going to stop playing Sabbath songs? Did anyone actually believe that? The bitter liner notes accompany a front cover emblazoned with all four band members’ names, in the same sized font as Ozzy’s. And on the front cover is not Ozzy Osbourne, but guitarist Zakk Wylde! (Albeit from behind so you can’t see his face, and he’s just in one corner of the cover.) It all seems to deliver a message of “I am focused on the present, not my past.” This quartet was fully expected to record the next Ozzy studio album together, athough ultimately that did not happen. Geezer left in 1991 for a reunited Dio-era Black Sabbath. So much for not looking back!
Just Say Ozzy functioned as a stopgap. Ozzy would take his time with the next LP (which at that time was tentatively titled No Dogs Allowed, then Don’t Blame Me), but No Rest for the Wicked was already two years past. They had to release something, so here it is. One careful listen will reveal a lot of studio trickery was employed afterwards. Indeed, if one focuses on the crowd noise you can hear edits everywhere. Billboard magazine revealed that the music for this album was re-recorded in the studio with audience noise overdubbed.
Having said that, if this kind of trickery doesn’t bother you (and if you own Kiss Alive! or Frampton Comes Alive then it shouldn’t too much) then this is a great EP. Just Say Ozzy‘s meager six songs feature the only recordings of the brief Osbourne/Wylde/Butler/Castillo lineup. I was always a fan of those particular guys and there’s something to be said when you have two original Black Sabbath members in the band, while Black Sabbath only had one.
Since this EP was from the No Rest tour, three of its heaviest songs were showcased: the single “Miracle Man”, “Tattooed Dancer”, and “Bloodbath in Paradise”. No ballads. These three songs are nice to have, but are not even close to competing with the better known hits.
From The Ultimate Sin comes “Shot In The Dark”…yes, Ozzy’s so-called “preferred version”. And it is indeed very good. Zakk Wylde was a talented kid even then, and I love the youthful “go for it” attitude in his playing. “Shot in the Dark” features an extended solo that established Zakk’s place with his axe predecessors. Then, a deuce of Sabbath: a smokin’ “Sweet Leaf” and probably the best live version of “War Pigs” that I have ever heard.
Yeah, that’s what I said.
This Zakk-infused version of “War Pigs” is, in this humble writer’s opinion, the best live version ever released. Zakk’s guitar digs deep into the strings with those nice wide vibratos. It’s just monstrous, plus with Geez on bass, it has that slink it needs. Randy Castillo (RIP) was certainly no slouch, and his relentless fills here are solidly entertaining.
3/5 stars. Shame about that crappy cover art though.
KISS – 40(2015 Universal Japan single CD Commemorative edition)
Wait a minute, I’m confused — did I just buy Kiss 40, again?
Wait a minute, it’s 2015 now — shouldn’t this be Kiss 41, or something??
Wait a minute, what the hell is “Kiss vs. Momoiro Clover Z”???
Eager to buy anything new from Gene and Co., I got this new single CD version of Kiss 40 without really knowing what it was about.
Now that the CD has arrived at the door, I discovered that Momoiro Clover Z is a Japanese all-girl pop group with similar intentions as Kiss themselves. They dreamed big dreams for themselves and aimed to entertain and bring a spectacle to the people. They have colour coordinated members and characters, so perhaps a Kiss collaboration seemed like the next step for them. I don’t know how the collaboration came to be, but the result was a brand new Kiss song written by Paul Stanley and producer Greg Collins.
This edition of Kiss 40 commences with a Kiss-heavy mix of the new collaboration, “Samurai Son”. There are other versions available on two singles and on iTunes, but reviews for those will wait until they arrive at LeBrain HQ. The good news is that the “U.S.” mix of “Samurai Son” has no problem hanging out on a Kiss greatest hits CD. Musically, it’s not too much of a departure of the direction from Kiss’ last album, Monster. It’s just more produced, polished and embellished. The girls from Momoiro Clover Z come in during the chorus, but it’s not the first time Kiss have had female backing vocals on their albums. It’s the first time since 1989, but remember old classic tunes like “Tomorrow and Tonight” from Love Gun, and “Sweet Pain” from Destroyer? Female backing vocals. The new twists this time are the lines in Japanese, and the very slight J-pop slant. It’s not too far of a departure.
Collector’s card included inside Kiss 40
It may not be to your taste, but I love “Samurai Son”. The lyrics address Kiss’ experience of hitting Japan for the first time back in 1976:
“I took a flight into Tokyo, Into the Land of the Rising Son, I heard my song on the radio, Blowin’ my mind like a shot from a gun.”
Paul then proceeds to tear it up all over town, “Livin’ life with no regrets.” The words suit one of those fast paced Kiss rockers that they’ve been doing of late — think “Hell or Hallelujah”. There are some cool Thayer licks and you can tell that Gene Simmons showed up for the sessions, because you can hear him singing on the choruses. The overall impression is that “Samurai Son” is one of those solid Kiss catalogue rockers. It’s like the new material on side four of Kiss Alive II: pretty good but living in the shadow of the Kiss greats.
From this point on, Kiss 40 (the 2015 abridged version) continues with the “best” hits from the full length 2 CD version…but not quite. There have been some major tweaks to the tracklist, perhaps to maximize the listening pleasure of consumers who just need one CD of Kiss in their lives. The classic live version of “Rock and Roll all Nite” has been replaced with the studio version from Dressed to Kill. Same for “Shout it Out Loud” and “Detroit Rock City”, here in their original full Destroyer guises instead of live. I like the way the car crash ending of “Detroit” merges into “Calling Dr. Love”. “Dr. Love” and “Love Gun” were thrown into the pile here, even though they weren’t on the original Kiss 40 in any form. A little further down, a different song was plucked from Kiss Killers: The superior “I’m a Legend Tonight” replaces “Down on Your Knees”.
Moving on from the makeup years to the non-makeup 1980’s, the original version of “Crazy Crazy Nights” replaces that unreleased live version from the double Kiss 40. That sums up the song substitutions; the album still continues chronologically to the current era. I’m pleased that even though early songs from the first two Kiss albums were axed, songs from the last two Kiss albums were not. I think Sonic Boom and Monster are Kiss albums the band should be proud of, so you get “Modern Day Delilah” and “Hell or Hallelujah”, as it should be. Other albums excluded from this compilation are The Elder, (surprisingly) Creatures of the Night, Hot in the Shade, the live records and the solo albums.
With all these tweaks and alterations, the overall listening experience is enhanced albeit at the cost of some deeper tracks. It’s a give and take, so the overall score for the new Kiss 40 remains:
He wasn’t in the Black Crowes for their heyday, but fans unfamiliar with Cry of Love may remember Audley Freed as the Crowes’ second guitar player, from By Your Side to their first breakup. Upon hearing this CD, his debut album with Cry Of Love, you will understand why the Crowes tapped him to replace Marc Ford. I loved this album so much that I place it on my “Most Unrightfully Ignored Albums of the 1990s” list, with the comment that “Audley Freed plays his Fenders like bluesy butter.”
In 1993, I fully hoped and partly expected Cry of Love and Brother Cane to end the domination of grunge rock, hand in hand!
Cry Of Love not only had the awesome, tubey guitar sounds of Freed but also (for this album, anyway) an excellent little known singer named Kelly Holland. Sounding like a cross between Chris Robinson and Joe Lynn Turner, Holland had pipes to spare and knew how to use them with soul. What a powerful throat. At the time I used to say, “If only I could sing like Kelly Holland or Joe Lynn Turner!” I only discovered while writing this review that Holland died last year at age 52. Hard living and alcohol took their toll on a singer who never achieved the fame that he had potential for.
Hopefully Mr. Holland was very proud of the one album he made with the band. Every track on this album is a live-sounding standout, with very few audible overdubs. Production by John Custer (Corrosion of Conformity from their hometime of Raleigh, North Carolina) is spot on. With a bluesy band like this, you want clear and crisp, yet with the illusion of a live rehearsal. The album delivers on that, with the power one expects from a modern recording. The guitar tones in particular are stunning. With a chilly, round, and natural sound, Freed proved that in the 90’s you didn’t have to downtune.
There are a lot of favourites on Brother. The first single “Peace Pipe” was killer. I can’t get enough of that bopping bass line and irresistible chorus. The second single “Bad Thing” wasn’t bad either, but the opener “Highway Jones” was really awesome. It has a blurringly fast blues riff that just stuns. On the mellow side of the blues, there is the soulful (and mournful) “Carnival”. Excellent lyrics on that one too. I saw them perform it acoustically on MuchMusic in the 1990’s. Still have that on VHS tape, too. Then there’s “Too Cold In The Winter”, which makes use of Freed’s chilly tone to full effect. You will have your own favourites, but I think “Peace Pipe” will grab you no matter who you are.
After this album, Holland departed to be replaced by Robert Mason (Lynch Mob, currently in Warrant) on the second album, Diamonds and Debris, which destroyed half of what made this band unique. While they still had Freed, it’s just rare to hear a singer of Holland’s caliber, and Mason is just a tad generic. At least at that phase of his career. That album isn’t nearly as memorable as Brother.
So: Brother, an excellent lost gem of an album, may be relegated to the footnotes of the Black Crowes’ biography. It’s a shame, because I think it’s up there with some of the best albums the Crowes have never done. Of note: I also own two CD singles, for “Bad Thing” and “Peace Pipe”, which also had two non-album studio tracks on it. Those, and some live cuts on “Bad Thing” are worth checking out if you crave more of the original Cry of Love. I’ll review those another day. Rest in Peace Kelly Holland.
The sticker on the front said it plainly: “Only 8 songs. Only 11 minutes. Only cheap $.” Retailers were known to jack up prices on CDs so the Beasties were proactive about making sure their fans didn’t get ripped off. It’s kinda like how Metallica called their Garage Days the $5.98 EP.
This EP is one of the Beasties’ punk rock releases. Apparently, while writing for Hello Nasty (1998), the group spontaneously just started jamming out old school punk style rockers. There were too many to put on their next rap album, so they decided to release them quick n’ dirty on a special EP. And that’s Aglio e Olio.
What I find cool about it is that even if you didn’t know who it was, it’s immediately obvious on opener “Brand New” that it’s the Beastie Boys. It doesn’t sound musically much like their mainstream hits but their idiosyncratic voices make it instantly identifiable. Then you notice things like the noisy guitar “solos” that take the place of record scratches and samples (similar to “Sabotage”)…it’s a different instrument but the same artists so there is a connectivity.
“Deal With It” is the second-longest song at a whopping almost-2 minutes! It’s a freakin’ crusher of a song. “I Can’t Think Straight” reminds me of early Suicidal Tendencies. The rest are a mash of screamin’ Beasties, heavy guitar riffs, crushing bass, and sloppyfast punk rock drums. Throw in a few weird breaks and time changes and you have a varied and enjoyable way to kill 11 minutes of your day. The bass hooks are relentless and the lyrics all but unintelligible!
Best track: the hooky closer “I Want Some” which I think is hit quality. Fucking great song on which to close a fucking great little EP.
But what exactly does Aglio e Olio mean? Fortunately, I am Italian. Aglio e olio is my favourite pasta dish, a simple spaghetti. It is just the pasta in olive oil and garlic. It is simple, delicious, and easy to prepare once you learn the trick of it. Its appeal is the simplicity of just three ingredients: spaghetti, olive oil and garlic. Three ingredients, right down to the basics. Just like the Beastie Boys.
“25 years in a rock n’ roll band, 10,000 women on a one-night-stand, all I got to show is the hole in my hand, where the money burned through.” – Wino
WINO – Adrift (2010 Exile on Mainstream)
I don’t know a hell of a lot about Scott “Wino” Weinrich (for shame), only that he was the guy from Saint Vitus, and they are doomy deliciousness. I’d heard him before on a couple records — a Sabbath tribute, and Dave Grohl’s Probot. I do love acoustic records by metal artists. I don’t mean unplugged albums, or acoustic versions…I mean when a heavy rock artist picks up an acoustic guitar and records what is (essentially) an acoustic heavy metal album. Take Zakk Wylde’s Book of Shadows as an example.
Adrift is a fucking great album. Even if you don’t like singer-songwriter type recordings, you’ll dig this. According to the cool liner notes, a lot of these songs are old compositions from his past. Wino made a ball crushing acoustic album out of them, and it’s brilliant. It’s not entirely acoustic; there are stunning electric solos and the odd flourish here and there, but it’s mostly just wood, strings, and Wino’s hands. Did I mention it’s fucking brilliant? You can even hear the guy breathing on some songs. It doesn’t get much more real.
But how does it sound? Take some simple rock chords and acoustic licks, and combine together for maximum impact. Wail out a long and atmospheric guitar solo when needed. Sing deeply personal lyrics with a haunting, gritty double tracked voice. Except on the instrumentals of course (of which there are two).
For shits n’ giggles, there is also a killer acoustic cover of Motorhead’s “Iron Horse/Born to Lose”. Its placement is a little weird (right smack in the middle of the album) but my God does it smoke.
Check out: “Green Speed”, “Old and Alone”, “Whatever”, “Shot in the Head”.
JUDAS PRIEST – Concert Classics (1998 RME, recorded 6/25/1980)
I was surprised to see this album was reissued in 2007 as Live in Concert. When I got it back in 1998, the record label was immediately served with a “cease and desist” because Priest had just released their own official ’98 Live Meltdown album, and this one isn’t authorized by the band. It’s a radio broadcast from 1980, the British Steel tour. It doesn’t even have the right drummer pictured on the back! The album was swiftly deleted and disappeared from store shelves, and most fans didn’t know it had come and gone. (Also, at the exact same time, Sony issued another compilation called Priest Live and Rare, further muddifying the clarification.) After it was deleted, I acquired this CD from Tom who had just opened his own branch of the Record Store. I paid $19.99, used.
As an unofficial part of the Priest discography, In Concert is worth picking up. Although Priest had released the live Unleashed in the East in 1979, Concert Classics was recorded in 1980 after British Steel. Therefore, a lot of crucial future Priest classics had been added to the set. You can’t argue with the tunes inside. Recorded live in Denver (you can tell this when Halford yells, “What you say, Denver!” right before the guitar solo in “Green Manalishi”), some of these tracks are lost gems. It’s nice to have the CD alongside Unleashed, as a companion.
The sound quality is OK, it’s not up to the standards of Unleashed (obviously). The vocals are not mixed loud enough. The bass on the other hand is mixed way too loud, and Ian Hill is not that interesting as a bassist. The band is also not the same lineup as the year before, due to the replacement of Les Binks by Dave Holland. Holland is a very blocky, robotic drummer. Play “Green Manalishi” for an idea of how the two drummers differ. Priest with Holland was that much weaker for it. I don’t think anyone would argue the point that Priest sound better without Dave Holland on drums.
Having said that, the rest of the band are playing great, and Halford’s voice was in fine, peak shape. He was able to hit all the notes in “The Ripper”. He didn’t quite nail the one on “Victim of Changes”, but he was close! This doesn’t sound like there were any overdubs or other assorted mess-arounds. Which is the way I like it.
Other notables: No “Metal Gods” (although the concert opens with the metal hammering sound from that song). “You Don’t Have to be Old to be Wise” is a nice surprise, and it sounds great live! There are plenty of tunes from Sad Wings and British Steel, a trio from Hell Bent, and samplings from Sin After Sin and Stained Class. The set list is well rounded.
3/5 stars. Somewhat collectible, since Priest would probably like this CD to be buried. Good tunes, and an important era of Priest history documented on CD for the metal historian.
Deep Purple opened their very first vinyl with an instrumental. “And the Address” is remarkably recognizable as Deep Purple, particularly because of Ian Paice and Jon Lord.
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