Reviews

REVIEW: Tonic – Sugar (1999)

TONIC – Sugar (1999 Universal)

Why did Tonic never make it big? Maybe they didn’t have enough of their own identity, maybe it was the 90’s, maybe it was the “one hit wonder” stigma. Whatever it was, I tweaked onto this band in April of ’96 thanks to a positive review in the Kitchener-Waterloo Record (probably by Robert Reid).  I thought their modern rock take on their classic roots was interesting and full of integrity. Indeed, this band didn’t seem to be about following the flavour of the week, but by reaching back to 70’s rock roots in a modern context.

Sugar, the second album, was the one where it all came together. Not one weak track on the whole bloody CD. The slow songs are sweeter, the hard songs are angrier. Something must have happened to Emerson Hart to really tick him off. Girl problems. From “Knock Down Walls”:  “So don’t tell me that I’ve gone crazy, you’re the one who tried to fucking change me…”  Emmerson also begs the question, “Why do you have to be so fucking mean to me?” on the track “Mean To Me”.

Whatever his inspiration, the anger struck a chord with me. Yet the slow songs like “Waltz With Me” were beautiful, gorgeous, full of love.  It’s not a heavy album, but it rocks and has a level of quality that was often absent in the mainstream rock music of the late 90’s.  Sugar is loaded with layers of electric, slide and acoustic guitars, great drumming, great singing, and relatable lyrics. The songs themselves are packed with variety and quality. Really, this should have been a huge album in 1999, and the biggest hit of Tonic’s career, but they were never trendy. Shame. They deserved more than the one hit.

Highlights:
The whole album, but I especially love “Drag Me Down”, “Mean To Me”, “Knock Down Walls”, “Sugar”, “Future Says Run”, “Waiting For The Light To Change”.

4.5/5 stars

REVIEW: AC/DC – Back In Black (2004 DualDisc edition)

AC/DC – Back In Black (originally 1980, 2004 Epic DualDisc)

How many times have I bought Back in Black?  How many times have you bought it?  I know that I purchased it on CD first in 1990, and then four more times since.  I currently own two copies:  this DualDisc, and the one that came in the Bonfire box set.  I don’t think I have it on vinyl, but I could be wrong.  The DualDisc has a DVD side with some neat stuff including a documentary.

“The Story of Back In Black” begins in 1979, with Highway to Hell,  fame and glory.  New interviews with all five AC/DC members (Angus & Malcolm Young, Cliff Williams, Phil Rudd and Brian Johnson) provides a little bit of insight.  We all know the story: February 19 1980, the death of Bon Scott, and the brave decision to carry on have become rock legend.  But according to Angus, it was Malcolm who kept the band playing, if only to distract them from the pain of their loss.  The band continued to jam and write without a singer, but producer Mutt Lange knew of one from a band called Geordie.  Brian recalls a hilarious story of being invited to audition for the band.  He went down to London and played “Whole Lotta Rosie” with AC/DC for the first time.  They then went to the Bahamas with Mutt to record.

ACDC BIB DUAL_0005The band tells the stories behind several songs:  “Hells Bells”, “Rock and Roll Ain’t Noise Pollution”, “You Shook Me All Night Long”, “Back in Black”, and “Shoot to Thrill”, while Angus and Malcolm demonstrate the riffs up close.  Brian reveals “Back in Black” was a challenge, since it was intended as a tribute in song to Bon.  No small feat to get the mood right.  The 30 minute mini-doc ends with Back in Black selling 10 million copies.  I guess they got it right!

You know the songs.  You’ve heard ’em the radio, seen ’em on the video, hummed them in your sleep.  “Hells Bells” is one of those archetypal AC/DC songs.  When one pictures the “ominous AC/DC headbanger” song, “Hells Bells” should certainly come to mind.  Then you can get your stompin’ shoes on for “Shoot to Thrill”.  I do miss Bon Scott’s sly playfulness, but there’s nothing wrong with Brian Johnson’s full-speed-ahead screech either.  “What Do You Do For Money Honey” is as catchy today as it was then, and has the benefit of being one of the songs that doesn’t get played every single day on the radio.  I’m not as burned out on it.  Same with “Givin the Dog a Bone”, but on that song all I can do is wonder what Bon would have done with that groove.

One truly outstanding track is the last song on side one, “Let Me Put My Love Into You”.  Yes, that title is hardly clever.  But the song kicks ass all over the place.  It’s one of those late night prowls that AC/DC do so well, and it perfectly closes the first side.

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The title track opens the second side with a bang.  Then “You Shook Me All Night Long”, a classic that also needs no introduction.  If you don’t know this song then you probably don’t listen to rock music.  I can’t add anything to the discussion there.

“Have A Drink On Me” and “Shake A Leg” are both fine AC/DC songs.  Nothing wrong with ’em, nothing exceptional about them.  Thankfully they saved one of the best songs for last:  “Rock And Roll Ain’t Noise Pollution”.  This has been my favourite track since first getting the album 24 years ago.  It’s an anthem, the kind of thing we can all agree on.  Rock and roll ain’t noise pollution, baby.  I’ll drink to that.

I don’t think Back In Black is the best AC/DC album, but it might be the best Brian Johnson album.  It’s certainly the most important AC/DC album historically, and it’s a must for any serious rock fan to own.  Choose your format according to your own wishes, but this DualDisc edition satisfies me fine.

4/5 stars

For those times when you can’t use the internet to tell you what songs are on what albums.

REVIEW: Mark St. John – Magic Bullet Theory (2003)

MARK ST. JOHN – Magic Bullet Theory (2003 Loch Ness Monster Records)

Mark St. John (1956-2007) is best remembered as the lead guitarist on Kiss’ 1984 Animalize album.  He was however much more than just a Kiss guitarist.  His exotic shredding was the basis of an instrumental solo album, Magic Bullet Theory.  Thanks Lemon Kurri for hooking me up with this CD.

“AWOL” blasts the doors open wide: high-octane tempo, high-speed shred, high-tech tricks.  There are Yngwie-like moments, Van Halen harmonics but also enough melody and song structure to keep it interesting.  Mark’s solos feature a number of different sounds and styles.  Intricate flamenco and electric guitars open the title track “Magic Bullet Theory”.  Then it turns into a melodic instrumental with lead guitar center stage.  Next, out of left-field comes the jazz workout of “Bourbon Street”.  This delicate number features non-stop jazz guitar shredding, full speed ahead, which some will find to be just too much to absorb.  “Too many notes,” some might say.  I am not one who would say that.

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It’s back to instrumental heavy metal with “Slave Driver”, which reminds me of Yngwie’s “Leviathan”.  “Utopian Trip” is more laid back, and I can hear mandolin on this one.  Mark lays a blistering lead guitar line over the largely acoustic track.  “Communicator” offers plenty more shred, perhaps resembling the high pitched screech of some 60’s sci-fi communication device.  “Baghdad” has guitars that sound like air raid sirens, certainly appropriate given the title. But the song itself is Arabic is style, with a lot of very complicated acoustic guitars.

“Wait No More” is more melodic instrumental hard rock, but with complex rhythms and tricks aplenty.  “Between the Lines” is ballad-like, with layers of shimmering guitars,until the song gives way to a nice rock riff.   This is of course accentuated by plenty of lead and melody guitars.  Finally “The Lone Gunman” closes the album on a heavy note.  (Notice how this title ties in with “Magic Bullet Theory”.)  The is a riffy track, which frankly the album could have used more of.  It’s also the longest song on the album, and probably the most epic emotionally.

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Although Magic Bullet Theory is not as song-oriented as I prefer instrumental albums to be, it has plenty of memorable moments and tracks.  It certainly shows off the talent that Mark had, that the world doesn’t know enough about.  Magic Bullet Theory comes recommended to all dyed-in-the-wool Kiss fans, and those who enjoy intelligent shreddery.

3/5 stars

…But wait, it’s not over!  After a five minute silence is an unlisted classical guitar rough recording, melodically lovely and astonishingly fast!  A nice coda.

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MOVIE REVIEW: Snoop Lion – Reincarnated (2013)

SNOOP LION – Reincarnated (2013 Vice films)

Directed by Andy Capper

What the hell?  It’s not April 1.  Are you on the wrong site?

Nope, it’s me, LeBrain.  And today we’re going to be talking about a Snoop Lion movie.  Snoop Lion, aka the artist formerly known as Snoop Dogg.

It may surprise you to learn that Snoop Dogg/Lion entertains me.  It was one of my old staff guys, Matty K, who exposed me to Snoop’s music.  I enjoyed the humour in the lyrics and his smoove voice.  He’s funny. And, let’s face it, who didn’t think he kicked ass as Huggy Bear in Starsky and Hutch?

Reincarnated is a documentary that chronicles Snoop’s transformation from gangsta to peaceful Rasta.  This process included a visit to Jamaica, to record his first ever Reggae album (Reincarnated) with such talented artists as Bunny Wailer, Damien Marley and Stewart Copeland of The Police.  (Snoop: “We got the drummer from The fuckin’ Po-lice!”)   He also had the last surviving Wailer.  The creative process of the album is observed, and it’s always fascinating to me, to watch songs evolve.  Snoop’s singing voice does well with Reggae.  He is a natural fit, and he had some damn good guidance there in Kingston.

Snoop discusses his early adult life as a pimp bluntly and honestly, but says that he wasn’t comfortable with that lifestyle and image any longer after his friend Tupac Shakur was killed.  The night Tupac died is described in full detail; a heavy moment in the film.  After this, Snoop decided on a change of lyrical direction, under the guidance of Master P of No Limits records.  Louis Farrakhan became a guiding force to Snoop at this time, and Snoop was inspired by the Nation of Islam to clean up his act.  The process of transformation led him to many moments of epiphany, but the death of his friend Nate Dogg in 2011 really hit him hard.

I won’t lie to you, there’s a shit-ton of weed in this movie.  One memorable scene involves a trip up a mountain with some local Rastas (where they grow the herb) to smoke the herb.  While climbing down the mountain, Snoop’s cousin falls down laughing, and can barely stand, having smoked so much.  You will even see Bunny Wailer smoking a pipe made out of a carrot, I shit you not.  It’s there, it’s part of it.  If that’s not something you need to see, fair enough.

As fascinating, sincere and transformative the movie seems, I did wonder if Snoop has maintained his Rasta values and practices?  Or if this too was a phase?  In researching for this review I found that Bunny Wailer has since accused Snoop of “outright fraudulent use” of Rastafari.  This issue comes up in the film itself in a segment with Bunny.  He does not seem to like the commercialization of Rastafarian culture, through popular music, images and style.  It seems that since the movie, he lumps Snoop into that category.

Be that as it may, I’m only going to review the film, regardless of that controversy.  I enjoyed it, quite a bit actually, and I’m putting the album on my Amazon wishlist.

4/5 stars

REVIEW: A World With Heroes EP

NEW RELEASE

A WORLD WITHA World With Heroes EP – A KISS Tribute for Cancer Care (Anniversary release)

You’ve heard me talking a lot about this one lately.  It’s a release I’m really excited about.  The record shows that I heartily approved of last year’s A World With Heroes (A Kiss Tribute for Cancer Care), assembled by Mitch Lafon.  Proceeds went to benefit the Vaudreuil-Soulanges Palliative Care Residence in Hudson, Quebec.  And it was a killer, killer CD as my 5/5 star rating attested to.  To hear there was an EP coming featuring more Kiss covers, that peaked my interest.  Lafon always makes sure that there are quality tunes, performed by artists we care about.

The Killer Dwarfs do “C’mon and Love Me” just right.  I like that Russ Dwarf throws in some of Gene’s mannerisms in the chorus, but also sings it in his own voice.  If you like Killer Dwarfs and Kiss, you will love this, guaranteed.  Once again, the A World With Heroes series has delivered a solid Kiss cover that is valuable to fans.

“Calling Dr. Love” as performed by Crash Kelly is a real rarity.  You had to pre-donate to the original compilation CD to get an mp3 of it.  Now you can buy it on the EP.  They turn in a fun version of “Dr. Love”.  They make it a bit more pop rock in feel, and Sean Kelly absolutely nails Ace’s solo note for note.  It’s uncanny.  We all know Sean is a talented axeman, but that solo was flawless.

“Save Your Love” is an awesome Ace song, but Matt Bradshaw’s take on it is unique to say the least.  He transforms it into a funky acoustic ballad.  But it works!  I was prepared to hate it but was pleasantly surprised.  It’s bizarre how the song completely works in this format.  This is an example of an intelligent, innovative cover — something that is rare these days.   Brilliant cover.  Seriously.

“Every Time I Look at You” was originally from the Revenge album.  Some fans assume that Bruce Kulick played the guitar solo, but it was in fact Bob Ezrin’s old pal, Dick Wagner.  Dick Wagner passed away recently, at age 71.  This was his last song ever, which makes his version of this song that much more poignant.  His quavering voice speaks of the years past, but much like a late period Johnny Cash album, it only adds character to the song.  He sounds like a cross between Bob Dylan and Keith Richards.  The guitar work is lovely of course.

The Dwarfs return with “Nothin’ to Lose” from the first album.  Once again Russ nails the Gene mannerisms, while still sounding like Russ Dwarf.  This one is replete with piano and cowbell (Piano is by Bruce Stephen Foster, who also played on the Kiss original!).  I gotta be honest with you, I like the idea of the Dwarfs covering Kiss songs.  They can do more if they want.  They’re allowed.

Sudden Flames are a metal band from Quebec City.  They heavy up “Coming Home” considerably.  It’s one of my favourite Kiss songs ever, so it’s kind of funny to hear it with drums blasting away like this.  Like “Dr. Love”, this song was only available to those who donated in advance to the original CD.  Now you can get it on iTunes too.   I enjoy hearing their Québécois accents, truly one of the greatest accents on this Earth.

I only wish this was a physical release.

4.5/5 stars

  1. “C’Mon and Love Me” – Killer Dwarfs
  2. “Calling Dr. Love” – Crash Kelly
  3. “Save Your Love” – Matt Bradshaw
  4. “Every Time I Look At You” – Dick Wagner
  5. “Nothin’ To Lose” – Killer Dwarfs
  6. “Coming Home” – Sudden FlamesA WORLD WITH EP

 

 

REVIEW: The Cult – Beyond Good and Evil (Australian bonus track)

Second of a CULT double shot!  Click here for 1994’s The Cult.

THE CULT – Beyond Good and Evil (2001 Atlantic)

When The Cult finally reunited, the rock world rejoiced.  It felt like a long time, in that post-grunge wasteland, since the world had been blessed with any new Cult music.  Not only had they reunited (with their former drummer Matt Sorum, also formerly of Guns N’ Roses) but they had also reunited with producer Bob Rock, for the third time.   Much like his last outing with the band (1994’s The Cult), this Cult album sounds like none before it.  This time, The Cult have gone full-bore ground-shaking heavy metal.  The template was a song the old band were working on before they split “In the Clouds”, from 1996’s High Octane Cult.  The resemblance is uncanny.

BEYOND THE CULT_0003“War (The Process)” invites you to the stage.  Its weight is astounding; Duffy’s guitars crushing while Sorum attacks his kit as he always has.  Duffy’s guitars have acquired a much heavier metallic tone.  Bob Rock applies them in layers, which has always worked well for The Cult.  When “The Saint” enters, your head could be blown from your shoulders.  This is The Cult at their heaviest, but Billy’s melodic sensibilities are intact, and his guitars always sound like Billy Duffy.  Ian, of course, sounds like Ian, howling at the ghosts.

The single from this album was “Rise”, which is no less brutal than the first two tracks.  Its stuttering de-tuned riff recalls Kyuss or Queens of the Stone Age. Song after song, the album crushes.  “Take the Power” is a rallying crying over a noisy Duffy arrangement.  This time, the layers of guitars form this wall of awesome that threatens to fall on you at any moment.  Astbury is delivering a lot more melody with his lead vocals than he did on The Cult.

BEYOND THE CULT_0005“Breathe” offers a respite, but it’s only brief.  It soon turns into a mid-tempo groove rocker, but a forgettable one.  “Nico” is a highlight, an “Edie”-esque beauty.  It would have been my choice for a single.  Somebody should really start asking me.

No sooner have you had a chance to relax before “American Gothic” smashes through the wall.  This is one of the heaviest Cult songs to date.  Cult bassist Chris Wyse (back in the band today) has a solid groove but is overwhelmed by the sheer weight of the Duffy guitar layers.  “Ashes and Ghosts” too is groove laden and heavy as plutonium.  “Shape the Sky” has a little bit of the old Cult’s prowl, but it’s still pretty heavy like spent nuclear fuel.  Ian has a knack for a cool chorus, and this is one of them.  “Speed of Light” has a bit of that robotic pulse from 1993’s “The Witch” before it descends into a detuned metal riff and chorus.  Then, “True Believers” gives you some breathing room again, although still slammed by electric guitars.  This slow tune is a bit more about the melody than the headache.

BEYOND THE CULT_0004The final song on most editions of Beyond Good and Evil is “My Bridges Burn”.  The Cult bow out on a scorching rocker, blowing the speakers out for those who dare to follow them.   Australia received an additional song, “Libertine”, on which to close.  This song feels like a coda and is powered by an Anthrax-esque stomp.  Top that with a soaring Astbury howl and those patented Duffy guitar melodies and you have a good summation of The Cult 2001.

I think many old-school Cult fans, the kind who think they made a wrong turn on Sonic Temple, would dislike Beyond Good and Evil.  For those of us who don’t mind the Cult when they just fucking rock, I think it’s a brilliant album.  The songs are not designed to be instantly catchy.   They are designed to create a sledgehammer of an album that relentlessly powers its way into your soul.  For me, it worked.  You could listen to it once and say, “Sure, it’s heavy, but there are only a couple memorable songs.”  Keep listening.  Let Beyond Good and Evil pummel you with body blows until all you can do is let it sink in.

4/5 stars

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REVIEW: The Cult – The Cult (1994)

First of a CULT double shot!  Come back tomorrow for another!

CULT_0002THE CULT – The Cult (1994 Universal)

This is an ugly album.  Even though a 1989 MuchMusic interview with Billy Duffy revealed The Cult would most likely not work with Bob Rock again, they did indeed re-team with the Canadian producer on 1994’s The Cult.  Duffy didn’t think the magic of Sonic Temple was something that could be repeated, based on the less than satisfactory (to him) results of working with producer Steve Brown twice.  On The Cult, however, no attempt was made in any way to recapture any sound or era.  This was brand new from the womb of 1994, and sounds very dated to that dark time.

The twisted “Gone”, unorthodox and sparse, was a shock to the system.  Once the listener gets his or her bearings, it’s actually a great fucking song.  Just a little off-kilter; enough to sound as if it’s not being played right.  It’s a whole new side to The Cult.  I wonder how much of this has to do with the new lineup, including bassist Craig Adams (The Sisters of Mercy/The Mission) and drummer Scott Garrett (Dag Nasty).  Ian Astbury’s delivery was also quite different.  Rather than simply howling those patented Astbury melodies, Ian barks, whispers and bellows.

“Coming Down (Drug Tongue)” was the first single, very different from the hits from the past two or three albums.  It had a droning, U2-ish vibe.  It’s quite a good song, but it wasn’t love at first listen.  “Real Grrrl” has a slower sway to it, and there is a lot to like about the song.  It’s interesting to hear Bob Rock using open space a lot more in his production; this is right after the supersaturated Motley Crue album.  Much of the instrumentation is very dry, but then there are Bob Rock trademarks, such as the Scott Humphrey synth on “Real Grrrl.”

Sounding much like a Superunknown (the softer side thereof) outtake, “Black Sun” is dark and quiet.  Ian sings of abuse.  The band back him with the barest of instrumentation, before the Billy Duffy solo around 3:20.  It is impossible to ignore the similarities to all the grunge bands of the time.  The basic, stripped down guitar parts and rhythm-driven arrangements speak of the time.

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There are few standouts on The Cult.  The album is more cerebral than past Cult albums, and is more about its overall direction than individual songs.  The aforementioned tracks are all great, as are a few others.  They include “Star” (also a single) which is a song that was re-worked many times going back to Sonic Temple.  Previously, it had been known as “Tom Petty” and “Star Child”, and can be found in both forms on the expansive Rare Cult box set.  It is one of the few songs that slightly resemble “old Cult”.  “Be Free” was a single (in Canada at least) given away with a case of beer.  How Canadian, eh?  (I sold mine on eBay for $10).  It too is a pretty good song.  Then there’s “Sacred Life”, a somber ballad naming Abbie Hoffman, River Phoenix and Kurt Cobain as painful losses to the world.  Album closer “Saints Are Down” is a powerful epic, and also a standout.

The Cult broke up/went on hiatus after this album.  They reunited in 1999 (with Matt Sorum on drums) and released a new song called “Painted on the Sun” written by Diane Warren (!!) from the Gone in 60 Seconds soundtrack.  This was followed by the excellent Beyond Good and Evil CD, also produced by Bob Rock.  This self-titled departure remained just that, as The Cult went full-bore metal on Beyond Good and Evil.  This album is an experiment that went unrepeated, and that is fine.  I like it for what it is, but I don’t need another.

3/5 stars

REVIEW: Guns N’ Roses – “The Spaghetti Incident?” (1993)

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GUNS N’ ROSES – “The Spaghetti Incident?” (1993 Geffen)

The hype surrounding this album was palpable. The disappointment was legendary. When I began working in a record store in July 1994, less than a year after the release of “The Spaghetti Incident?”, we couldn’t give these away, no matter how low we marked them down. This disc effectively ended Guns N’ Roses domination and ushered in an era of a new wave of bands, the post-grunge onslaught. GN’R survived grunge only to be put to bed with this terrible album!

The reason is, while most of these songs are great in their own rights, these versions are not. The recording is sparse and basic, a far cry from the layered intricacy of the Illusions albums. While Slash’s goal was to get the production back to basics (read: Appetite), this album was an ugly beast and not even close to the shiny black gleam of Destruction. Some songs are just plain boring. “Since I Don’t Have You” was an odd choice for a single, and “Black Leather” just plain sucked. I think there were quite a few fans who were baffled by the number of Duff lead vocals too.

The best song (which wasn’t even recorded by GN’R), is Johnny Thunders’ “You Can’t Put Your Arms Around A Memory”. This is actually a Duff McKagan solo track, an outtake recorded for his first solo album, Believe In Me. Other standouts include Axl’s raging “I Don’t Care About You”, Duff’s “Attitude”, and “Down On The Farm” which had been played live way way back when Izzy was still in the band. A lot of fans were off-put by Axl’s faux-English accent on “Down On The Farm”, but that’s the way it was played live and I don’t mind. The New York Dolls’ “Human Being” is a great Guns cover.  “Ain’t It Fun” is also an angry standout.

Nazareth’s “Hair of the Dog” is underwhelming although Axl does nail the lead vocal. Why GN’R covered a Soundgarden song (“Big Dumb Sex”) is beyond me, and of course there’s the worst track on the album, and most legendary — Charles Manson’s “Look At Your Game, Girl”. Axl’s obsession with Manson was just another nail in the coffin for GN’R, as most fans couldn’t wrap their heads around it. It didn’t help that Slash publicly said that the song “sucked” and that he refused to play on it.*

“The Spaghetti Incident?” will go down in history as the last music of the Illusions sessions to be released, and also is the only album of the Rose/Slash/McKagan/Sorum/Clarke/Reed lineup. By the time Guns N’ Roses released their next single (another cover, the Stones’ “Sympathy For The Devil”), Gilby Clarke was fired by Axl and replaced by Axl’s hometown bud Paul Huge. And that was the last straw for Slash, and the beginning of what would later be known as Chinese Democracy. And that was it. “The Spaghetti Incident?” is the last album to feature Slash, Duff, and Matt, and I think that is just sad and kind of weird too.

If you love Guns N’ Roses, then you already have this, because you have everything by the band. If you only “like” Guns N’ Roses, you don’t need this. You’ll play it a few times and then file it away, never to be heard again.

Instead of this, pick up:

All three would have been great GN’R albums, but sadly none were.

2.5/5 stars

* In 2000, Axl Rose stated that “Look At Your Game, Girl” would be removed from future printings of the album.  That never happend.

REVIEW: Budgie – The Definitive Anthology: An Ecstasy of Fumbling (1996)

BUDGIE – The Definitive Anthology: An Ecstasy of Fumbling (1996 Repertoire)

Dear young and old, far and wide:

This 2 CD compilation is an excellent starting point for digging into the monumental sound of Budgie, formerly Six Ton Budgie. (That’s a really heavy bird!) Helmed by the Geddy Lee lookalike Burke Shelley and his shifting cast of players, Budgie is a power trio and the prototype for the sound of bands as diverse as Rush, Black Sabbath, AC/DC, Metallica, and Iron Maiden. Formed in ’67, Budgie predate them all.

Want some proto-Sabbath sludge? It’s here. AC/DC-type fast riff rockers with simple beats? Also here. Songs driven by catchy, eloquent basslines? Look no further. Metallic gallops? These guys were doing it while Steve Harris was still struggling away in Gypsy’s Kiss! Everything good that happened with heavy metal had already been done by Budgie before those sounds hit the mainstream. All with a singer who could have been Geddy Lee’s long lost brother (and look at those glasses too)!

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This album includes some of the best tracks from their albums 1971-1982. It also includes B-sides, single versions, and EP tracks. Burke Shelley stopped gigging with Budgie in the late 80’s but returned with some serious thunder and a 2006 comeback album. This stuff, however, is some of the creme de la creme of the initial phase of Budgie.

Highlights for me included:

  • “Homicidal Suicidal” – a 6 minute exercise in bass-driven groove.
  • “Whiskey River” – a shorty; killer bassline, catchy as hell.
  • “In The Grip Of A Tyrefitter’s Hand” – another one with a catchy as hell bassline.
  • “Breadfan” – you already know Metallica’s version of this proto-thrash number.
  • “Beautiful Lies” – rare, synth-driven ballad.  Previously unreleased.
  • “Forearm Smash” – fast heavy AC/DC style rocker.
  • “Wildfire” – very much like Maiden’s “2 Minutes To Midnight” riff.
  • “Time To Remember” – Spacey, echoey, epic.
  • “I Turn To Stone” – the gallop at the end is pure Iron Maiden with some Blackmore type soloing.
  • “Superstar” – great fast rocker.
  • “She Used Me Up” – another one that AC/DC fans will love.
  • “Panzer Division Destroyed” – pure proto-thrash brilliance.

 

That list is very incomplete, because I think every one of these 29 songs are really good.  Some go beyond that into “great” territory, and others one step further to “fucking awesome.”

Photo0317Truly, Budgie were way ahead of their time. Chances are the kids on your street have never heard any of these songs, except when covered by Metallica and Iron Maiden. Now it’s time to prove to them who knows their rock music. Pick this, or any Budgie album, up today.  If you go with this one, you’ll also get a gigantic booklet with ample liner notes about the band and every single track.  I consider it a great stroke of luck, the day that one of my customers sold this one to me.  (His name was Dan and he’s the same guy who sold me tons of great stuff before.)  I was aware of Budgie because of Maiden and Metallica, but mostly because Martin Popoff raved about them in his first book, Riff Kills Man!  I had to have it.  I’m glad I bought it.

If I Were Britannia I’d Waive The Rules, but I would also make sure that everybody knew who Budgie was!

5/5 stars

Part 314: The Musical Crimes of Mrs. LeBrain

Apologies in advance to my lovely wife.  She really is awesome for letting me do this.

RECORD STORE TALES Part 314: The Musical Crimes of Mrs. LeBrain

As we wind down the Record Store Tales, we get to the point that I met Jen in September 2005.  The funny thing about love is the rose-coloured glasses.  I don’t remember Jen having such bad taste in music.  However, the photographic proof is here.  She recently dug up her old Linkin Park CD wallet (!!!) , inside which are many dirty and scratched CDs.  Yes, Jen never took proper care of her discs either before we met, it’s true.  I can’t even identify some of the filth on her Marilyn Manson CD.  Could be coffee.

So here I am, a single Record Store Guy in the fall of ’05, meeting the love of his life…and these are the CDs in her collection.  Thankfully we shared a love of bands such as The Beatles and The Darkness too.  Even more thankfully, Jen doesn’t listen to Limp Bizkit anymore.  (I mean seriously, look at these!  She even owns the Limp Bizkit CD without Wes Borland!)

In her defense, I found no Nickelback. What I did find may upset you.

\m/
Coaster?
screeeeeeeeeeee
Nothing like NIN and Spice Girls on the same page.
blarf
blurgh
Everybody’s CD wallet, 1995
The One Without Wes