I was so pleased to be able to collaborate with YouTuber D’Arcy Briggs. He has a great channel all about physical media and music, and my favourite new feature of his is called “What’s Good”. It’s just him and a guest literally talking about whatever’s fresh and good that they want to share. This is only the second episode of “What’s Good”, following the debut with Jex Russell!
For me, I had three unboxings and a Gene Simmons set to show. The unboxings are brand new and exclusive to this show! This is the first reveal of these treasures to come into my collection.
D’Arcy had some cool stuff included new music by Jack Antonoff, jazz rock fusion, the complete English Beat, some vinyl, and a parcel from Ontario! We took four turns each but you’ll have to watch the show to see what we brought.
One of the items I was proud to show was my autographed copy of Angie Moon’s first book, Crime of the Century. You can find out more and buy your copy by clicking this link. crazyonclassicrock.com/buy-crime-of-the-century
Crime of the Century is an original book idea about the connections between classic rock and roll and true crimes! Some are less known than others. The Band and Jack Ruby? The Kink and John Wayne Gacy? DEVO and John Hinkley Jr.? I didn’t know any of this before. I can’t wait to dig in and talk to Angie on Grab A Stack of Rock. She came from right here in the WordPress community and it’s awesome to see her out with her first book!
Check out the episode below, and subscribe to D’Arcy’s channel if you already haven’t!
Tony MacAlpine seemed to be in every guitar magazine when I was a kid, but I never got to hear his music. He looked cool, and he was highly praised as a shredder, but his music (on Shrapnel records) was impossible to find unless you ordered it from a specialty shop. Like most of Shrapnel’s output, it was produced by Mike Varney.
His 1985 solo album Edge of Insanity features an impressive band: Journey’s Steve Smith on drums, and of course it’s common knowledge that Billy Sheehan played bass. The album is instrumental.
Opener “Wheel of Fortune” has a neoclassical vibe, with the rapid fire bassline enabling MacAlpine to focus on the melody rather than shred his way throughout. There is certainly a commonality in terms of musical direction with Yngwie, but Tony’s approach is more easily digested. Tony’s music has an actual bottom end thanks to Billy, and of course Steve Smith’s technique speaks for itself. He’s more than capable of heavy metal hammering as he does on “Wheel”, but listen carefully and you will hear his signature cymbal work, so unique to me.
“The Stranger” discards some of the neoclassical robes, and rocks a more straight-ahead blitz. Tony has a wicked keyboard solo mid-song, showing the breadth of his abilities. The pulse of the song is all Sheehan, and Smith’s fills sound a lot like a certain band that started with a “J”.
A live solo called “Quarter to Midnight” is unaccompanied. It reminds me of a Randy Rhoads solo. There’s some nice whammy work near the end, which was so popular in the era.
A ballady song called “Angrionia” (mis-printed on the back cover, but correctly in the booklet) follows; quite a nice little tune with the occasional bursts of neoclassical guitar speed. Billy has a couple nice rips as well. MacAlpine multitracks his guitars for effect.
“Empire in the Sky” has a very cool keyboard intro, that leads into a gallopy metal number. This has a mid-tempo vibe like Maiden circa Seventh Son when keyboards were happening. You could imagine this coming from that era, though of course Tony was three years ahead. His doubletracked leads set it apart from that, and there are some chunky riff chords happening beneath, though this is not a riff album. There’s also some outro guitar twangin’ that is absolutely freakin’ rib-shattering.
An Yngwie vibe pervades “The Witch and the Priest”. You hate to make comparisons, and it seems lazy, but when you hear a vibe there might be something to it. Of course, Billy Sheehan and Steve Smith help make it sound less Yngwie. Tony’s tone is warmer than the Swedish shredder’s as well.
“The Taker” is the only song with Tony playing bass and it’s less prominent for that reason. This tune is a full-speed blaze, with Tony deftly weaving melody through all his playing, and then suddenly taking a left turn with harpsichord-like keys and then some organ for good measure! “The Taker” keeps you on your toes.
Tony treats us to actual classical music next: his spin on Chopin. “Prelude 16, Opus 28” is performed on piano, and you’d never guess it wasn’t from a professional classical pianist. This prelude leads into Tony’s “Edge of Insanity”, a deep cut title track and one that allows the chug-chug-chug of the metal to come through. There’s still a soaring melody and flying bassline to absorb. Smith’s drum parts are smashing – literally. A great tune and a little easier to digest than the speedier stuff.
“The Raven” has classical keys opening a speedy metal rollercoaster ride. Once again, Smith is classing up the place several notches with his signature fills. Tony rarely lets up, constantly treating the listener to impressive shred. He switches tones (and probably guitars) at some points, giving the lead work different voices.
The closing track, “No Place in Time” has some slinky Billy bass, and really allows him to have some of the spotlight. His playing here is all about the groove he’s laying down, and how he complements Tony’s lead. MacAlpine uses doubletracked guitars and plays a slow melody. It’s not the most memorable track, and not the most effective closer.
Edge of Insanity is more accessible than a lot of instrumental guitar albums of the era. If some of those other artists seem daunting but you’d still like a taste of neoclassic rock, then go for some Tony MacAlpine.
EUROPE – The Final Countdown (1986, 2019 Rock Candy remaster)
When Europe set in to do The Final Countdown, some changes were necessary. The drum seat went from Tony Reno to Ian Haughland, a guy that Joey Tempest liked partially because his drum kit looked like Alex Van Halen’s. Some new songs, such as “Carrie” and “Ninja” had already been road-tested on the Wings of Tomorrow tour. The record label was gunning hard and hooked them up with Journey producer Kevin Elson for the third album. What Elson brought to the music was not drastic change, but the essentially improvements that made the record what it is today.
Record? In this case, CD. In 2019, Rock Candy reissued The Final Countdown with six bonus tracks: the same three live ones from the 2001 Epic remaster edition, plus three extra. For that reason, let’s take a second deep dive: It has been over 10 years since we last reviewed it.
With the ominous boom of synth, the anthemic title track opens The Final Countdown with regal, grand intentions. The track was cut down from seven minutes to just five, and for that reason it was able to become the hit it was. Today you hear it on TV commercials and shows such as Arrested Development (in hilarious fashion). Back then, it was pushing the envelope about how much keyboard was acceptable in hard rock or heavy metal. Europe really started as a metal band on their first album. Yet here we are, with those big gongs of synth provided by new member Mic Michaeli. When the trumpet-like main keyboard melody enters the fray, it’s all but over. Your mind is now hooked! The wicked John Norum guitar solo remains one of his catchiest and most memorable, with plenty of fret-burning action. The lyrics tell the story of abandoning the Earth for Venus due to catastrophe. Corny, but pretty unusual for its time. “The Final Countdown” remains one of those career-defining songs that live forever.
“Will things ever be the same again?” begs Joey Tempest, before the chorus. For the band, no. Superstardom hit soon thanks to this unforgettable anthem. Though their fortunes would fade and they would never hit these heights again, they wrote themselves into rock history with one song.
Straight-ahead party rocker “Rock the Night” was the infamous video that featured Joey Tempest using a ketchup bottle as a makeshift microphone. Great song though, with that kind of shout-along chorus that Bon Jovi were also becoming experts in. But listen to Ian Haughlaand’s drums! Absolutely pounding. All the elements come together in perfect balance here, with the keyboards taking a back seat to John Norum, who continues to burn on the solo. His tone on this album was unique and very tasty.
“Carrie” was born on tour as a simpler arrangement with just Joey and Mic on stage. When recorded for the album, it was a full band arrangement. A little heavy handed, a little over-dramatic perhaps. It too was a huge hit. It still sounds good today, largely thanks to Joey’s impassioned vocal performance. The man was at the peak of his powers, and it shows here. Very few singers can do what Joey does on “Carrie”.
The rock returns on “Danger on the Track”, a tale of Joey fleeing from the strangers on his back. And he was so right, apparently, but we won’t get into that! This is clearly an album track, not up to the standards of the previous three singles, but still good enough for rock and roll. It’s “Ninja” that surpasses the singles, with a ripping tale of the era of the ninja. It has the rhythmic chug that the other songs don’t, and plenty of John Norum’s addictive, dramatic runs.
The final song written for The Final Countdown was one of its best: the side two opener “Cherokee”. It seems odd for a band from Sweden to sing about a dark period in American history, but the lyrics aren’t too far off the mark. They were based on a book Joey saw while working in America. This is probably the second most anthemic song on the album behind “The Final Countdown”. It has a big keyboard hook too, and a chorus that sticks for days.
“Time Has Come” is only the second ballad, but it has some heavy guitars to keep it from going too soft. Once again, Norum’s solo is a highlight, being a key part of the song’s melodicism. Moving on to “Heart of Stone”, a memorable mid-tempo track, John Norum continues to shine. This cool song boasts a killer chorus to boot. There are cool stabs of organ a-la Deep Purple ’84. You wouldn’t call it a heavy song, but “On the Loose” sure is. This scorcher is among Europe’s best blasts. It’s just a simple song about teenage frustration and energy. This might have been the song that made me a John Norum fanboy in the first place.
Album closer “Love Chaser” is a melancholy mid-tempo romp. It has a bouncy beat and keyboard hooks, and it ends the album just perfectly. It even has a keyboard melody at the start that recalls “The Final Countdown” a bit, providing the album with a nice set of bookends. Sadly this would be John Norum’s last appearance with Europe until a 1999 reunion. He was replaced by Kee Marcello, who appears in all the music videos aside from “The Final Countdown” itself.
The first set of bonus tracks are the three live songs that appeared on the 2001 Epic remaster. These are taken from the Final Countdown World Tour VHS from the Hammersmith Odeon in 1987, and feature Marcello on guitar, though this information is not included in the otherwise excellent booklet. It is audibly him. “The Final Countdown”, “Danger on the Track” and “Carrie” are the three tracks included, though there is a clear opportunity here to do a 40th anniversary edition with the entire show on disc 2. These are solid live versions, and it does sound pretty live especially in the lead vocals. Joey Tempest is one of the most impressive singers in hard rock, and though the press was trying to build a rivalry with Bon Jovi in 1986-87, Joey was clearly the superior singer.
The first of the new bonus tracks is a rare 1986 re-recording of “Seven Doors Hotel” from their debut. There are now drapes of synths over the piano opening, but the song still scorches hot as ever. John’s guitar is doubled effectively for a more Lizzy-like approach. It was clearly too heavy for The Final Countdown album but it could have been an excellent B-side.
Speaking of B-sides, a special B-side remix of “Rock the Night” is another rarity brought back to light. This version could have been better than the original, but falls short of the mark. It does not actually sound like a remix at all, but a completely different recording, at least vocally. If you wanted to hear this song a little heavier, then this version might do it for you, except for the annoying looping of hooks. “Rock now, rock now, rock now, rock the night!” “What do you want? What do you want?” Stop looping the hooks, please! It sounds so artificial. This version is a minute and a half longer than the original. It’s a slog, but it didn’t have to be.
Finally, the excellent B-side “On Broken Wings”, previously available on compilations, has been restored to the album as it always should have been. It’s a hard rocker, a driving song, and could have fit very well on side two. It would have been one of the faster songs, yet with another memorable Europe chorus.
This new Rock Candy remaster sounds sharp and vibrant. An excellent remastering of a stone cold classic. The booklet includes an interview with Joey Tempest on the making of the album. Until they issue an expanded edition for the 40th anniversary (let’s hope), then this is the version to buy, hands down.
CINDERELLA – Live Train to Heartbreak Station (1991 Mercury Japan EP)
Japan sure loves the rock! That’s one reason they get such cool exclusives. (There are other reasons too, involving incentive to purchase domestic product rather than the less expensive US imports.) Live Train To Heartbreak Station, recorded in Little Rock Arkansas, is one such exclusive. A six song EP released in 1991, this was issued to support the Heartbreak Station tour. I was fortunate enough to witness a show on the Canadian leg of that tour, which suffered from poor ticket sales, an early harbinger of the grunge to come….
Having seen it live, this sounds purely authentic. I’m sure there are overdubs, 90% of live albums do have overdubs. However they are hard to definitively detect. Tom Keifer’s patented screech is right there, in your face, still in its glory days. The band is solid, augmented by organ and keys in the background. You can also hear the two female backing vocalists that the band were using at the time.
This EP consists of six tracks, two from each of the band’s three albums in existance at the time. All six songs were singles, although not all were hits. Even though it was not a hit, I think it’s safe to say that “The More Things Change” belongs on an EP like this It’s a great song in the opening slot. They also sequence the two ballads (“Don’t Know What You Got” and “Heartbreak Station”) right in the middle of the EP, side by side. I like that idea, get ’em out of the way. I think that was a smart move, albeit the girly audience screams can get old pretty fast. But man, the harmonies on “Heartbreak Station” are so sweet. I don’t care if the girlies loved it, that’s just a great song. Synth replaces John Paul Jones’ string section; a fair compromise for the live setting.
After the two ballads, the band cranked out their two best known rockers: “Shake Me” and “Gypsy Road”. Man, this takes me right back to that summer of 1988. I can remember a time when I thought “Gypsy Road” was the best thing since sliced bread. And you know what? It still ain’t bad!
This is still one of the best, if not the best, Cinderella live packages on the market due to the vocal problems that Keifer would experience later on. It’s a shame it’s just an EP, but context is important. This was just a taster, a sampler. Don’t forget Slaughter and Ozzy both released live EPs at the same time – it was the thing to do, I guess.
Here is a band that I ignored for decades. When the music video for “Don’t Change That Song” came on ye olde Pepsi Power Hour on MuchMusic, it was just a step beyond how far I wanted to go. I had made allowances and let Poison into my life, but Faster Pussycat seemed less goofy and more sleazy. The gender-bending was there with Taime Downe’s makeup and nail polish, and the truth is I could not tell if Brent Muscat was a man or a woman. I figured if the Bangles had a member named Michael that was a girl, then who’s to say this Brent person couldn’t also be a girl? Greg Steele looked cool with the 5 o’clock shadow and headband wrapped with care, but very early on, I decided that Faster Pussycat were not for me. It was a confusing time to be a young teenager discovering rock music.
Produced by Ric Browde, who also recorded Poison’s debut, Faster Pussycat’s debut is a rock-em sock-em ride through the gutters of California, with smiles all around. It’s as if Aerosmith got a one-way ticket to Hollywood, bought some punk records, and went all-in on the debauchery.
Indeed, Aerosmith are the easiest comparison, especially vocally. Taime Downe sounds like he’s fronting an outtake from Done With Mirrors on “Don’t Change That Song”, nailing every squeal and shriek just as Steven Tyler might. Second track “Bathroom Wall” takes this further. Faster Pussycat lack the manual dexterity of Perry and Whitford, and so we get a punked up version of the ‘Smith without the schooled knowledge of boogie and blues or clever wordplay. This is Aerosmith: The Next Generation, after the punk wave had its impact and imparted a sense of who-gives-a-fuck. And every note is tastier for it, like hard rock candy sharp enough to cut your teeth.
Third track in, and we hit our first serious deep cut: “No Room For Emotion”. It’s a slower groove that drawls seductively across the chords of classic rock and roll. The Stones are the prime influence here, with just a hint of early Bon Scott-era AC/DC.
We all know Taime Downe ran the Cathouse club with Riki Rachtman, and so it seems natural that “Cathouse” is one of the better tracks. High speed piano hammers away behind a breakneck rock and roll riff. Taime takes the Tyler-esque screaming to its natural extremes on this track, which reads like an advertisement for the club.
Perhaps the first misstep is “Babylon”, seemingly a re-write of “You Gotta Fight For Your Right to Party” by the Beastie Boys. It’s definitely in the same pocket. There’s an annoying “pussy-pussycat” sample and an undeniably similarity of vibe. Though it’s a bit of a classic for the band, it sounds a bit like they’re trying too hard.
In a classic case of packing all the hits on side one, side two must stand on the strength of deeper cuts. “Smash Alley” is a tough little number, with cliche lyrics about gutters and back streets. As for deep cuts, “Shooting You Down” might be the biggest one to be found. An indelible chorus is matched with a simple riff and plenty of sneer from Taime Down. It’s a brilliantly catchy deep cut and probably should have been considered for a single.
“City Has No Heart” continues with a series of somewhat soundalike music, though this one has soulful backing vocals atop a punky tune. A good tune with a solid chorus, though at this point the Faster Pussycat sound starts to wear on the ears a bit. You start to crave something a little different on side two, just as side one had “No Room For Emotion”. There is no such change of pace on side two, and so we close out with “Ship Rolls In” and “Bottle In Front of Me” which rock us to the end. “Ship Rolls In” has a Sex Pistols vibe on the chorus. Then they go back to the Aero-vibe on closer “Bottle In Front Of Me”. It leans into the funky sound of Aerosmith, circa Rock In A Hard Place, quite successfully. It’s definitely a memorable closer, going full-on by the guitar solo. Taime Downe shreds every last vocal chord, pushing it to the limit. You’ll either love it or hate it, but if you love that screamin’ Steven Tyler on songs such as “Draw the Line”, then you’ll appreciate the lengths to which Downe pushes it.
The production of the album is of its time. The snare drum sounds plastic and there’s a flat, two-dimensional vibe. You can’t expect too much from an album released in 1987, folks. People were listening to music on different devices and had different preferences back then. Still, there are worse sounding records from this era and Faster Pussycat is worth of repeat listens. Just take an Advil if a headache sets in by the end of side two.
JUDAS PRIEST – Invincible Shield(2024 Epic Deluxe with bonus tracks)
I don’t usually write “first impressions” reviews, because I like the albums to have time to sink in, and to consider my opinions.
I’ll break some rules this time.
Invincible Shield tops Firepower and could be the best Priest album since Defenders. Or maybe even before that…
The highlights are many and the riffs are strong. Rob’s voice has not changed in 20 years and he is still of the same power and range as Angel as Retribution. As one goes deeper in, the songs continue to gain strength. “Invincible Shield” didn’t really jump out at first, but does now with a very Maiden-y outro. “Devil In Disguise” is another early highlight. “Crown of Horns”, “Escape From Reality”, “As God is My Witness” are instantly likeable, with hooks aplenty and the odd adventurous lick or detour. Richie Faulkner has been a godsend to this band, injecting them with new songwriting life, metallic riffs and speedy leads. Meanwhile, you can hear Glenn Tipton too, illness be damned! He trades off with Faulkner just as is Priest’s trademark. The classical guitar solo on “Giants In the Sky” is something completely new for this band and a surprising delight.
Invincible Shield has most of the longer material stacked to the top of the album, with the short songs going on side two. Even with 14 songs, the album is only just over an hour with bonus tracks, not overstaying its welcome, and inviting to repeated listens. There’s no point in getting a version of this album without the bonus tracks. You’d be missing out. You can get them at Target, Sunrise, or Amazon in Canada. They are “Fight Of Your Life”, “Vicious Circle” and “The Lodger”. “Fight Of Your Life” might be the most necessary song of the album, as it really hearkens back to the early 70s albums like Sin After Sin. It could be the deep cut of the record.
Lyrics have always been a shaky point in Priest history, and there are some cringey ones on Invincible Shield, but I doubt they will impede anyone’s enjoyment of this album. It has summer written all over it, as we await the coming of the sun and the highway months.
Production by Andy Sneap sounds great to these ears, with Ian Hill’s bass rich and deep, and Scott Travis’ drums livelier than ever. There are flashes back to the 70s and 80s, and some of Priest’s highest peaks of the past.
Martin Popoff may be right, but I’m not going as far as he did. Still…
BRIGHTON ROCK – “Can’t Wait for the Night” (Remix) / “We Came To Rock” (1986 WEA single)
Niagara Falls’ Brighton Rock had a knack for rockers and ballads in equal measure. Though “ballad” was often whispered as if it were a dirty word, Brighton Rock released a couple as singles over their career. “Can’t Wait For the Night” was the first. With a soft keyboard backing, the guitar melody by Greg Fraser sketches out the hook of the song. Gerry McGhee shows a tender side to his voice, while unleashing the scream on the chorus. His voice takes on a third texture as the chorus goes out, a grittier version.
On the 7″ vinyl format, the song was given a remix and an edit. It was taken down from 4:25 to 3:56, and labelled as the “single mix with guitar solo”. Presumably all that means is that the guitar solo wasn’t chopped for the edit, since the album version seems to have the same solo. The edited music is mostly outro, and it’s hard to discern exactly what the remix adds. Keyboards and guitars seem to be the same. Vocal is the same. But here it is; the “single remix with guitar solo”!
On the B-side is the rocker “We Came to Rock”, which to me was always the “first single” because of the great music video they used to play on Much. This dramatic little number mesmerized us as kid. It began soft and ballady, with keyboards and the sound of violins seemingly being plucked on the verses. Then, Gerry McGhee released the beast that was his scream on the captivating chorus. McGhee’s voice had tremendous diversity within single songs, and this is a prime example. Finally you get to Greg Fraser’s solo, which as always was a composition unto itself. This is the standard album version. Simply awesome as-is! It is one of those rare songs that is a treat to play on repeat.
This awesome little picture sleeve single isn’t hard to find nor expensive to buy. Highly recommended.
4.5/5 stars
Tomorrow on a Grab A Stack Special Edition, new co-host Len Labelle and I go through our entire Brighton Rock collections. Don’t miss this!
JOURNEY – Departure (1980 CBS 8-track, Remastered 2010 Sony CD)
CD from the set 3 Original Album Classics
Changes were afoot in Journey, and alluded to on Departure. Aside from the Japan-only soundtrack Dream, After Dream, this was the last stand for Gregg Rolie. While he would also appear one more time on the Captured live album, he was not there for the new studio track included. For all intents and purposes, Departure is his “last album”, to use an inaccurate but easy term. For the man who once was Journey’s only lead singer, Departure only has one of Rolie’s lead vocals, and only two co-writes. (In the discography, Departure directly followed 1979’s compilation of early material, In the Beginning, featuring early material and a large number of Rolie vocals.)
With Steve Perry leading the charge, Departure commences with the party anthem “Any Way You Want It”. Those who don’t know it, know it. It has been featured in the Simpsons, twice! A rare honour, and mega-exposure, for good reason. Perry’s impeccably arranged chorus is irresistible. Rolie’s organ is the perfect accompaniment to keep in the realm of classic rock and roll. Of course Schon’s solo is also tasty as heck, but this song is know for its party-hardy chorus. For those who like to dig deeper, Ross Valory’s pulsing bassline goes underappreciated today, and Steve Smith’s smooth cymbal work is often taken for granted.
A surprising twist is taken on track two, the laid back blues pulse of “Walk Like A Lady”. Sounds like Smith is playing with brushes, and Neal really plays it classy. Then, a jab of organ and the players are off to indulge themselves. “Oooh yeah!” shouts Perry, as if enjoying the jamming himself. Soulful harmony vocals by the band really take this out on an authentic note.
Third song, third musical direction: power balladeering! Rolie sings a duet with Perry backing him on “Someday Soon”, a melancholy but punchy ballad. Though it was not a single, perhaps it should have been. There’s a cool, unique angelic vocal section near the end that nicely complements Steve Smith’s drum fills.
“People and Places” is like an exercise in creative vocal arrangements, if not showing off. Neal Schon sings lead with Steve Perry on this complex track. It’s more like the Dream, After Dream material than a lot of Departure. If only the modern Journey were unafraid to create more unique music like this. It still has room for a powerful melody and some warming cascades of guitar. This song moves directly into “Precious Time”, which has a vibe like the still-in-the-future track “Liberty”. Lyrically it foreshadows the “Line of Fire” on side two, and also has Rolie on harmonica. It turns into a more typical Journey rocker by the midpoint. Lots of tasty Schon guitars to be savoured here.
Unusually for an album of 1980, Departure had 12 tracks: five on the first side, and seven on the second. This is where we’d flip.
The big concert rocker “Where Were You” kicks off the back end of Departure. This one pounds the pavement with beats, riffs and boppin’ piano. It too could have been a single, though it did open their concerts on tour. Then, a completely different mood drops: “I’m Cryin'” hits like a cold wave of grief, though not without its musical thrills. Soon it’s over and the rockin’ “Line Of Fire” brings the party back. There’s no better way to describe it than a fast, good time rock and roll song. “So don’t go sayin’ Steve is a liar!” warns Perry to some young lady who done him wrong. “Bye bye bye Susie, so long girl!” (He sure got over what was bothering him on “I’m Cryin'” pretty fast.) Take note of Schon’s technical solo work here.
“Departure” / “Good Morning Girl” is softly progressive, with strings and light guitar, and little else. This is over quickly, and then it’s the ballad “Stay Awile”, one of the sweetest songs Steve Perry or Journey have ever done. Once again, listen to the bass and drums for a different perspective. Perhaps the only thing better than Perry’s lead vocals are when he does it live.
Fortunately, Journey had the wisdom to end the album on a rocker: “Homemade Love”. Some of Perry’s worst words accompany some of his most acrobatic singing. Still, at least it’s a good jam to go out on, with some fretboard burning fingerwork by Neal.
Interesting, the 8-track tape might have what would be called a bonus track here: a reprise of “Line of Fire”. It’s here mostly for timing reasons; there are no songs split between tracks anywhere on this album. So, 8-track buyers got an uninterrupted listen, plus a reprise of “Line of Fire”. Information is scarce, but it would be fun to hear the tape this way,
On remastered CD, we got some slightly more interesting bonus tracks than 8-track offered. “Natural Thing” is a bluesy B-side, which was later released as the B-side to “Don’t Stop Believin'”. Chronologically though, it is from this era and is as strong as any similar material on the album. Funny how some tracks don’t make the cut when others do. If you were told this was a standalone single, you wouldn’t have a reason to doubt it. The CD also includes “Little Girl” from Dream, After Dream which is a difficult album to find and Rolie’s studio farewell. It is a string-laden power ballad, very progressive, and far darker than anything on Departure.
Departure features an unusually rougher sound than other Journey albums. The production seems unpolished despite the complexities of some tracks, with the vocals sometimes occupying a strange space that’s not quite in front of the music. Still, a classic album is a classic album and there are so few flaws with Departure that it’s easy to dismiss them all.
Slaughter were hot on the heels of their self-titled debut with a quickie live EP. They were on the road so long, they still touring while the EP came and went on the front racks of the record stores! The band were on fire in 1990 and 91, and Stick It Live was necessary to satisfy demand for more Slaughter. However…
I absolutely hate listening to a live album when you can hear two or three tracks simultaneously of the lead singer. Here, you can hear several Mark Slaughters singing together at once. Come on, Slaughter. We’re not stupid. And the thing is, from seeing them live opening for Cinderella, I know they don’t need the overdubs. The review that I wrote for my school paper at the time said, “Mark Slaughter has proved that his high-pitched wail is not studio trickery.” Well, you can’t tell that by this live EP!
Take the opening track, “Burning Bridges”. At several points you can hear several Marks singing at once. Why was this done? Did the live recordings suck? Was it because the record company forced it? Or because it was the fashion at the time? I dunno. A live album (or EP) is an historical document, so too many bands feel they have to make them “perfect”. When in reality, perfect should have been as-is. Documentary style. My favourite live albums are often bootleg quality.
“Eye To Eye” follows “Burning Bridges”, opening with some stupid Crue-esque spoken word bit about an “ancient book of wisdom” and other unrelated nonsense. It’s a shame because “Eye To Eye” was one of their best songs. Once the song gets going, it’s fine, but you can still hear two or three Marks on the pre-chorus. From there it’s into rote versions of the two big singles, “Fly to the Angels” and “Up All Night”. The set ends with a high octane “Loaded Gun”, their album closer as well. One issue to the overall listening experience is that the songs fade in and out, which may or may not be to your taste.
One fascinating note: Mark goes out of his way to tell the audience that “Fly to the Angels” was not about suicide because “it sucks”! Judas Priest were fighting for the musical lives in their infamous “suicide trial”, and Ozzy Osbourne was dealing with similar accusations of promoting suicide to the young and vulnerable. An interesting artefact of 1990-91.
2/5 stars. A pretty fine live set otherwise spoiled by the dreaded studio trickery.
The eight tracks that make up Pat Metheny’s debut album Bright Size Life are exactly what I was looking for. They hit the spot.
One Saturday afternoon in the summer I was enjoying instrumental jazz on the front porch. I wanted more, and was recommended Bright Size Life by jazz enthusiast Robert Lawson. The presence of the legendary Jaco Pastorius on fretless bass made me more intrigued.
From the very start of the title track, we’re treated to smooth, rich guitar tones and melodies. Drift back, but not too far, because the lyrical basswork of Jaco deserves your full attention. From harmonics to chord bending, his basswork is thick with technique. Little waterfalls of notes splashing here and there. Though sometimes fast and unpredictable, it always settles back into the groove of the song. Meanwhile, Bob Moses on drums paints a picture with cymbals.
Bright Size Life is warm but sparse, featuring a basic jazz trio with Metheny playing both six and twelve string guitars. His fingers dance a dance of tone and texture. The melodies he plucks are challenging with unexpected notes and runs dotting the landscape. The drums are often light and the cymbals bright. Jaco’s bass is usually telling its own story.
You can hear the influence on instrumentalists since. The guitar is the main focus, and it is always delivering interesting melodies to and fro, rarely repeating but always exploring. It’s a clean, clear sound with richness and natural depth. On some tracks, Metheny plays it slow and relaxed, on others like “Missouri Uncompromised”, it’s a race with Pastorius and Moses neck-and-neck. Yes even so, an unexpected melody darts in here and there, keeping you on your toes. Speed is employed effectively but not exhaustingly.
Top track: “Midwestern Nights Dream”, a suitably noctunral beauty with smoke and atmosphere. A Jaco bass melody dominates the second half to delicious effect.
FASTER PUSSYCAT – Faster Pussycat (1987 Warner)
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