The entire Dio-era catalogue of Sabbath has now been reissued so many bloody times! First there was the original CD issues, then the Castle remasters in 1996, then the Dio years boxed set (The Rules of Hell), and now these deluxe editions. I’m feeling lightly pillaged. But buying these is optional…unless you’re a die-hard like me. If you’re not, stick to the Dio box. If you are a die-hard, plunge forward.
The big reason to buy this set is the Live at Hammersmith Odeon bonus disc. Folks, when Rhino announced this live album in 2007, I jumped on it immediately. The CD sold out immediately, only 5000 copies were ever made. Limited and numbered (I got #3723), even if it sucked it was bound to be worth a fortune in the future right? Well not necessarily. Now it’s been included as a bonus disc. (It’s also seen a vinyl reissue.) So, for me this sucks — my Rhino issue is no longer as desirable to collectors. For you, it’s awesome. Now you can have this blistering live album, way better than Live Evil!
All the other expected perks are here, including bonus tracks: the soundtrack version of the title track, and a B-side (“Die Young”, live) from a 12″ single. It also has extensive liner notes that cover the recording, the tour, and the Hammersmith disc. Throw in some photos and a great remastering job, and you have (hopefully!) the last copy of Mob Rules that you will ever need to buy.
Mob Rules itself is very much a brother record to Heaven and Hell. You have that big dramatic epic (“The Sign of the Southern Cross”), the speedy opener (“Turn Up The Night”) and everything else in between (“Voodoo”). It’s not quite up to the lofty standards of H&H, although it does follow the blueprint quite closely. I find the closer (“Over & Over”) to be the weak link in an otherwise pretty damn strong chain.
I think the title track, “The Mob Rules”, is probably one of the greatest heavy metal songs ever written. Furiously paced, with Dio’s pipes in fine form, it an energized trip. “The Sign of the Southern Cross” is, as far as I’m concerned, pretty much an equal track to “Heaven and Hell”. Its riff is simply earth-shattering. Once again, Dio’s pipes are unequaled.
Even something like “Country Girl”, a lesser known track, blows me away. Iommi pulls another memorably powerful riff out of his bag of tricks, while Ronnie wails away…about what, I’m not sure. But it sure is fun to sing along. “Slipping Away” is another personal favourite due to Geezer’s fluidic bass solos. “Falling Off the Edge of the World” smokes, another fast Iommi riff that bores its way into the brain. You’ll be exhausted by the end of it. Really, the only mis-step is the album closer, “Over and Over”, which I find a bit too dull and slow for an album as great as Mob Rules.
Pick it up to help complete your Sabbath collection, and to hear the awesome Live At Hammersmith Odeon.
BLACK SABBATH – Black Sabbath (2009 deluxe edition)
I have been a little slow reviewing all my Sabbath deluxe editions. I got this one for Christmas, 2010. Bad LeBrain!
What can I say? The most iconic metal album of all time has been given the deluxe edition treatment, and deservedly so.
First of all, before I talk about the music, this edition just looks beautiful in its digipack. The scariest most haunting album cover of all time is printed crisply on cardboard and it looks amazing. Open it up to find photos of a hippy-dippy looking Black Sabbath, just a bunch of kids. The booklet inside has truly great liner notes and more photos of the young foursome. There is one photo of Oz playing keyboards in the studio — strange, none of his keys show up on this album. I’d love to know the story behind that photo.
Musically, of course this album is incredible. Simple, sparse, raw, and haunting. This is the kind of music that can only be made by four guys psychically locked-in with each other, knowing what notes are coming next, anticipating them and reacting to them. Bill Ward’s drumming is thrifty and wonderful, perfectly off-time and magically working with Geezer Butler’s fluidic basslines. Geezer’s bass, in turn, is locked in with Iommi’s guitar, providing melodic accents while Tony plays the rock solid demonic riffs from hell. Meanwhile, Ozzy is on top of it all, a man possessed, his words ringing loud and powerfully along within the spaces of the songs. This is the kind of album that can only be created by four guys playing live in a room together. Modern “rock” (quotes intended) bands cannot do this kind of album.
Every song is, of course, a classic, from the opening thunder of “Black Sabbath” to the wallowing solos of “Warning” and the haunting “Sleeping Village”. “N.I.B.” has one of the catchiest bass intros of all time, amp hum buzzing away in the background as you can hear Geezer’s fingers pluck away. Truly, a classic album, all killer no filler.
And no wonder. The band was tight, playing these songs night after night after night until they had them down pat. I once read that Sabbath were doing 8 sets, 45 minutes each, in the bars each gig. That makes you a tight band, and the bonus disc proves this. Alternate takes of key tracks on the second disc prove that the band had these songs down to a fine science. Casual fans won’t even be able to pick up on the differences, they are so tight. The biggest difference is in the alternate take of “Evil Woman”. Flutes? Methinks Tony still had a bit too much Jethro Tull in his system!
There are also some instrumentals with the vocal tracks stripped off. These are interesting from an analytical point of view. The title track really allows you to hear the instruments playing against each other, Tony’s guitar puking mounds of distortion all over the tapes.
Lastly you get both “Wicked World” and “Evil Woman”. Depending on where you lived, one track was subbed for the other on the original album and the first CD issues. All later remasters of this album contained both songs, including this one.
Interestingly, the demos that Ozzy released on his own Ozzman Cometh compilation are not included here. Pick that album up as well for some very rough early versions of some of these tracks, with different lyrics as well.
5/5 stars. Every metal fan in the world needs this album, absolutely no excuses.
THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)
10th Anniversary Limited “Bowling Ball” Edition
Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.
Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you? Well, I’m gonna tell you about this movie. First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection. And that’s the killer soundtrack. From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes. There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea! (Yes, that Flea.)
Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.
FOR DUDES:
The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.
FOR UN-DUDES:
One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.
The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.
An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.
Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.
I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?
I’m a pack rat. I keep everything. I just dug up this vintage concert review. I wrote this the day after the concert, so memories were fresh! I’ve made some minor cleanups, but otherwise this is completely as-is, warts-and-all, somewhat embarrassing and a bit too long winded. For what it’s worth, enjoy! You might never find a more detailed write-up of the Promised Land tour!
QUEENSRYCHE / TYPE O NEGATIVE – Toronto Ontario, July 27, 1995, Molson Amphitheatre
(written by Mike Ladano, on July 28 1995, never published)
On July 27 1995, Queensryche, possibly the only great progressive rock band that is still progressing, conquered the Molson Amphitheatre in triumph. The road has been long and hard for these boys, they put out their first vinyl in 1983. Despite all the changes in rock today, Queensryche came out and put on one high-tech wonder of a show that rocked and stimulated.
The band opened with the taped intro of “9:28 am”, the opening track of the Promised Land CD. Their stage was bare, except for two platforms, a keyboard and a drum kit. The drum kit was encased in plexiglass, which seemed unusual at the time. [I know now that this was to keep the drums from bleeding into other microphones on stage.] One could pick out dozens of lasers, lights and effects just waiting to be used. Behind the stage were two monstrous projection screens, much like the band used on the Empire tour.
After the intro, Chris DeGarmo, Michael Wilton, Eddie Jackson and Scott Rockenfield roared onto the stage with “I Am I” which was accompanied by a video of Geoff Tate wandering though a desert encountering all sorts of strange mirages based on the lies of the American Dream. Then the Tatemeister himself appeared on stage, wearing suit and tie, and being hounded by a half dozen journalists harassing him all over the stage. It was, of course, all part of the show.
The band segued from there straight into “Damaged”, just as they do on record. The press ripped off Tate’s suit, leaving him in a pair of bicycle shorts. The band continued to rage through this song, complete with distorted vocal effects from the album.
The band took a breather there, playing their acoustic hit single “Bridge”, a “Cats In the Cradle” story about Chris DeGarmo’s father. Again, this came with constant bombardment of images on the backing screens. It was extremely difficult to stay focused on any one thing on stage, however, Geoff Tate is a very animated frontman; moving and contorting about, acting out his words, while he and the video screens fight for attention.
From here, the band took a trip down memory lane that I’ll not soon forget. Upon entering, I said I wanted to hear old obscure Queensryche. I wanted to hear “Neue Regel” and “NM 156”. The band went right into those songs, as well as “Screaming In Digital” from Rage For Order. For these songs (which used distorted computerized vocals before Trent Reznor had even envisioned such a thing), Tate sang like a computer or a Dalek from Dr. Who. Then, when a burst of power was needed, the distortion would come off, and Tate would rip his lungs out with vocals from hell.
Geoff Tate’s voice was stronger here than the way I remembered it from the video footage of the Empire tour, which was nice to see. He did falter, especially on those incredible highs, but this was also refreshing: It meant he was not relying on backing tapes. The entire band played well, never straying too far from their recorded album parts, but just enough for there to be an audible difference.
“My Global Mind”, a song about the information superhighway and the artificial ties it makes between nations, contained some disturbing film footage: Saddam Hussein, and children starving in Africa.
I always said Scott Rockenfield was Queensryche’s version of Rush’s Neil Peart, and last night he proved this. With his hair shorn, and receding hairline revealed, he now not only sounds like Peart but looks like Peart! Encased behind the plexiglass, he played with precision and power, even more so than on the album. Chris DeGarmo had also cut his hair short(er) which was disappointing. He used to have Godlike hair!
The band kicked into overdrive, playing tunes from the landmark Operation: Mindcrime album. Their heaviest material came on even heavier live, with more power in the bass, drums and vocals. From that album, they played in sequence: “I Remember Now” (a taped intro with the same cartoon video footage that they used on the last tour), “Anarchy-X”, “Revolution Calling”, “Operation: Mindcrime”, “Spreading the Disease” (Geoff Tate sticks microphone in his pants and makes interesting movements), “The Mission”, and to close off the Mindcrime portion, “Eyes of a Stranger”. For this conceptual section, Tate came out dressed as the album’s protagonist Nikki, in leather pants and jacket, shedding the shorts.
“Empire”, which came across as brutally heavy live, was accompanied by the drug-dealing video footage from their MTV video, but with added stuff as well, which made it more fun to watch.
Queensryche played the entire Promised Land album from start to finish [but not in sequence] which came as a surprise to everyone. What came as even more of a surprise was how well this densely layered recording came off, live.
The title track, “Promised Land”, was most interesting. As a film played of Tate and his family buying a home (and of course not being able to afford it), the roadies ripped apart the stage and set up something else in darkness. Then, the lights came on. On stage was now a bar, a few tables with a ton of patrons (roadies and the drummer [Johnny Kelly] from Type O Negative), and a tiny little stage off to the side, where a second drum kit now sat.
The band walked through the bar dressed in matching suits, just like any lounge act. They played some piano-based barroom jazz number until, now assembled on that tiny postage stamp sized stage, they rumbled into “Promised Land”. Tate sat at the bar, wearing pink shirt and beige pants (matching his get-up from the video footage), singing this song of disillusion. This was also the first live appearance of his saxophone. Just like on the album, he would play sax breaks in between verses.
Although this is one of the most serious songs you would ever want to hear, this was the last show of the tour, and it was time for the road crew to cut loose with some comedy. One of the bar patrons slow-danced center stage with a blow-up doll through the entire 8 minute song!
The videos came back on as the bar set was torn down, and again replaced with the plastic-encased drum kit. The band rumbled into “Disconnected”, with more saxophone.
Before “Out of Mind”, Tate began with a speech about people who might be viewed as different. “You…your hair’s not the right length. And your hair’s just…not the right colour. What would you do if one day, those men in white coats came knocking on your door?”
From behind, a butt-ugly roadie dressed as a nurse in a yellow wig put Tate into a wheelchair. (Normally, an actress plays the nurse, but like I said, this was closing night!) Tate sang the song from the chair, using a mirror as a prop. He would sing into the mirror while a hidden camera filmed his reflection, and projected it onto the big screens.
The band closed their set with a predictable final tune. Of course, it had to be “Silent Lucidity”. For this song, five large transparent curtains came down on stage, concealing the drums and Chris DeGarmo. Suddenly, laser projectors came on, and presented amazing dream-like images onto those curtains, giving the illusion that they were suspended in air.
The crowd, as expected, went absolutely bonkers for this song, singing along to every word. Bowing, Queensryche left the stage in triumph….
…And returned with their early classic, “Take Hold Of the Flame” from their very first full-length album, The Warning. Of course, this went over amazingly. There were some diehard fans in this audience who knew the words to even the most obscure music that Queensryche could throw at them.
Queensryche ended their encore with perhaps the greatest song they have ever written: “Someone Else?” Chris DeGarmo played piano, Michael Wilton played some quiet backing guitar, and Scott Rockenfield added some cymbals. It was hard not to be blown away by Tate’s extremely emotional voice during this piece. If anything, Tate is even more emotional live than on record.
And that was the end, the band finally leaving in triumph, for real this time.
According to some in the audience, Queensryche’s stage show topped Pink Floyd. Believe it. This was, by far, the greatest rock show I have ever seen. I can’t imagine anyone, even Queensryche themselves, topping this. This was not heavy metal: This was theatre, and it was so fucking refreshing to see in this back-to-basics era of grunge blockheads like Pearl Jam and Nirvana.
All hail the mighty Queen of the Reich.
We missed the first few tracks from openers Type O Negative, but we could hear them just fine while eating. They opened with “Blood and Fire” from their new album, Bloody Kisses. We caught them halfway into the second tune, the incredible “Christian Woman”. They then played an older tune about suicide [title long forgotten]. Said vocalist Peter Steele: “This is a song about suicide, which we fully recommend. I know when I get old and my body is no longer useful to society, I am going to throw myself off a building, and hopefully land on someone I hate.” Gotta love them Type O Guys. [Sadly, Peter Steele never had the chance to get old.]
They played only two more songs, “Too Late: Frozen” and of course “Black No. 1 (Little Miss Scare-All)”. Speaking of scary, these guys were not all that pleasant to look at. Josh Silver, the keyboard player, has got to be the ugliest son of a bitch on the face of the Earth. Peter Steele looks like he sleeps in a coffin. Musically however, these guys were better live than on album. On record, they come across somewhat wimpy. Live, they are heavier and more energized.
What can you say about a guy who’s already had two lineup changes before his new “Queensryche” has even played a single gig? As usual, I’ll let Geoff say it all…
GEOFF TATE – GT EPK (2012)
EPK: “Electronic Press Kit”, something an artist releases to the media to promote themselves. See above.
Although this has been out for months, it was only recently that Uncle Meat brought it to my attention. While he was over recording our most recent video, he said to me, “LeBrain, you have to see the Tate video. This thing is ridiculous.”
So I watched. And I laughed.
Cheesey? Check.
“Oh yeah. I love my job.”
Pretentious? Check.
“I guess I’m an experience junkie.”
Trying to look cool? Check.
“I usually take a couple of motorcycles on tour with me…ride between cities.”
Stuff nobody cares about? Check.
“Oh there’s my beautiful wife, Susan.”
Nothing in here about spitting at drummers, getting in fights, or carrying bladed weapons though! Do you want to see something really funny? Skip ahead in the video to 2:38.
“Oh, wait, watch this.”
And then he does this lame “jump”. I mean, if he was David Lee Roth and did that cool spiral kick thing, that would something worth waiting and watching for. Not…whatever that was at 2:38.
Don’t take it from me though! Here’s some quotes from my esteemed Sausagefest colleagues.
Grant: “Got about three minutes in before vomiting all over my keyboard. The ‘Two Girls One Cup’ of personal biographies.”
Scottie: “WTF was that…”
Iron Tom Sharpe: “Imagine what that cock seepage would be like if he was still good (and relevant) and they hadn’t sucked for the last 15 years…Nothing is sadder than seeing your heroes as they really are…”
Dave: “He was always a cheeseball. The guys around him simply obscured that.”
Meat: “Music’s latest train wreck. So awful you just can’t look away.”
I found much to my horror that my original Amazon.ca Slash Puppet review had been taken and credited to some defunct site called “bandfocus.net”! I thought it would be wise to re-claim it for myself. Here it is in slightly revised form.
SLASH PUPPET – Slash Puppet (Fringe EP, 1993)
A short while ago, I reviewed the debut release by the legendary Toronto glam metal band, Slash Puppet. For a while there, it looked like Slash Puppet was destined to be the “next big thing”. They were winning awards, had national video play, and a stunning collection of hard rock material to draw from for their well-reviewed gigs.
Well, you know what happened next. Grunge took over, and the Toronto metal scene never exploded the way it was hoped. If it had, Slash Puppet would have been the band leading the charge. (With Winter Rose, I Mother Earth, Sven Gali, Russian Blue, Slik Toxik, Attitude, and so many others right behind…ahh, but I digress.)
This 1993 EP was their second release (the afformentioned debut is now available on CD as No Strings Attached, on Sun City Records). It is solid from start to finish. The singer, Mif (better known as Anthony J. Mifsud; you’ve seen him acting in the Norm McDonald comedy Dirty Work!) has a soulful, gritty, and gravelly voice that has elements of Brian Johnson and Lemmy, but really sounds like neither. Really, Mif sounds like Mif, and you have to hear the voice to get it. The band were tight, emphasizing tough riffs, killer choruses, and street-smart lyrics. No wimpy songs here. Even the sole ballad “Eyes Of A Child” isn’t a wimp-out. Not with lyrics like those, and a soulful delivery from Mif.
The lead track from No Strings Attached, “Slow Down”, reappears here, now parsed as “Slowdown”. (I believe this song is a remix with a new bass part, based on the credits. Peet Dove played bass on the original demo version but is not credited here, which leads me to believe the bass was re-recorded by new bassist Dave Carreiro. Otherwise, the song sounds almost identical to the demo version.)
Every song smokes. Slash Puppet down-shifted on speed for these songs, but traded that in for a slightly bluesier, soulful vibe. Their songwriting abilities grew by leaps and bounds between releases, no doubt enhanced by their live experience. When their debut was recorded, the band had not even played a gig yet! Slash Puppet is much more melodic than No Strings Attached, but still tough as nails.
If you’re into tough, glammy rock n’ roll with great musicianship and songwriting, Slash Puppet are the band to check out. This EP just shines. If you’re into collecting obscure albums from the era, or Canadian bands, this CD is an absolute must, although I saw one guy on ‘net claiming to have sold his copy for almost $200! I’m not sure I’d be willing to pay that much. Check thrift shops and used CD stores. I used to sell this in my store for $5.99.
This EP was mixed by Rich Chycki, probably best known for his 5.1 work with Rush!
Here’s hoping Mif and the surviving members reunite for a few more songs or shows. I’ll be there.
RECORD STORE TALES Part 166: Anthrax – “Cowboy Song”
Stuff like this didn’t happen often, but it did happen. Sometimes one of my customers would just give me a CD that they thought I would want. Unfortunately my journal didn’t record who gave these discs to me!
Date: 2005/11/26 13:14
WICKED! Someone today gave me a free copy of the “Cowboy Song” single by Anthrax, a rare Thin Lizzy cover. Also got Doin’ The Nasty by Slik Toxik for free. SCORE.
Statham did on occasion give me free discs. I recall once he gave me a Black Crowes single. Another one of my customers (name long forgotten) gave me a Jimi Hendrix hardcover book. But this was not a frequent occurrence. Unfortunately, most people treated the guy behind the counter at the record store like shit. I guess that’s part and parcel of working in a buy-and-sell environment. Stuff like this helped make the job tolerable.
This single was a Sam the Record Man exclusive. It came free with copies of Sound of White Noise purchased there, but for a limited time only. I don’t know how rare it is today, but it certainly is a collectible, being a store exclusive.
I wish I could remember who gave me this cool Anthrax single. It could have been somebody I knew that worked at Sam’s (that narrows it down to 3 or 4 people) or somebody I knew that worked for Warner (narrows it down to 2). Either way, I thank you.
Onto the review!
ANTHRAX – “Cowboy Song” (1993 Warner Music Canada promo)
This promo single comes with no case or cover, but does have some liner notes printed on the CD itself. It was produced by Dave Jerden and Anthrax, and all guitars were performed by Scott Ian. Presumably, that means Dan Spitz doesn’t appear on the song.
This was recorded as a bonus track for the Japanese edition of Sound of White Noise, and can be currently found on the remastered edition of the same album. This is an awesome cover, very authentic to the live version that Thin Lizzy used to do, made famous on the Live and Dangerous album. The lead vocals are, of course, by John Bush. John Bush doesn’t attempt to do a Phil Lynott impression (thankfully, that wouldn’t be wise) but does deliver the vocal with his trademark grit.
Scott Ian nails all the guitar parts perfectly. You’d swear there were two guys playing. It comes as no surprise that Charlie Benate’s drum parts are also perfect. I think Brian Downey was and is one of the most underrated drummers in rock, and Benate does him justice.
I love this cover. Anthrax are well known for choosing and performing great covers. Add this one to the list.
MILES DAVIS – A Tribute to Jack Johnson (Columbia, 1971)
Bear with me, because as much as I love this record and jazz in general, I know very little (technically) about the music. I just know what sounds good to my ears. As far as jazz albums go, this one will be very palatable to rock fans because of the predominance of the electric guitar, especially on the first side, “Right Off”. John McLaughlin plays plenty of cool riffs and funky licks before Miles kicks in with his one-of-a-kind trumpet. Honestly, by the time you get to the end of the track, you will hardly believe that 27 minutes have gone by. It’s that good. And it grooves, solidly. Being in a room with this guys must have been a mindblowing experience. It truly is an awe-inspiring groove that they lay down.
Side two, “Yesternow”, is a slow paced atmospheric piece, over 25 minutes long. But by the end, it transforms into another one of those surreal grooves. On this one, McLaughlin plays jagged, mournful and distorted bits over a slow groove. It’s not as immediate as “Right Off”, but some of the playing here (by everybody) is incredible. I love McLaughlin’s wah-wah.
That’s Herbie Hancock on organ, and Billy Cobham on drums. Incredible. They are accompanied by Michael Henderson (bass) and Steve Grossman (soprano sax).
As a movie geek, it was a special treat for me to have the late great actor Brock Peters do a cameo at the end, playing legendary boxer Jack Johnson:
“I’m Jack Johnson, heavyweight champion of the world! I’m black! They never let me forget it. I’m black alright, I’ll never let them forget it!”
The album was the soundtrack to a Jack Johnson documentary film directed by William Cayton. I can’t really go into a deeper analysis of the music (sorry) but there’s a decent Wikipedia article that can do it better than me.
This is a great, accessible album and I strongly recommend this 2005 remastered Sony edition.
Part 2 of the Aaron Challenge: He has challenged me to get out of my comfort zone. Together, we will be reviewing some of the albums he bought in Toronto during Record Store Excursion 2012. I’ve never heard any of these albums before, in fact I know almost nothing about most of these bands. This time, I’m going into it at least knowing the Dave Bidini was in the Rheostatics!
Aaron paid $7.99 for each of these discs, at Sonic Boom Music.
Check out his thoughts on the exact same album right here!
Last time, I took a look at In the Rock Hall, without knowing a thing about Dave Bidini. Now, I’m a little more prepared. And it just so happens that The Land is Wild is a very different kind of album, much catchier and more immediate.
Album opener, “Desert Island Poem”, is a beautiful acoustic guitar/piano tune with clever lyrics: “Rheostatics eat their drummer,” and “Martin ran out of the van,” and then references to the incredible Drumheller Alberta, one of my favourite places in the world. But lyrics aside, melodically and instrumentally this is just a great song.
Some more beautiful acoustics open track #2, “Memorial Day”. It features one of my favourite instruments, under utilized in rock music: the clarinet. It’s a slow mournful number juxtaposed with that playful clarinet. This being Dave Bidini though, of course it takes a twist. At 3 minutes it becomes more electric and distorted, but without losing direction.
“We Like To Rock” is a gleeful number with some catchy electric guitar licks. It’s a melodic winner, I like this song a lot. “This is how we like to live! This is why we’ll never stop! This is how we like to live, it’s how we like to rock!” And how do they like to rock? Not in any generic way, that is for sure. This song is unique as any Bidini I have heard thus far, yet it’s a bit more straightforward and to the point.
The next song, “Take A Wild Ride” isn’t even a minute long and it strikes me as something jokey. But fear not, for “Terrorize Me Now” is next, with an unforgettable chorus and a reference to both Malcolm and Roddy McDowell! It’s just as playful as all the previous songs, with some intricate guitar parts and lush backing vocals. I would have liked to have found the lyrics to this song online; no such luck though.
A longer song is up next, the title track, over six minutes, and little more along the lines of what I grew to expect from the last Bidini album I heard, In the Rock Hall. It’s a bit more challenging, with some atonal guitar feedback, atypical drum beats, and different sections. Good stuff.
“Last Good Cigarette” is a song I can’t relate to, lyrically, never having smoked one in my life. Musically though, this is another nice acoustic number, with plenty of intricate guitar parts hanging around in the mix to grab my attention. It’s over too soon though, and then we’re into the next one, “Song Ain’t Any Good”. This is a funny self-deprecating number:
This song ain’t any good, It’s not quiet, it’s not loud, Its lyrics are warm and tepid, Of them I’m not very proud. This song ain’t any good, You prob’ly heard these chords before, Its melody is dry and chalky, The words are lonely cold and boring.
He’s wrong though. This song is great!
Then comes the 8 minute epic, “How Zeke Roberts Died”. I had to look up who Zeke Roberts was (an old NFL player apparently, but I can’t figure out the lyrical connection). This is a cool folk rock tune with several people taking lead vocals. I love songs with multiple lead vocalists and this is a great one. Awesome tune.
After such an epic, the playful “Pornography” came as a surprise. It begins with a programmed drum beat and another humourous lyric. For better or for worse, you’ll be walking around the house singing “Pornography, pornography…” after playing the album. Be forewarned! Ironically the song seems to be more about George W Bush than pornography!
“The Continuing Story Of Canadiana And Canadiandy” has more of that tasty guitar pickin’ that I love. And of course, it also has more of those humourous lyrical acrobatics. Another gleeful winner. The guitar work is insane.
And then, the end: “The Ballad of 1969” is an 8 minute epic, so the Bidiniband is not leaving you without filling your head with rock. Delicate drums and electric guitars introduce the piece. Eventually this morphs into surf rock “ooh ooh oohs” and riffing, but like many Bidini tracks it has multiple sections. These songs have to be a bitch to play live!
But wait! A hidden track about Tim Horton’s emerges? And then…”Chad Kroeger, Chad Kroeger, you’re killing us now.” Amen brother! (This track is apparently called “The List”.)
This album is a hell of a lot more immediate than In the Rock Hall, but yet maintains the challenging arrangements and clever, tongue-in-cheek lyrics. Strongly recommended.
I’m going to be covering more of my rarities in 2013. This is part 2 of today’s Cinderella feature. For part 1, a more comprehensive review of the Heartbreak Station CD, click Tommy Morais’ review here!
This Cinderella compilation is a rare promo. Don’t know what a promo CD is? Watch the educational video below starring yours truly!
Record Store Tales Part 117: Promos
CINDERELLA – Once Around the Ride…Then & Now (Promotional only, 1990 Polygram)
This is a really, really cool package. Two discs: Then… and Now…, showcasing the absolute best of Cinderella up to 1990, including two rare live bonus tracks.
Somewhat predictably, Then… is a greatest hits set from the first two records. Five tunes from Night Songs, six from Long Cold Winter, which I rated 4.5/5 in a recent review. Then, the aforementioned two bonus tracks: “Shake Me” and “Night Songs”, performed live. “Night Songs” was one that I owned previously on a rare Polygram compilation from ’92 called Welcome To The Jungle. From what I can tell, these two tracks are originally from a 1987 European release called The Live EP, and it appears they’ve been recycled as bonus tracks on several items since, including a promo Kiss single for “Any Way You Slice It”!
Interestingly, the back cover states that the two bonus tracks are from a forthcoming EP also called Night Songs, an EP I’ve never seen or heard of before or since.
The tracks chosen are pretty much the tunes that anybody would have chosen given a compilation like this: All the singles, and a selection of kickass album tracks such as “Night Songs”, “Fallin’ Apart At The Seams”, and “Push, Push”. As a Cinderella collection of the early stuff, this is about as perfect a compilation as it gets. As far as I’m concerned the only track it’s really missing is the awesome “Take Me Back” from Long Cold Winter, a great tune that would have made a perfect single.
The second disc, Now… is the entire Heartbreak Station album (review here) from start to finish. It even comes with the full booklet for Heartbreak Station, so this is how I chose to buy the album. Heartbreak Station is another fantastic, underrated Cinderalla album. It was clear from Long Cold Winter that the band was interested in exploring their underappreciated blues roots. On Heartbreak Station, they ditched the glam and went full bore into those roots.
The opening track “The More Things Change” is aptly titled, but is actually the track most like their past work. “Love’s Got Me Doin’ Time” is nothing but pure funky goodness, a completely unexpected twist. The horn-laden “Shelter Me” was the first single (remember Little Richard in the video?), a really cool soul rock song. The lyrics were totally on-trend in the wake of the fresh Judas Priest trial, a rant on Tipper Gore and the PMRC!
Tipper led the war against the record industry, She said she saw the devil on her MTV
Sharp minded readers will remember that Tipper was prompted to start the PMRC when her kid was terrified by Tom Petty’s video for “Don’t Come Around Here No More” on MTV!
I love Little Richard.
The centerpiece of the album is the title track, with strings by John Paul Jones. The band were dissatisfied that they had to use synth on the previous album’s hit, “Don’t Know What You Got (Till It’s Gone)”. John Paul Jones lent the band some serious credibility. The song is a lush, sullen ballad with an incredible slide solo. I remember some video channels played it under the wrong name back in ’91. They were calling the song “The Last Train”.
Other winners: The totally country-fied “One For Rock & Roll”, with loads of steel guitar, dobro, and 12 string. The electrified “Love Gone Bad”, which also hearkens back to the Long Cold Winter sound in a powerful way. “Dead Man’s Road”, which is a haunting, slow dark rocker with loads of acoustics. Really, there are only a couple filler songs on the whole album.
This isn’t a cheap compilation to find today, but if you do happen upon it, pick it up. It’s a collectible now, but not just that, it’s one you’ll actually play!
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