I get chills listening to this song. Knowing now the story, about how John’s voice on this old tape was just too buried behind piano to work with, and how technology made it usable again…it is incredible. John Lennon sounds fresh, front and center, as if the vocals were recorded yesterday, even though they were taped in 1977.
It’s also incredible that Yoko Ono handed these tapes off to the surviving Beatles for them to finish. She didn’t have to do that. She could have kept them, and put them out as unfinished solo songs.
George’s slide guitar parts were written in 1995 when the Beatles last tried to tackle this song. Paul and Ringo finished it with drums, bass, acoustic guitars, and strings. Paul felt the strings were very “Beatles”.
The string players had no idea what they were working on. Secrecy was a priority. They were just told they were playing on something for Paul McCartney, but not the Beatles. Can you imagine how the players would have reacted to that?
To me, this sounds like an old Beatles song from the Abbey Road or Let It Be era, that I had somehow forgotten about. It sounds somber – sad, and mournful. It also reminds us of “Free As A Bird” and “Real Love” from the Anthology albums, which underwent similar reworking all those years ago. It is the last Beatles song, and so it should be.
To me it is just incredible that we have one more Beatles song to enjoy.
“Now and Then” will be out on an expanded edition of the Blue album. A necessary purchase for fans who want to relive the days when we was fab. I just wish the artwork for the single wasn’t so drab!
Mick Mars is finally out with his first solo track since 1994’s “Bittersuite” and it’s a banger.
Too much of a banger?
In this reviewer’s opinion, the song is recorded for more modern tastes. Chunky, downtuned guitars and distorted, unremarkable lead vocals (by Jacob Bunton) characterize this fast, heavy smoker. Everything sounds very processed in a modern way, for punch and impact. Someone more in tune with this sound would rate it higher.
The best part of the song is, expectedly, the guitar solo, but it’s way too short.
Another reviewer may think differently, but “Loyal to the Lie” lacks a few key ingredients: a distinctive singer, and memorable hooks.
Mick shouldn’t have to repeat his past with his former band, but a memorable song would have been nice. Yes, it’s heavy. But heavy only goes so far.
My 2016 album review of High Noon did not do it justice. I hadn’t had the time yet to fall in love. Now I have, and it’s time to look at the CD and iTunes versions of High Noon, and give it the praise it truly deserves. A few months ago, I wrote up a “Just Listening To” post, but that too failed to really capture this special album.
Arkells, from Hamilton Ontario, are a special band. In my original review, I touched one special aspect. “A band can make or break based on the lead singer. I really like the expressive and sincere singing style of Max Kerman. He stands out from first listen. It’s hard to say exactly what makes him stand out, but he certainly does.”
While I was right about Kerman (and I was right to use the word “expressive”) I hadn’t accounted for the rest of the band. All brilliant in their own right.
On guitar: Mike DeAngelis, who also provides a lot of vocals. The guy knows how to write a catchy lick, and he has many on High Noon.
On bass: Nick Dika, the guy who is always pushing them to do whatever other bands are not. He also happens to write great basslines, and provides some serious bottom end on songs like “Come to Light”.
On drums: Tim Oxford, who always plays for the song, but never plays it straight. There’s always something interesting going on with the percussion parts. I’ve heard him called Canada’s greatest drummer.
On keyboards: The new kid, Anthony “Tony” Carone. I can only speculate as to his impact on this album. Original member Dan Griffin left the band to finish school and become a successful entertainment lawyer. Pre-Carone Arkells are less pop, and have fewer keyboard hooks. Is that Carone’s influence? Whatever the case, he’s been a crucial member ever since, providing far more than just keys.
My history of the band is brief. I loved their 2012 single “Whistleblower”, and 2014’s “Leather Jacket” even more. But what really made the band stick out in my mind was watching the NHL Awards one night with Jen, when Max Kerman shook hands with #99 Wayne Gretzky himself. Seeing a gleeful Max lose his shit in front of Gretzky just made me fall in love with this band.
Kerman managing to keep his shit together on national TV with The Great One
In spring 2023, I had a craving: a craving for something upbeat, positive, deep, and Canadian. I put on High Noon one day in May and I have not looked back since.
Up first is “Fake Money”. In 2014, Kerman was clearly pissed off about the banking crisis. “Oh you’re just a boy, a little banker boy, everything’s a game and everyone’s your toy…” It’s a pretty scathing attack, but within the confines of an upbeat, powerful song akin to old-school U2. There’s a chunky bass hook that sounds like “Where The Streets Have No Name”. But this song is its own beast, a ferocious indictment set to an anthemic singalong. “You’re playing a board game, up in a board room…” Max studied poli-sci in school, and it definitely comes out in his words.
Just as I think of U2 on “Fake Money”, I think of 80s Bowie on “Come to Light”. “Modern Love” kinda Bowie. There’s some 80’s Elton John in the piano too. This was the first of four singles. The of mix of Kerman and DeAngelis’ vocals on the chorus is so satisfying. Then the band comes in with those “ooh, la la’s” that are so tasty. And Oxford? Brilliant on this. The single cymbal crash when Kerman sings “The words hit me hard, like a one-two punch” is just so perfect.
Another brilliant song called “Cynical Bastards” is surprisingly upbeat considering the title! The piano and keys deliver the main hooks here, full of the glow of summer. Max references “Jackson Square dropouts avoiding police” in the opening lyrics. Oxford keeps the snare pumping, with Dika thumping the bass by his side, and Max sings the indelible chorus: “If you want me to boil it down, all you cynical bastards move right out of town now!” What I like most are the references to living in the golden horseshoe of southern Ontario. “Oakville moms, they stick up their nose, and those Burlington dads keep their daughters at home.” I wouldn’t know about that, but I worked in both towns.
Have you ever heard about that superstition that you’re supposed to make a wish when the clock shows 11:11? Arkells wrote a song about it. “You made a wish at 11:11, I held your hips at 12:34,” goes the fabulous chorus. One gets the impression that Kerman has danced with a lot of girls over the years. This song is a bit slower and more contemplative, but not without those awesome Mike/Max harmonies, and massive choruses. More “woah, ohs” and I’m fine with all that.
Dika’s bass is a major component of the ballad “Never Thought That This Would Happen”. I really like what I said about this song in my “Just Listening To” post, so I’ll go ahead and quote myself: “‘Never Thought That This Would Happen’ is one of most poetic yet colloquial songs about a one-nighter that I’ve ever heard.” It’s also the only song on the album that exceeds four minutes. There’s a great string arrangement by Carone, and a really impassioned lead vocal from Max.
We go back to the 80s on “Dirty Blonde”, which is just a catchy pop rock tune. Nothing wrong with that at all. It’s fast, and you can dance to it. (Personally I prefer playing air bass.) This is as close as we get to a throwaway on the album, yet it’s awesome.
“What Are You Holding On To?” opens the second side on the vinyl version. Jen likes the Dirty Dancing reference, “You put Baby in a corner, we’ll be Dirty Dancing all night…” Once again we’re stuck in the 80s, and we’re definitely at a party. If you still wanted to dance, but needed something that isn’t as fast as “Dirty Blonde”, then here’s your ticket. Horn section arranged by Carone. Horns have become more and more integral to the Arkells sound over the years since.
Piano takes the fore on “Hey Kids!” which sounds like a band jamming in a bar. It has that vibe, but much cleaner and tighter. The “Ooh, ooh ooh’s” return, and Max even sings my name in one of the lyrics. The strings return to augment the sound, and you can’t ignore the backing vocals of the band, always there in all the right places.
The “big single” was the infallible “Leather Jacket”. This is the one that people remember for the line about the pay phone: “You call me up from a pay phone, and I said, ‘Who the fuck uses a pay phone?'” An instant favourite, impossible to forget, and really indicative of everything that makes the Arkells great. The 80s influence in there is the guitar hook. The lyrics are relatable. The chorus is fused into your neurons after one listen. Oxford’s drum part is integral to the song, as is Dika’s bassline. If there was just one song I’d play to get someone into the Arkells, it would be “Leather Jacket”.
There are a lot of fast tunes on High Noon, but “Crawling Through the Window” is one of the coolest slow songs I’ve ever heard. There’s a digital pulse, and nice chunky guitar chords, employed sparingly in the back. Oxford’s snare drum is nice and loud, like he’s leading the procession. Max’s lyrics are once again relatable. “We bunkered down in this shitty apartment, utilities included, all that we wanted.”
The dance rock of “Systematic” ends the album on a surprising note. It’s unlike any of the previous songs, demonstrating that the Arkells are willing to sample the flavours of every section in the record store. This is something they have embraced further and further down in their discography. “Systematic” has a dark vibe, but the Arkells tend to go for unusual closers. It’s no less catchy, and the strings return for a cool disco effect. Now that I think of it, this really sounds like the Arkells version of Dynasty-era Kiss!
Why does this album sound so good? Mastering engineer – Harry Hess! The album was produced and mixed by Tony Hoffer.
There are two added bonus tracks on iTunes, both acoustic versions of the album tracks. “11:11” is stripped down, and shows that the song still has all its strength even without all the bells and whistles. It really allows the vocals to come out more, both lead and backing. “What Are You Holding On To?” is the second acoustic bonus track. It has a lot more bop here, as it’s basically just piano and vocals in this arrangement.
When I reviewed this album the first time, I rated it 4.5/5 stars. Not bad. But wrong.
Arkells didn’t set out to make a record. They’d been pretty prolific, with Campfire Chords, Blink Once, and Blink Twice coming out in rapid succession during the pandemic. As they sat down to rehearse some acoustic arrangements of the Blink material, they found themselves jamming on new ideas. Singer Max Kerman had already been writing demos, which the band jumped on. The result is a softer, more contemplative album without the Arkells usual bombastic rally cries. 10 songs, 36 minutes.
Max compared this album to a journal that “documents some of the messy parts that end up teaching you a lot: love, regret, desire, shame, and the longing to get it right.” With that in mind, let’s have a listen.
A simple acoustic number, “Life Is” is a beautiful, quiet and contemplative number. The sweet and subtle backing vocals recall the greatest folk albums of Canadian tradition. “Life is short sometimes,” sings Kerman. “You make mistakes along the way, and I love you ’til my dying day.” A classic to be, “Life Is” might be one of the prettiest songs I’ve ever heard.
The single “Skin” is a fuller arrangement, with piano, bass and drums. While it starts fairly ordinarily, the chorus really kicks. “I thought I knew, I thought I knew what I wanted when I started,” sings Max, while pianist Anthony Carone punctuates his words magnificently. A soft synth kicks in with the bass and drums, and the song becomes softly electric. Mike DeAngelis lays down one of his best, most emotive guitar solos while drummer Tim Oxford plays with expert subtlety. This is the brightest, most upbeat song on the album, and the only one of its kind.
The title track “Laundry Pile” relies of a soft piano backing, as Max muses on spending time with his true love. “It’s OK if you’re not always at your best.” Most poignantly, “I already love the parts that you don’t like in yourself.” It reads like a personal letter. The minimal accompaniment is perfect. “Wash Away” also has minimal accompaniment, with percussion and light drums. “I’m still in love with you,” proclaims Max. “I’m not ready to let go.”
“Your Name” features organ, and dreamy keyboards. “My whole world is inside your name,” declares Kerman. Light strumming guitars and laid-back drums make for the perfect arrangement. At the end of the song you can hear someone say “I’ll be back in an hour,” right before you’d flip the LP side.
“Beginner’s Mind” has a sad melody, with dark piano accompaniment. When a strange keyboard sound kicks in, Marillion comes to mind. The progressive rock band from Aylesbury often do songs like this, and the keyboards do add a progressive edge to this dusky pop song. It has a vibe like a cold rainy day, especially when the full band comes in. Wait for the trumpets! Though this song is not inviting at first, by second or third listen it starts to hook you in.
The music picks up on “Shot In the Dark” (not the Ozzy song!), which is just a nice summery rock song for the countryside. Electric guitars, punchy drums, thumping bass by Nick Dika…but it’s not a loud song. It sounds like you’re in the back of someone’s pickup truck, driving up a long dirt road on a bright, blue summer morning. This is followed by the twangy “Time”, and that’s probably not a coincidence. There’s also some serious soul/blues roots on “Time”. What is wild is that sometimes, Anthony Carone’s keyboards sound like they’re ripped from some old 1940s record.
“Tango Waltz” features strings to create a haunting atmosphere. You’re fooled into thinking it’s an instrumental, but after more than half the song expires, finally Max comes in. The words are somewhat rapid-fire, and this song comes across as more of an atmospheric interlude before the closer “Quiet Love”. Tim Oxford ticks away in the back, while Max and the band create a delicate acoustic tapestry of music to wrap the words in. “Is it too late? Can you look at me like you used to?” There’s a certain epic quality to this album closer, though not in a traditional sense. It’s certainly one of the best tracks of the ten.
At the start of this review, Max was quoted as saying that this album “documents some of the messy parts that end up teaching you a lot: love, regret, desire, shame, and the longing to get it right.” You can certainly hear that, and see it in the words. There are no anthems here about politics, class, societal ills, or finance. There are no soundtracks to going out to the club and meeting a girl. Laundry Pile is a very different album for the Arkells. Yet it somehow sounds like them and only them, and fits right in with everything else in their catalogue. The shout-along anthems will return one day, but this album is unique. It deserves intense listening over this coming winter.
LOUDNESS – “Slap In the Face” (1991 Warner Japan CD single)
Not long after Loudness released their second and last album with American singer Mike Vescera, a final four-song EP was released in Japan. Featuring a new song (albeit in an edit version) called “Slap in the Face” with three recent live recordings, the EP was good value for the fans. Unfortunately it was not enough to keep Vescera in the band, and he soon wound up doing some pretty good music with Yngwie J. Malmsteen. Loudness continued on with former E-Z-O singer Masaki Yamada, but that is another story. This one is about Mike’s final release with Loudness.
The edit version of “Slap in the Face” is 4:53. Although it says nowhere inside, the full length version is 5:14 and can be found on the 1991 Japanese 2 CD compilation, Loudest. (It was also added as an extra studio track to a later release, 2009’s Live Loudest at the Bodukan. Both edit and full-length versions are included as bonus tracks on the 2021 deluxe box set reissue of On the Prowl.)
This track absolutely stomps! It does not sound like something that came out in 1991. More like 1993. It was ahead of its time in terms of where metal was going. It chunks, it rips, it shreds and it thrashes. The only anomaly is the powerful vocalizin’ of Mike Vescera, who had the kind of high pitched tone that worked well with Malmsteen. Not that it doesn’t kick ass here, just that style of singing was soon to be out of style… But what a song! A Loudness highlight, hands down. Cut-throat and non-stop, “Slap in the Face” should have been called “Kick in the Teeth”!
The three live tracks that round out the EP are all from the Budokan show that was released in 2009, and were all originally on the 1991 studio album On the Prowl. “Down ‘N’ Dirty” is very clean and polished. You could mistake it for a studio cut. This mid-tempo rocker has some wicked soloing from lead guitarist Akira Takasaki, but really this is hair metal from a band that usually went heavier.
“Playin’ Games” is way heavier. This is the kind of tempo we’re used to from Loudness. The goofy title doesn’t relay its deadly intent: this song is a killer. Drummer Munetaka Higuchi has a lethal albeit brief drum solo at the end, just enough to crush your head. The guy was a beast on drums! Rest in peace Higuchi.
The last track is “Find A Way”, technically a remake of “To Be Demon” from Loudness’ 1981 debut album The Birthday Eve. This ballady metal track goes from bluesy to progressive to hair metal and back to progressive. It’s mid-tempo brilliance, and perhaps something that a band like the Scorpions could have done in the early 80s. Indeed, Klaus would sound brilliant singing it. There’s nothing simple about “Find A Way”!
Though all these songs can now be found elsewhere as is often the case these days, in 1991 this was great value and a fine send-off to Mike Vescera. The following year, Loudness would come crushing back…but only in Japan.
KYUSS / QUEENS OF THE STONE AGE – Kyuss / Queens of the Stone Age (1997 split Man’s Ruin EP)
Sometimes, EPs are essential. Even better: an essential split EP, when you actually like both bands.
Kyuss split in 1996, and guitarist Josh Homme was fast out of the gates with a new EP under the name Gammy Ray. Another Gamma Ray from Germany sued, and so Homme changed the name to Queens of the Stone Age (a nickname coined by producer Chris Goss from Masters of Reality, for Kyuss themselves).
The split EP, Kyuss / Queens of the Stone Age (double self-titled!) offered a debut for Homme’s new band, and a posthumous release for Kyuss. Kyuss’ side opens with the previously released single “Into the Void”, the Black Sabbath cover. Far sludgier even than the Sabbath original, this one pukes messy distortion and rolling bass all over the floor. It gets really cool in the middle section, normally fast and heavy, but here jammy and psychedelic complete with congas. There’s an original guitar solo by Homme, but parts of it sound like something Iommi could have written. Other parts are purely Josh. This is a long-bomber eight-minute version ideal, for headbanging…or spacing out.
“Fatso Forgotso” was the original B-side to the “Into the Void” single. Here it is paired with “Fatso Forgotso Phase II”, a B-side to “One Inch Man”. Phase I is the long bomber while Phase II is a faster blast. The first time I ever heard Phase I, I was sleeping on a floor after a hell of a party. The room was empty as the others had gone out to a local bar to finish the night. I awoke to this monster of a riff. It sounded like the ocean, it was so big. I just lay there in my drunken state, letting this song wash over me, drown me, and bring me back to the surface. It is fuzzy aural ectasy for its entire length, which is punctuated by Scott Reeder’s foundation bassline, and Alfredo Hernández’s busy drumming. John Garcia’s lead vocal is way back in the mix, seemingly making the whole thing seem louder. The congas kick in halfway through, and it turns into a desert jam with an incredible bass part. Phase II is a completely different beast. Four on the floor, quick and to the point. Breakneck and thudding! Incidentally, it was reissued on the compilation Muchos Gracias: The Best of Kyuss as “Flip the Phase”.
The Queens of the Stone Age made their debut (without Nick Olivieri, but with Van Connor on bass) on “If Only Everything”, a song that later became “If Only” on their self-titled LP. The simple riff has always been one of Homme’s best. This song, and “Born to Hula” are both from the deleted Gamma Ray EP, making the tracks easier to get. “If Only Everything” could be the best Queens song – your call. Definitely a strong start. This version is rougher than the album cut, with vocals more buried in the mix and prominent snare. “Born to Hula” is more futuristic, droning and hypnotic. It too is monstrous. Massive. Cavernous. Excellent.
“Spiders and Vinergaroons” was the sole unreleased song on this EP. It later found a home on a reissue of the Queens’ self-titled album, along with other early EP rarities. It has an unexpected Queen-like clap/stomp, but over a droning hypnotic lead guitar that meanders tensely through the first half of the instrumental track. The second half is dominated by huge (like, Titanic) drums, and clavinet. It shouldn’t work, but there it is. Sounds like some backwards guitar thrown in for good measure.
This EP is characterised by long, heavy jams by both bands. It’s not an immediate listen, but it is so rewarding.
HELIX – “Brother From A Different Mother” (2022 download single)
In 2021, Helix recorded a new song called “Brother From A Different Mother”, about a good friend of singer Brian Vollmer. It was released in 2022 as a download, complete with “NFT’s” which…I don’t know what you do with that, but the mp3 file can be downloaded and played like any other!
The song “Brother From A Different Mother” is one of the heaviest Helix tunes. Fast as a shark, and heavy as a rock! The chorus is as memorable as any other Helix single, but the guitar playing is stellar. From solo to riffs, the guitar provides the undeniable hooks. There’s a slow breakdown in the middle with piano, and amazing gritty backing vocals by Cheryl Lescom.
Brian’s lyrics are heartfelt and sincere. You can tell this was a friendship he really valued. Let us hope for a physical release, be it a single or an album.
As I cast my mind back to 1988, the omnipresence of Metallica’s …And Justice For All cannot be ignored. For one thing, the band’s new studio album was a double album, which was all but unheard of at that time. The cover art was striking. The band were now on TV, after stubbornly avoiding music videos for years. “One” was the name of the song, and it was even more stark and impactful than the album art. If the band wanted their first-ever music video to be influential and monumental, they succeeded. However despite all the praise, the cries of “sell outs!” echoed on the “letters to the editor” section of various rock magazines. How dare Metallica make a music video. One letter in Hit Parader magazine compared Justice to Bon Jovi. It’s hard to imagine a reaction like that from the perspective of today, but as much as Justice was Metallica’s most successful album to date, there were thousands of fans who resented them for it.
The other elephant in the room is the production and mix of the album, which is brittle and lacks bass. There were various stories, such as hazing the “new kid” Jason Newsted by removing the bass, but today Lars and James largely blame themselves, saying their hearing was burned out and they just kept turning everything up until you couldn’t hear the bass. There are other stories and other parties who received blame at various points of the timeline, but the thing is this: Justice has sonic issues. We all are aware of this by now.
Let’s dig into this hour-plus album and hear what the fuss was all about.
A backwards guitar harmony fades in from the start, a striking and cool effect. Then immediately the riff and drums kick in, and the snare is loud. It dominates the mix, with the riff itself chugging away behind. James Hetfield awakens the dead, and this could have been his vocal peak, in terms of grit combined with sheet lung power. “Blackened” is a blast, like Metallica of old, and though the pace is breakneck to start, it soon switches up to a deliberate march. Lars is absolutely bangin’ away, and there are so many wicked riffs and licks that you’ll want to go back and take notes. This is a textbook course in writing metal, with a dose of complexity and catchy challenges. Kirk Hammett really plays some cool stuff in the solos as well, demonstrating his experimental side just a tad. “Blackened” is the only song on the album with a Newsted co-writing credit.
The title track is second, almost 10 minutes in length and loaded with riffs and tempos. Hetfield growls like a beast of the social ills of the world. Lars’ drum parts are almost out of the jungles. It’s a cool track, undoubtedly powerful and a peak for a certain kind of Metallica track. They had come a long way from their New Wave of British Heavy Metal / punk rock hybrid sound of old. But, much like Iron Maiden at the same time, Metallica were becoming more interested in progressing musically. You can actually hear some bass on this track ,and Jason’s really playing some wild stuff.
At this point of the album, we’re getting acclimated to the frigid cold mix and brittle guitars. Kirk’s wild solos are an anaesthetic to the constant cutting of James’ rhythm guitar.
On vinyl, this is where side one would have flipped to side two, opening with “Eye of the Beholder”. Cool, underrated opening riff to this song, and again Lars sounds like a jungle beast. James is singing lower, but with the same ferocity. Lyrically, James tapped into the angst and frustration that their fanbase felt in their lives. He was able to articulate for them, the things that they were seeing in their world. And they were pissed off. Kirk’s solo comes from a more exotic locale, but fits in regardless.
“Beholder” ends somewhat abruptly, and then the opening machine gun fire of “One” announces the arrival of the coming hit single. The clean guitars that open the track actually sound pretty good, though the snare drum is a sharp contrast to them. Though not Metallica’s first foray into softer tones of metal, “One” was top-notch. There’s no need to go into details on the lyrics as that could be a post unto itself. Like many classic metal bands before them, Metallica took inspiration from literature, though via a film interpretation. The anti-war word resonated with the audiences of 1988. The video, using dialogue and visuals from the film Johnny Got His Gun, was all but universally lauded. As a song, “One” doesn’t need the video to stand up. It builds until it eventually turns into a musical battlefield, with machine guns made of bass drum hits, and explosions from snares. Then Kirk’s solo tells a story of its own, a manic tale of fight-or-flight tension. “One” is every bit as good as they say it is.
This is where vinyl, or even cassette, has their advantages. This is a good place to give your ears a break, at the end of side two. Ear fatigue will set in if you don’t take a moment here! So, on your CD player or streaming service, take a pause. For vinyl, just keep flippin’.
Side three opened with “The Shortest Straw”, another hammering riff, and then Metallica take it for a twist. Hetfield is barking mad on this one! It is not the most memorable of the Justice nine, but it doesn’t play it simple or safe either. The chorus is one you can shout to, and Kirk’s solo is certainly unorthodox.
“Harvester of Sorrow” became a concert standard, and it is a bit of a needed slower moment after the brutality was that “Shortest Straw”. The riff is simpler, more deliberate and to the point, and melody is present in the vocal growls! It’s one of their more accessible moments, but for some irate Hit Parader reader to call stuff like this “Bon Jovi” is utterly ridiculous. It’s slow but stomping. James’ vocals would still raise the dead.
Side three’s closing track is the lesser known “The Frayed Ends of Sanity” and I still hate that “oh-wee-oh” bit (“March of the Winkies”) from The Wizard of Oz that opens it. Totally out of place, and I could swear New Kids on the Block or somebody like that used the bit in one of their songs too. Anyway. The band never played it live until 2014, making it the last song from Justice to make it into the live set. That’s not to say it’s a bad song – there’s a really cool middle section that just builds and builds, and then unleashes an absolute monster of a riff, like Iron Maiden on speed.
The final side features Cliff Burton’s last writing credit, “To Live Is To Die”. Almost 10 minutes in length, this largely instrumental track features the appearance of the Metallica acoustic guitars, which soon give way to robotic hammering and a monumental set of riffs. Solo work by both James and Kirk is extraordinary. There are left turns, and it all serves to set up the closing blast of “Dyer’s Eve”.
“Dyer’s Eve” is a thrash blast of metal; so fast that it’s the only “short” song on the album at 5:12. It comes in suddenly and after a brief cascade of metal madness, and goes full thrash, pedal to the metal, all burners on full. It’s so much, packed into such a short space. It’s one of the most effective songs on the album for that reason, and a bit of a cult classic. “Dyer’s Eve” is one of the deep cuts that just scream for more exposure.
Justice is a trip, a journey, a series of chapters in a larger story. It deserves the scrutiny given to its mix but conversely, it also deserves as much attention as your ears are able to pay to it. Despite the lack of bass, there are things here your mind can dissect down to some brilliant performances if you give them the focus. Justice is not an easy listen, but they don’t all have to be. The cool thing with it is, as you grow with it over the years, different songs become your favourites. Maybe 30 years ago, it was “One” or “Blackened”. Then after a while, maybe “Beholder”, then “Dyer’s Eve” and “Shortest Straw”! The album will never cease to have favourite moments if you love Metallica.
It would be easy to give it a 5/5 stars, but the issues with the bass cannot be ignored.
What a show! Thanks for watching! Jex and I had a blast going through a selection of my favourite rock (and a couple other) books. What a variety of books too! Many genres of music, and a few outside the musical box. Jex’s books are currently in storage, so what we did instead was watch a Youtube video from his channel CineBrosSupreme. In 2016, Jex went through his music book collection, and we screened that and commented on it as well. (Jex has not aged since 2016, and a few viewers mentioned this!)
ROD STEWART – The Definitive Rod Stewart (2008 Warner)
Compilations, eh? You get one, and it’s great, but…it doesn’t have all the songs that you like, does it? In this case, I was craving some Rod (now now!) and I really wanted to hear one from my youth: “Infatuation”! I was craving that hook! “Oh no, not again! It hurts so good, I don’t understand!” Jeff Beck: lead guitar! I searched my library and I was missing that track. What to do about it?
Rod Stewart has numerous compilations to choose from, going back to 1973’s Sing It Again Rod. (That one’s interesting for the inclusion of “Pinball Wizard” from the London Sympony version of Tommy.) You could go any number of ways. 1989’s Downtown Train had “Infatuation” on it, as well as “People Get Ready”.
I could have sought out the original album it was on, Camouflage, but I don’t recall liking the album much. I decided instead to augment my collection with another 2 CD compilation: 2008’s Definitive. It’s extremely similar to the 2001 set, The Story So Far, but with a slightly better track list. This time we get “Passion”, “Infatuation”, “My Heart Can’t Tell You No”, and “Stay With Me” (The Faces) among the rest of the 70s, 80s, and 90s hits. We lose “Don’t Come Around Here” which is a good thing. Unfortunately we also lose the Stones cover “Ruby Tuesday” and “All For Love” with Sting and Bryan Adams. There’s no such thing as a perfect compilation. You’re always going to have to get a couple, and even then, you’re still missing the amazing Robbie Robertson cover, “Broken Arrow”.
This set goes all the way up to MTV Unplugged. Rod made great music after that, but a lot of the albums were his American Songbooks of standards, that not everybody needs. The cool thing is, there’s also a bonus track from 1998. “Two Shades of Blue” is an outtake from his excellent rock album, When We Were the New Boys (the one with the Oasis cover “Cigarettes and Alcohol”). This ballad might not have been necessary on that record, but it’s actually quite good if a bit generic. Interestingly it features a sample from a Russian opera, so it’s not exactly ordinary either. The actual cool thing is that it is a Rod sole-written original, not a cover or something written for him. Rod’s a great songwriter when he wants to do it!
This album won’t tick all of your Rod Stewart boxes, but it’ll cover most.
THE BEATLES – “Now and Then” (2023 single)
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