Reviews

REVIEW: Stryper – The Covering (2011)

STRYPER – The Covering (2011)

In general, I hate covers albums. I remember spendling something like $25 on an Yngwie Malmsteen covers album a long time ago. I came out of that experience $25 lighter for an album I’ll never listen to again. I swore I’d never buy another covers album by a metal band unless I knew I wouldn’t be wasting my money.

Then I started reading about Stryper’s covers album. Stryper? A covers album??

But I was reading good things. Then finally the trusted Tommy Rose posted his Amazon review, and I ordered the album that night. Sold!

The Covering is a damn fine slice of metal, my friends. The cynical must remember that Stryper neither fit in with mainstream Christian rock, nor the mainstream of metal. They have always been outsiders and a lot of their cringe-inducing 80’s music (I’m looking at you, In God We Trust) was due to record company pressure and outside producers. At their hearts, they’ve always been headbanging heavy metal loving Christians, and The Covering proves it.

Featuring the entire classic lineup (Michael Sweet, Robert Sweet, Tim Gaines, Oz Fox) for the first time in ages, The Covering is the Stryper album to get even the most hardened cynic back into the band. Not that this is the first time, I think Reborn was a damn fine record (check out “Passion”). This however is Stryper at their most accessible and pummeling.

It’s next to impossible to pick favourites, because so many of these songs are ingrained into our collective minds. I found “Breaking The Law” to be absolutely great fun! Stryper’s style and Priest’s style mesh well. Less successful was “Highway Star”. Stryper’s angular, blocky playing doesn’t really complement our memories of Blackmore’s smooth riffing. However a nice fat organ playing Jon Lord’s original arrangement keeps the song from straying too far.

“Blackout” (Scorpions) was interesting because Michael Sweet’s enunciation echoed Klaus Meine’s ever so slightly without becoming parody. I can only surmise that this is due to Sweet knowing that song inside and out, backwards and forwards. “Over the Mountain” (Ozzy Osbourne) was another highlight, as Stryper just nail that Randy Rhoads riff and keep pummeling. “On Fire” (Van Halen) was a pleasant surprise. Oz Fox plays Eddie’s harmonics perfectly, proving he’s got the goods. Not to mention Sweet can hit David Lee Roth’s screams without trouble. (Also without the grit, but that can’t be helped, nobody has David Lee Roth’s grit.) And of course who else could sing Robert Plant’s part on “Immigrant Song”? “Immigrant Song” also features Tim Gaines playing John Paul Jones’ bouncy bass part just perfectly. I’m not too keen on the production in spots, but all I need to do is hear Gaines playing that bass line and I’m back on board!

I can honestly say that, for me, there are only two lowlights to this album. I’ve never been a fan of “Set Me Free” (Sweet) and “Carry On Wayward Son” (Kansas). Yngwie covered “Wayward Son” on his covers album if I remember correctly, and I’ve just never been a fan. “Set Me Free” is one I’ve been sick of for a long time, after hearing numerous covers from Vince Neil and Helix over the years.

Finally, we have the new original Stryper song “God”. Stryper have always felt like they have not been taken seriously as Christians because they have recorded secular music, but “God” is as blatant as it gets. Not to mention it is an absolute ball-crusher. If you don’t know it’s coming next, your first thought as a listener is, “What classic riff are they covering here?” But it’s not a classic riff — it is their own original one, and it’s a great riff to complement this great song. The vocal harmonies soar and hopefully this is a harbinger of what Stryper have in store down the line. The solos are also to die for.

The packaging for this album is great, in digipack, and featuring page after page of comic book artwork.

If you have never bought a Stryper album before, or if you haven’t checked out the band in years, this is the album to get your juices flowing again. Pick it up. Although it is a covers album, it was one of my favourites of 2011.

4/5 stars.

REVIEW: Triumph – Live At Sweden Rock Festival (2012)

Live At Sweden Rock Festival (CD+DVD)

TRIUMPH – Live At Sweden Rock Festival (2012 CD/DVD, Universal)

In 2008, after over 20 years apart, Rik Emmett joined Mike Levine and Gil Moore on stage.  The original Triumph was back, as if time stood still.  All that animosity, gone, poof! and in its place is a stellar live album.

They only played that one gig, but at least it was smokin’.  What’s incredible is that Rik Emmett retains most of his range, even if Gil Moore’s is more limited.  It was always Rik that sang the high parts, and most singers just can’t do it 20 years later.  Rik can!  And of course I don’t need to tell you anything about his guitar playing.  Some consider him to the be the greatest that Canada ever produced, and his playful but solid axework here helps to show why.

He even throws a bit of the “Hocus Pocus” (by Focus!) riff in the middle of “Rock & Roll Machine”!  Rik hasn’t forgotten to rock, and as usual Triumph is backed up by a second guitar player (Dave Dunlop) for some extra heaviness to the riffs.

But Rik also plays a lot of licks that are more along the lines of the jazz stuff he does today, a great mixture of his old style and his modern style.  Gil and Mike are still Gil and Mike, they’ve barely changed at all.  Their playing is as good as they’ve ever been.  I wonder how much the band rehearsed for this show?  They sound as tight as they did on Stages. (Mike says they practiced a lot!)

Setlist is below.  Let me point out two things:  No ballads!  The closest you get is “Magic Power”.  Second…”Blinding Light Show”!  ‘Nuff said!

1. When The Lights Go Down
2. Lay It On The Line
3. Allied Forces
4. Never Surrender
5. I Live For The Weekend
6. Blinding Light Show / Moon Child
7. Rocky Mountain Way
8. Magic Power
9. Rock & Roll Machine
10. Fight The Good Fight

The included DVD duplicates the show, but for your eyes and ears!  There’s also some cool behind the scenes footage (fans, soundchecks, etc.) and a press conference.  Basically, everything you’d want out of a package like this.

I don’t want to understate how much I like this album.  Prior to this, my favourite Triumph album was always Stages, their first live album from 1985.  Live At Sweden Rock is now my #2 Triumph album.  No overdubs, no fixes, this is just pure live Triumph, all killer no filler (or ballads), and they are as good as they ever were, I swear to God.

5/5 stars

    

REVIEW: Max Webster – Max Webster (1976)

This one goes out to T-Rev!

MAX WEBSTER – Max Webster (1976 Anthem Records)

It is difficult to recall a better debut album than this 1976 masterpiece by the four-headed enigma known as Max Webster. Kim Mitchell (vocals/guitars), Mike Tilka (bass), Terry Watkinson (keys) and short-tenured drummer Paul Kersey, along with lyricist Pye Dubois, seemingly emerged fully-formed with this immortal classic.  Right from the feedback kicking off “Hangover”, this album feels like it was custom designed for awesome sauce.

When I first heard it, I recall finding the album artwork mildly disturbing and the music jittery and off-putting. That was first listen.  Then, Trevor bought it (and numerous others) for me for my birthday one year.  THANKS T-REV! 

It only took two more listens to appreciate this album for what it is: A paradoxically funny yet progressive masterpiece that runs the gamut from bizarre to blues to rock to country to campfire,with poetic lyrics to match. From the seemingly out-of-control “Hangover” to the mournful “Lily”, this album really does have it all.

Of note:  This album was produced with Terry Brown, who helmed many Rush classics.

Like Frank Zappa’s bastard children, Max Webster emerged from Sarnia Ontario, perplexing and rocking audiences from coast to coast. Despite the diversity in sounds and challenging arrangements, this band was not short on melody and managed to create catchy songs out of the most absurd material, such as “Toronto Tontos”.  Yet this is balanced by songs like the groovy “Here Among the Cats”.  Regardless, it’s impossible to get either song out of your head.  Mitchell’s soloing on “Here Among the Cats” is stunning, by the way. 

You can’t understate how important, groundbreaking, and fantastic this album is. Just listen to the upbeat “Blowing The Blues Away”, or “Only Your Nose Knows” for a taste of the best music that Canada has ever put up for offer.  “Summer’s Up”…”Coming Off the Moon”…not a bad song in the bunch.  I understand that there are deluxe Max editions available now. I think I might pick one up and see how they are.

I think I’ll start with Max Webster!  (Note:  Don’t tell Mrs. LeBrain, but I did order it from Amazon a few moments ago.)

5/5 stars

REVIEW: Def Leppard – X (Japanese import!)

This review is because of Rob Vuckovich, whom I like to describe as “one of the Jedi Masters who instructed me”.  Vuckovich complained that I rate everything so high.  That’s because, in general, I tend to write about things I like.  However just for Rob, I dug up an album that I hate.  Here you go.

DEF LEPPARD – X (Japanese import, 2002)

This was the lowest point for Def Lep. Writing with Max “Backstreet Boys” Martin? Screw that, man. The only sounds on this album that wasn’t filtered through a computer was the sound of Steve Clark rolling in his grave.

I mean, damn. Listen to “Unbelievable”. See what I mean?  That’s pop radio crapola written by not one, not two, but three pop uber-writers.

“Now” isn’t bad; it has some guitar on it, but what’s with the programmed opening? What’s with these drum machines? Why such a slow tempo and wimpy chorus? The best song is called “Torn to Shreds”, but even that’s a power ballad.

“Long Long Way To Go” has some nice acoustic work (and there’s a superior acoustic version on the Japanese import), but it’s otherwise one of the wimpiest songs in this band’s tarnished history.  Know why?  It too was written entirely by outside writers.

The Japanese import also has another bonus track, “Kiss the Day”, another slow and wimpy pseudo-rocker.  While not a bonus track per se, the official website used to offer a song called “Perfect Girl”, which is a better demo of “Gravity”.

Buy On Through The Night, not X.

1/5 stars.

REVIEW: Tony Martin – Scream (2005, Japanese edition with bonus track)

TONY MARTIN – Scream (2005 Marquee Inc., Japanese edition with bonus track)

Some of you might not know the name Tony Martin.  Yet you should — he spent more time fronting Black Sabbath than anyone except Ozzy Osbourne.  He sang on five studio albums and one live.  His powerful voice, which was constantly compared to Dio’s, was behind such singles as “Headless Cross” and “The Shining”.

Scream is only Tony’s second solo album, but it’s bloody fantastic.  This fits the bill for people who miss where Black Sabbath were going before Martin departed for the first time in 1991, to make room for Dio’s return.  The riffs are there, and on a couple you’d swear Iommi wrote them.  This is intentional — Martin collaborated with ex-Sabbath keyboardist Geoff Nicholls (1980-1995) and included music and performances by late Sabbath drummer Cozy Powell.

There are many standout tracks on Scream.  The opener, “Raising Hell”, is a speedy Sabbath-esque number similar to “Eye Witness” from Cross Purposes.  Not coincidentally, this is the track with Nicholls and Powell, a demo for the album that would have followed Tyr.  It’s a standout if you like that period of Sabbath.  Which I do.

Fuck yeah!  I LOVE that period of Sabbath! 

There are blazing guitar solos, organ solos and hell, even a bloody violin solo, and it sounds downright wicked.  Martin himself played it, as he did most instruments on this album.  The rest were handled by his son, Joe Harford!  I’m guessing it was Harford who plays the tasty slide guitar solos too.  I loves me some slide guitar in my metal!  You don’t hear it enough in metal.

Best song:  “I’m Gonna Live Forever”, an anthem that I would say makes the album worth buying on its own. 

Another standout:  “Wherever You Go”, somewhat Zeppelin-esque circa III, but also reminiscient of a Sabbath track like “Odin’s Court”.  Indeed, you will definitely hear Zeppelin creeping in during “Field of Lies”…

Worst songs:  Sadly, I can’t say as I much liked the rap metal song, the Japanese-exlusive “Unbearable”.  It’s basically about how getting no respect is making his life unbearable.  It’s heavy and angry, has some good guitars, and sounds pretty genuine.  I guess it can’t be easy being the 8th (I think) lead vocalist in Black Sabbath.  I also dislike “The Kids Of Today (Don’t Understand the Blues)”.  Basically about what the title says.  It has a synth riff in the verses that is kind of at odds with the title, but maybe that’s the point.

Aside from the two songs that didn’t click with me, Scream comes off as an honest, classy traditional metal album.  It strikes me as a bold attempt to carry the Sabbath flag, during a period when Black Sabbath were not recording.  (Sabbath later got back together with Dio under the name Heaven & Hell, and made one final crushing studio album.)  The songs stand up on their own, with powerful, memorable riffs.  The vocal melodies and indeed the vocal performances are Martin at his best.  This is just a straight great metal album, for those who like it the way they used to make it.

Kids of today.  They just don’t understand!

4.5/5 stars

REVIEW: KISS – Destroyer (Resurrected) (2012)

Thought I was done with Kiss reviews? Hah! It never ends! They keep putting this stuff out, and I keep buying it! Ain’t it the way?  

KISS – Destroyer (Resurrected) (2012, originally released 1976)

Here it is, the much ballyhooed Bob Ezrin remix of Destroyer.  Ezrin went back to the original master tapes and remixed the album himself, toughening it up while not tampering with the arrangements.

It is necessary?  Nah.  I don’t think so.  I had high hopes for this remix, that it would shed some serious new light on these classic tunes.  But, it really doesn’t.   “Flaming Youth” sounds more or less the same.  You can hear some more acoustic guitar on “Beth”.  Other songs might have some echo where there wasn’t before.  Perhaps in some cases, the layers of guitars are more individually audible.  The drums are definitely heavier, which is and isn’t a good thing.  I’m always a fan of big, big drums, but somehow they’re drawing too much attention to themselves in this version, especially on “Do You Love Me”.  On the other hand, Peter Criss fans will be in nirvana to hear him bashing his kit like never before in “Sweet Pain”.

Bob Ezrin contributes liner notes to this package.  He explains choices he made back then, and choices he made today on the album.  He says that many of the effects such as echo and reverb were on the master tapes and could not be changed.  The goal in this remix, he says, was making the album more “immediate and modern”.  I agree that it is more modern sounding.  I like that Ezrin included some alternate takes and forgotten moments here and there.  I just find the whole thing to be a bit of a novelty, and a bit stingy.

Besides the entire album remixed, you also get another version of “Sweet Pain”:  One with the original guitar solo, and one with a very different take.  Seeing as Destroyer wasn’t a long album to begin with, I’m disappointed that the empty disc space isn’t taken up by something like demos.  Ahh well.

We all know Gene.  More is coming.  You’ll buy it.  Wait and see!

3/5 stars

NOTE:  The mighty Heavy Metal Overload notified me of a flaw in “Flaming Youth”:  about half a beat is missing near the beginning, about 4-5 seconds in.  Once you hear it, you can’t un-hear it.

REVIEW: David Lee Roth – Sonrisa Salvaje (1986)
DAVID LEE ROTH – Sonrisa Salvaje (“Wild Smile“, 1986 Spanish recording, remastered 2007 – Warner)
You have to give David Lee Roth credit, he is nothing if not ambitious. Sonrisa Salvaje, near the very beginning of his solo career, represents a lot about DLR that people forget: Contrary to the wild image and outrageous personality, he’s actually quite intelligent and cultured.
I guess that’s one reason why he decided to record three sets of vocals for his Eat ‘Em And Smile album back in ’86!  (The other reason was that DLR was told there was a huge market for rock music in Mexico.)  His Portuguese version has never been released, and the Spanish version was never released on CD, until this Rhino reissue/remaster came out. You should already know these songs (and if you don’t, then I need to go back and review Eat ‘Em And Smile, and you need to buy the English version first).
You should already know it’s his all-time best solo album. His ace band — Steve Vai, Billy Sheehan, and Gregg Bissonette — rivaled the mighty VH itself. Together they put together this album which contains some of Dave’s best and most memorable tunage. It was playful, fun, smokin’ and diverse.  It had everything from space age rock (“Shy Boy”) to a a Sinatra cover (“That’s Life”).  The bed tracks here, the instrumental backings, are all identical on this version (except for a minor edit to “Big Trouble”).

The Spanish translations, as expected, are a little awkward. That was bound to happen. “Shy Boy” becomes “Timido” and kind of stumbles off the tongue a bit. “Ladies Night In Buffalo?” becomes “Noche De Ronda En La Ciudad”. You see what I mean? The one song that I actually enjoyed more on this release was “Going Crazy!”, now known as “¡Loco Del Calor!”. That song always had a pseudo-tropical sound to it, so the new lyrics fit right in.  The rest are awkward, as the words never seem natural.

Interesting tid-bit: As of this writing (September 2012), Eat ‘Em and Smile has not been remastered and reissued in its English version! So, technically, if you wanted to hear remastered versions of these songs, this is the only place to get them. And that, to me, is a weirder thought than a Dave album in Spanish!

5/5 stars (original English album)

3/5 stars (Spanish version)

REVIEW: KISS – Best Of Solo Albums (1979)

Part 50:  Here we are at the end!  We started with the first album, but I thought I’d end it with something a little special.  I got this about a month ago.  So:  on the final KISS review before Monster, here we are with Best Of Solo Albums!

KISS – Best Of Solo Albums (German import, 1979)

The compilation was never released in North America, so here it’s quite a rarity.  I have read that there never has been an official CD release either.  Any CD would be a bootleg.

It’s a very even-handed and enjoyable listen.  The album is divided into four sections, one for each member, and each member gets three tracks.  Ace’s solo album was the most popular, so logically they started it with him, and his biggest hit.

“New York Groove” isn’t my favourite song in the world, but to start this album with anything but the big hit wouldn’t have been logical.  A better song, “Rip It Out”, follows.  I think this just might be the Ace’s best song.  An upbeat rocker with a killer Ace riff, it easily stands up against any Kiss hit.  This also offsets any lack of momentum that the mid-paced opening lacked.

“Speedin’ Back To My Baby”, another one of Ace’s best tunes, finishes his set.  I like this cool rocker, although my pick from Ace’s album would have been “What’s On Your Mind”.  Regardless, the album was wisely sequenced so it starts strong and finishes strong.  Ace’s side assured a good start.  What followed was Peter’s.

I don’t think there will ever be a consensus on the best songs from Peter Criss.  It’s a pretty bland affair, and one song is hard to distinguish from another sometimes.  “You Matter To Me” is, well, whatever it is.  Bad 70’s synth, midtempo AM radio crap is basically what it is.  “Tossin’ And Turnin'” and “Hooked On Rock And Roll” are both better, being rock and roll songs at least.  Peter loans them his souful rasp and he turns in decent versions of both songs.   I suppose I would have thrown in “I Can’t Stop The Rain” or “Easy Thing” instead.  I guess Casablanca were avoiding the ballads.  Makes sense in a way — they were probably trying to collect the songs they thought would most appeal to Kiss fans, out of Peter’s lukewarm songs.

Ace and Peter take up side 1.  Gene starts side 2, another controversial album.  “Radioactive” is his signiture disco-rocker, and Kiss were playing it on tour that year (as they also were with “New York Groove”).  It is followed by one of Gene’s all-time best songs, “Mr. Make Believe”.  This acoustic Beatles-y ballad has always been a favourite of mine.  Gene’s remake of “See You In Your Dreams” finishes his suite.  I prefer Kiss’ version.  But again, it’s a rocker, unlike a lot of Gene’s album.

Much like Ace’s record, Paul Stanley was well received by Kiss fans, if critisized for being so Kiss-like.  “Tonight You Belong To Me” is a dramatic opener and one of Paul’s greatest songs.  Kiss were playing “Move On” on the Dynasty tour at this time, so it too appears.  It’s not my favourite song.  (That would be “Wouldn’t You Like To Know Me”. )  Paul’s set, and the album, closes with “Hold Me Touch Me”, which was also a single that had some success.  I think it’s a great song if a little saccharine.  Paul plays the guitar solo.

As a straight listen, the album works.  I mentioned how I would have swapped one song for another.  Well, yeah, on paper that’s what I would have done.  As an album, it works as it is.  Whatever the rationale was for picking the songs, it’s a consistent listen and one I enjoyed.  Now that I’ve ripped the LP to CD, and I can put that record away, for special occasions.

4/5 stars.

Side 1

  • ACE FREHLEY – “Rip It Out”, “New York Groove”, “Speedin’ Back to my Baby”
  • PETER CRISS – “You Matter To Me”, “Tossin’ and Turnin'”, “Hooked on Rock and Roll”

Side 2

  • GENE SIMMONS – “Radioactive”, “Mr. Make Believe”, “See You In Your Dreams”,
  • PAUL STANLEY – “Tonight You Belong To Me”, “Move On”, “Hold Me Touch Me”

MOVIE REVIEW: Air Guitar Nation

“To err is human, to air guitar divine” – Bjorn Turoque

Air Guitar Nation (Shadow Distribution, 2007)

Directed by Alexandra Lipsitz

I saw this on the shelves of my local video store, and pondered it for about 3 minutes before deciding to take the plunge. I did have my doubts. After all, as an aspiring guitar player, what fun would it be watching people pretend to play guitar? I mean, I’m bored to tears with Rock Band and Guitar Hero.

After a mere few minutes, I was enthralled with this documentary. This is just a story about some regular guys (and girls too) who simply love guitar so much that they have created an art out of “air guitar” — flailing your arms erratically, throwing shapes, and pretending to rock. Sounds stupid I know, but I can’t think of a better word than “art” to describe what they do. It is a new artform. If you’re a rocker, don’t lie to me — I know you’ve played air guitar in your bedroom before. I spent my teens doing that very thing. These guys have taken it to a whole new level, with costumes and personas.

“C-Diddy” and “Bjorn Turoque” are our prime protangonists here, although I immediately sided with the amicable Diddy, known to his parents as David Jung. They both have very different styles. Diddy favours the intricate fretwork of Extreme’s “Play With Me” while Bjorn is more a rhythm player, employing the high energy of Motorhead.  Each of them hopes to be the very first American air guitar world champion. They battle through the semi-finals before heading to Finland for the big finish.

Along the way you will meet other air guitar players, each a champion in his or her own right. My favourites included “The Red Plectrum”, so named due to his flaming hair. There was also a Christian rocker whose gimmick was that he played air guitar to Stryper in a wheelchair. Then, partway through his song, he is miraculously given the ability to walk, as he rises from his chair! Hallelujah!

This is just a sweet movie, with a killer soundtrack, and some very unique and fun personalities to boot. They take air guitar very, very seriously, and so will you after seeing this film. There are plenty of deleted scenes and extras on the DVD to keep you going once the party’s over.

5/5  stars.

REVIEW: KISS – Icon and Icon 2 (2010)

The 49th and penultimate instalment in my series of Kiss reviews, all leading up to the release of Monster! 

KISS – Icon and Icon 2 (2010)

OK, this is where I lose it!

Fuck you, The Island Def Jam Music Group, for putting out these discs!  These suck!

Kiss Icon:  IDENTICAL to 20th Century Masters – The Millenium Collection:  The Best of Kiss Vol. 1.  Exactly the same, track for track.  Without the liner notes, and suckier cover art.

Kiss Icon 2:  This time, a 2 disc set.  Logically, you’d assume it would be Vol. 2 and Vol. 3 of the Millenium Collection, right?  Well, hell no.  It has some of those songs, but it also has songs that weren’t on those, like “A World Without Heroes” and “Shandi”.  But…BUT!  The first disc of this set?  It’s just Icon over again!  Yes, disc 1 of Icon 2 is just Icon, over again!  But it doesn’t tell you that.  It also has an incorrect song listed!  The cover says “Shout It Out Loud (Live)” is the last track of disc 1.  But no.  The last track on disc 1 actually is “I Was Made For Lovin’ You”, just like the Millenium Collection.

But wait, I ain’t done!  Disc 2, track 1, is “I Was Made For Lovin’ You”…AGAIN!

GAHHH!  Just…stop putting this shit out!

-101/5 stars