Reviews

REVIEW: Talas – If We Only Knew Then What We Know Now… (1998 Japanese/bonus track)

TALAS – If We Only Knew Then What We Know Now… (1998 Warner Music Japan)

The Japanese edition of this Talas live album is something to behold.  It comes with lots of extras:

  • Beefy cardboard slipcase to house the jewel case beneath, plus…
  • A beautiful bonus 22 page photo booklet,
  • Japanese lyric sheet,
  • Two bonus tracks!

The first bonus track is just a shorty, a message from Billy Sheehan.  He briefly explains the history of the band, as much as one can in 34 seconds anyway.  The second bonus track is more interesting and valuable.  It is a vintage studio track called “Doin’ It Right”.  Very pop, but also paradoxically pounding.  It’s not available anywhere else, and it’s not bad at all!  It recalls other early poppy rock tunes by metal bands, such as Quiet Riot and Kick Axe’s obscurities.  One of those Japanese bonus tracks that is worth shelling out for.  But that’s just Common Knowledge!

(The rest of this review was previously publish in 2016)

The Talas story did not end with the breakup of the band.  Of course not; bands both famous and obscure like to reunite for nostalgia shows.  Talas did that in 1997 with the original power trio lineup:  Billy Sheehan on bass, Paul Varga on drums, and Dave Constantino on electric guitar.  With classic material (from the first two Talas albums) and a few unreleased songs, they memorialized their reunion with a brand new live CD.  Billy even pulled his old platform boots out of the closet for this one.

As usual the set opens with “Sink Your Teeth Into That” and an enthusiastic home town crowd.  Talas only sounded better with age.  The original voices are there and just as strong as they were in 1982.  It actually sounds like everyone has improved over the years.  A speedy “High Speed on Ice” is in the second spot ensuring no loss of momentum.  Material from the first self-titled Talas album is included too (unlike the last live album Live Speed on Ice).  “Expert on Me” is very pop in construction, but clearly not as great as the songs from album #2, Sink Your Teeth Into That.  Speaking of which, the slow rumbler “Never See Me Cry” is brilliantly adapted to the stage.

“Power to Break Away” is one of the previously unrecorded songs, and it kicks it just as hot as anything from Sink Your Teeth Into That.  It’s taut with hooks and the prerequisite bass workouts.  “Tell Me True” is the second unreleased song, a slow non-descript dirge ballad that takes a while to get going.

Imagine Billy Sheehan plowing his bass right through a funky Led Zeppelin riff.  That’s “Thick Head”, an awesome track from Talas (1979).  “You” has a cool vibe, almost like an unheard Aerosmith demo from the Done With Mirrors era.  A few other tunes from the first Talas (“Most People”, “Any Other Day” and “See Saw”) are adequately entertaining.  Back to Sink Your Teeth Into That, “King of the World” is still one of the best Talas tunes, overshadowed by only a few like “Shy Boy”.  Here, “Shy Boy” is preceded by a Paul Varga drum solo.  The sheer velocity of “Shy Boy” itself makes me wonder how Varga did it.  It’s just pedal to the metal, blurring the lines and smoking the minds.

Nothing like a good cover to help draw a live album to a close.  Talas did two:  “21st Century Schizoid Man” and “Battle Scar”.  The King Crimson cover is a daring one to attempt.  They somehow manage to strip it down and pull it off with integrity.  As for “Battle Scar”?  Total surprise there!  Max Webster were just across the border from Buffalo, and Billy Sheehan nearly joined Max at one point late in their career.  Introduced by a Billy Sheehan bass solo, this Max/Rush cover is the set closer.  As a final addition, “Battle Scar” surely makes this one hell of an album for the history books.

Since this is a more recent release on a well known label (Metal Blade), it turns out that If We Knew Then What We Know Now is an easy CD to find in the shops.  Fortunately this is a good first Talas album to add to any collection.

4/5 battle scars

 

 

#1060: Max the Axe’s Garage Sale (Trillion Dollar Treats)

RECORD STORE TALES #1060: Max the Axe’s Garage Sale

A huge thank-you to my host Max the Axe today at a fantastic garage sale!  BEHOLD!

“9:00 AM!” he said.  “Serving shots and weed to my Facebook friends starting at 9 AM!”

There was no way I was missing this garage sale.

I only had four hours sleep, and a large Tim Horton’s coffee, to prepare me.  I didn’t think I could make it.  After the events of last night, which left me rocked (in a bad way), I didn’t think I was up for it.  But at 9:00 AM I said “to hell with it, let’s go,” and Jen and I were in the car off to the Trillion Dollar Treats that Max had on offer.

First up:  cassettes!  I picked up six:

  • Poison – Flesh & Blood
  • Metallica – Metallica
  • Van Halen – Diver Down
  • Extreme – II:  Pornograffitti
  • Ozzy Osbourne – No Rest for the Wicked
  • Van Halen – Women and Children First

You can blame Tim Durling for my sudden interest in buying Cassettes That I Already Own On Remastered CDs.  He did point out the Diver Down cassette was an unusual cover variant, with the image slanted taking up the whole cover.

Speaking of Tim Durling…

  • Led Zeppelin – Led Zeppelin IV

I’ve caught the 8-track bug, baby!  Tim remarked that my copy was in better condition than his.  Max had more 8-tracks but none from bands that I collected.

So that’s cassette and 8-track.  What about CD and vinyl?  Maxie has plenty of both, but my tab was starting to rack up.  I gave him $20 for this rare AC/DC longbox, still sealed.

It’s the live “Highway to Hell” single, with long box intact and not in terrible shape.  I used to have CD longboxes, but I foolishly tossed them when I moved, assuming their were worth next to nothing.  Just paper.  But now…

Next up:  Max has been trying to sell me a tape deck for years.  This one was $20, a Kenwood.  My old Sony has seen the better of days, and Max says this one runs perfectly.  I guess we’ll find out soon enough, to try out these new tapes I just bought, huh?

Finally, we have the magazine scores.  Some MAD, some Cracked, some Star Wars, and some music!  Even a M.E.A.T Magazine!  A little bit of everything, and…woah, that’s Lee Aaron!!

Max has so much stuff, and you still have time to get down there.  Kites, speakers, tape decks, collectables, magazines, all killer deals!  Blank media galore.

Am I ever glad I went to Trillion Dollar Treats to see Max the Axe on my Saturday morning.  My Friday was brutal – absolutely brutal.  I am sure you will eventually be reading about it in one way or another.  My real life has a habit of becoming public knowledge, because when I’m hurting inside, I need to get it out.  My only weakness.  Thank you to everyone who sent helpful messages and offered to talk.  I need to single out Boppin, Jex, Tim, James and especially Jen for talking to me last night and this morning.  I love you all.

 

REVIEW: Gordon Lightfoot – Summertime Dream (1976)

GORDON LIGHTFOOT – Summertime Dream (1976 Reprise)

Immediately after Gord’s Gold provided Lightfoot fans with a collection of old and re-recorded hits, Gord made another one:  “The Wreck of the Edmund Fitzgerald“.  This mighty song dominated the radiowaves for years over all over the Great White North, arguably granting Lightfoot his most memorable song in his history.  His earlier material from Gord’s Gold and before might be considered the pinnacle of his album-making career, but Summertime Dream isn’t too shabby.

Opening with the musically upbeat “Race Among the Ruins”, but lyrically there is warning here.  “If you plan to face tomorrow, do it soon.”  Don’t let time pass you by.

The nautical disaster song “Edmund Fitzgerald” is second, a mostly historically accurate accounting (within reason) of a great lakes shipwreck.  The great lakes shipwreck.  The stinging guitar lick repeats while the harrowing lyrics induce chills.  Guitarist Terry Clements performed that unmistakable, haunting guitar part, the one that little Canadian kids were dying to learn how to play in their youths.  Did they have any idea they were recording such a timeless song when they were laying down the tracks?  Every feeling, every emotion, every creak of steel and wood can be absorbed through the grooves.  The way Lightfoot paints a picture with words, you feel as if were there. Gene Martynec, who played synth on Lou Reed’s Berlin album, provided light keyboard accents here. You’d miss them if they were gone.

A tender ballad, “I’m Not Supposed to Care”, gently caresses the soul with its light backdrop of pedal steel guitar.  Then, edgier electric guitars back up “I’d Do It Again”, a laid back groove with a country foundation and a rock veneer.  “Never Too Close” also shines with shimmery guitar melodies and a stunning chorus.  Then the somber “Protocol” is a war ballad ranging from days past to the Vietnam War.  “The House You Live In” showcases more pedal steel tones with a warm tune and laid back tempo.  The single “Summertime Dream” is upbeat and bright, recalling hot happy youthful days.  “Spanish Moss” is another lovely song, painting pictures of landscapes we’d like to see. Finally, “Too Many Clues In This Room” closes the album on a dark note, with lyrics aluding to both space and sea exploration.

Not Gordon’s most captivating album, but one without any skips, and one absolute monster of a song.

3.5/5 stars

MOVIE REVIEW: Clerks III (2022)

CLERKS III (2002 Lionsgate)

Directed by Kevin Smith

There was once a time when I would have bought anything with Kevin Smith’s name on it.  Clerks resonated.  Clerks II was side-splitting.  We waited for the next chapter in Dante and Randall’s lives, now owners of the Quick Stop and in control of their own destinies.  And we waited, and we waited, and that film never came.

Then Kevin Smith had a near-fatal heart attack.

Clerks III was scrapped and a new version written.  It is this version that I watched the other night.

I may be the wrong person to review this film.  Take everything you read here with several large grains of salt.

I was not prepared for a movie this dark.  I knew that plot involved Randall having a heart attack and deciding to make a film of his life story.  I did not know how much other tragedies were to come for other characters.  I was triggered a bit by some hospital scenes and didn’t enjoy these bits at all.

I felt that Clerks III was two things:

  • Kevin telling a dark story that reflects where he was at that point in his life.
  • Kevin re-making Clerks.

The movie alternates between these two tones.  I respect the right of a filmmaker to to express themselves in any way they desire, but Clerks III was not the instalment for me.

There was one meta-humour moment with Amy Sedaris having a conversions with Randall involving The Mandalorian, which is funny since Amy Sedaris on that show.  So there are those things still happening, and of course all the self-references back to past movies in the View Askewniverse.  I guess that’s more the movie I wanted, rather than [SPOILER] …all this death.

2/5 stars

 

REVIEW: Savatage – Poets and Madman (2022 glow in the dark vinyl reissue/bonus track)

SAVATAGE – Poets and Madman (2001, 2022 glow in the dark vinyl reissue)

Let us start with this vinyl reissue, before we look at the album proper.  Savatage have done a lovely job of reissuing their catalogue on vinyl, with colours galore, epic packaging, and occasional bonus tracks.  This reissue includes one such track on a bonus 7″ record.  Awesome.

The album comes packaged in a beefy gatefold sleeve, loaded with pictures and graphics.  It’s a double album, plus the bonus single.  It also includes a massive booklet with loads of text, an interview, photos and lyrics.  This reissue was done right.  It is always a pleasure when you have something to read along to while you listen.  The two 12″ records glow in the dark, a fun effect when you feel like turning your lights off and listening in pitch black (which will probably be never).  Unfortunately the records have high surface noise.  The bonus 7″ is a clear tie-dyed or splatter design, and sounds excellent.

The bonus track on the single is an extended version of one of the better album cuts, “Awaken”.  It is almost a full minute longer, with the extra meat at the end of the track.  Almost a full minute of extra guitar gymnastics for you to sink your teeth into.  There is music on only one side of the 7″, with the other side blank.

A totally worthwhile vinyl reissue, while we wait for the arrival of new Savatage in 2024.

 

(The rest of this review was previously published in 2014)

Since the death of Criss Oliva, Savatage had become a much more operatic beast, culminating in the formation of Trans-Siberian Orchestra. Here, there are many changes afoot. Guitarist Al Pitrelli departed for Megadeth, although some of his work is herein. Co-lead vocalist Zach Stevens is also gone, having formed the excellent Circle II Circle. This leaves The Mountain King himself, Jon Oliva, to handle all lead vocals for the first time since 1991’s Streets: A Rock Opera. (A new co-lead vocalist named Damond Jineva was hired for the tour.)

This is another dramatic rock opera, and as soon as the needle hits wax, you hear Oliva’s piano flourishes dominate the opening song, “Stay With Me Awhile”. Much like “Streets”, this song is simply an intro to the story which is about to unfold. This time, Oliva and producer Paul O’Neill weave a tale about an abandoned insane asylum and the ghosts within its walls. On a whole it is a much less satisfying concept than some previous Sava-operas, but it backs up the music just fine. And to be honest, that’s why we’re here — the music.

From heavy rockers like “There In The Silence” (backed by a fat synth riff) to slow dramatic ballads like “Back To A Reason”, this is a well-rounded Sava-disc. It is comparable to previous in quality and direction to rock operas such as The Wake of Magellan or Dead Winter Dead, just without Zach.

As with the aforementioned rock operas, there is always a centerpiece on the album. There had to be a counterpoint-vocal-laden masterwork to make your jaw drop in awe and hit that “reverse” button to hear it all again. This time it is a 10 minute epic called “Morphine Child”. With Zach gone, Oliva sings with multiple backing vocalists but the song is no weaker for it.  I’ll confess that even though I usually listen to albums from front to back, I usually play “Morphine Child” three times in a row.  It’s that incredible.

Other standouts include the single “Commissar” which is loaded with guitar flash, keyboards and riffage.  It also features Trans-Siberian-style backing vocals.  “I Seek Power” sounds like classic Savatage circa Gutter Ballet.  “Awaken” is another number that brings to mind that mid-period Savatage sound.  If some fans thought they had strayed way too far into rock opera, then songs like “Awaken” will appeal to their tastes.  I still like hearing Jon screaming a chorus.

I was underwhelmed a bit by the acoustic “Rumor”, but the song does take off fully electric after a few minutes.   Then there’s “Surrender” which feels like an outtake from Streets, but I didn’t find it as memorable.  So there are a couple duds, who cares?

Poets and Madmen is an excellent album, and it fares well against the other rock operas that Savatage has done. Streets will always be the pinnacle, but Poets and Madmen can hold its own against The Wake of Magellan, and it easily out-does Dead Winter Dead.

4.5/5 stars

REVIEW: Extreme – Waiting for the Punchline (1995 Japanese/bonus track)

EXTREME – Waiting for the Punchline (1995 Polydor Japan)

Let’s start with the bonus track!  “Fair-Weather Faith” is only available here, on the Japanese pressing of Extreme’s fourth album.  And it is…well, it’s probably not controversial to say it’s the weakest of the 13 (12 plus one unlisted) tracks.  That’s why it’s a bonus track.  Is there anything wrong with it?  Hell no!  But do you absolutely need it in your life?  No.  You can live without it.  Be warned though that Gary sings his ass off, while Nuno plays it funky.  It sounds as if this is one of the tracks with Paul Geary on drums.  (Mike Mangini joined the band mid-album.)  Like many Extreme songs, religion is the topic.  Gary is critical of these who put on the act of believing for the benefit of those around them.  Decent bonus track, but not especially mind-blowing.

(The rest of this review was previously published in 2017)

Sometimes you just gotta laugh.  Extreme released two of their finest albums after grunge wiped the slate clean.  Extreme were the punchline, but that didn’t stop them from making a smokin’ fourth album.  In 1992 Nuno envisioned the next album as “really funky”, and there is some funk here.  However Waiting for the Punchline was much more straight ahead: stripped down, no orchestras, no rap, just guitar rock through and through.

“There Is No God” sounds like an odd title from a band as Christian as Extreme were, but Gary Cherone has always been a lyrical champion.  It’s not as simple as it appears, but the groove just lays waste.  The next track “Cynical Fuck” turns it up further.  It is pure smoke, and perfect for the decade it was written in.  “Tell Me Something I Don’t Know” takes the soft/hard approach with a loud droning Nuno riff.  It’s another brilliant song, and harder than what Extreme were doing before.  Much of Waiting for the Punchline is driven by the bass and drums.  The interesting thing about this is that drummer Paul Geary left during the making of this album, and was replaced by Mike Mangini who is now in Dream Theater.  You hear two very distinct drum styles through the CD.  Geary has a straight ahead approach, while Mangini is capable of just about anything.  His first track is the single “Hip Today” and you can hear how his beats are anything but basic.

“Hip Today” is a good tune and a good indicator of what the album sounds like: Bass, drums, guitar. Listen to how the rhythm guitar drops out when Nuno solos. Just like the first classic Van Halen. The lyrics sound bitter as Gary warns the next generation of bands that their time too will end.  Things slow down a little on “Naked”, before the side-ending instrumental “Midnight Express”.  This is a truly brilliant track, proof that Nuno’s stunning plectrum practice has paid off.   When it comes to acoustic guitar work in rock and roll band, Nuno is among the very best.  “Midnight Express” gives me callouses just thinking about it.

Dark moods commence the second side with “Leave Me Alone”, a sentiment many of us understand.  Don’t worry about me — I’m happy alone sometimes.  Nuno uses volume swells a-la Van Halen’s “Cathedral” to create a nifty riff.  Into “No Respect”, Nuno makes his guitar purr, while the rhythm section throws it into overdrive.  “Evilangelist” tackles the religion questions again, with a funky riff and cool digitized chorus.  The dark and heavy vibes give way to light shortly on “Shadow Boxing” and “Unconditionally”.   Both tracks are brilliant but different.  “Shadow Boxing” might be considered the “Hole Hearted” of this album, while “Unconditionally” leans towards “More Than Words”.  Neither are re-writes, but those are the easiest comparisons.

One final surprise is the unlisted bonus track.  It wasn’t on the cassette version, but you will find the title track “Waiting for the Punchline” after “Unconditionally” (or “Fair-Weather Faith” on the Japanese CD).  There are two cool things about this.  One: it’s an awesome track, much like the angrier stuff on side one.  Two: it closes the album even better than “Unconditionally”.  Great little surprise so don’t hit “stop”!

The thing about Waiting for the Punchline is that it’s a grower.   The first couple listens, I thought “It’s not as good as their old stuff, but what is these days?”  The new stripped down Extreme didn’t seem as interesting as the lavish one from Extreme III or the flashy one from Extreme II.  After a few listens, different textures began to emerge, add their own colours and depth.  Particular with the guitar work, but also the rhythms, there is much delight to be discovered here.

5/5 stars

REVIEW: Hollywood Monsters – Thriving On Chaos (2020 Japanese/bonus track)

HOLLYWOOD MONSTERS – Thriving On Chaos (2020 Voice Music, Japanese import)

Supergroup?  Or just a good time?  Singer/guitarist Steph Honde, drummer Vinny Appice, and bassist Ronnie Robson gathered a load of friends and recorded a fun heavy metal album of originals and covers.  There is also a healthy helping of Canadian content (such as Robson in the core trio)!

Opener “A Scream Looking For a Mouth” is a raging heavy metal track along the lines of vintage high-voltage Motorhead.  Hell of an opener.  Add Deep Purple’s Don Airey on guest Hammond organ solo, which just hits the right spot amidst all that raging.  “Speak of the Devil” continues the heavy, though not the speed, thankfully, or you’d be seeing a chiropractor from all the headbangin’.  A catchy chorus and solid riffing make it another instant winner.  Solid metal.  A chunky riff kicks off “Something Wicked”, a really fun uptempo rocker.

Things get slower and darker on the monumental “Running Up Hill”, which is instant hit material.  Ted McKenna on drums.  Instant classic, with a chorus that kills.  Regardless of the daily struggles we face, Honde reminds us, “Never surrender!”  It’s a message of positivity, and the best track on the album.

“Numb” is another good one, grinding out a riff slow an’ easy.  The added keyboards provide texture.  Even better is the beautiful acoustic ballad “In This House”.  Honde has an excellent acoustic album called Empire of Ashes, and this track easily could have fit on it.  Though he’s a rocker, he is exceptional at tender acoustic ballads.

The first cover is “I Don’t Need No Doctor” featuring Jim Crean on backing vocals.  It kicks all the expected asses, and Honde’s guitar soloing is tasty as hell.  Next up:  Canadian content with the Goddo cover “Drop Dead”, featuring Greg Godovitz on co-lead vocals and Tommy Denander on lead guitar.  It smokes, and that lead solo?  Set phasers to stun!

“Thriving On Chaos” is another impressive original.  It has a slow, dramatic riff that is somehow familiar.  Excellent songwriting, and hard to pigeonhole.  It’s followed by a very Maiden-esque song called “Fortune Teller”, which has a vibe very similar to some of the tracks on Fear of the Dark.  Fred Mika plays drums on this tempered-steel monster.

The final cover (and Canadian guest) is the Thin Lizzy cover “Cold Sweat”, as sung by Danko Jones.  Danko is the perfect guy for it!  He nails the Phil vibe, yet with his own snarl.  And the Steph Honde guitar solo?  Call the fire department!  This alchemy of Jones/Honde/Appice/Robson is pure combustion.  You can seldom go wrong with a Thin Lizzy cover, but here everything goes so, so right.

Always a surprise when the Japanese bonus track is one of the highlights.  The heavy, thumping “I Am the Best You Can Get” slays!  “Heavy” is an understatement!  Vocalist Steph Honde goes from scream on the verses, to growl on the chorus.  The droning chorus is the best part!  This one features (Canadian) Glen Drover on lead guitar and Alexis Von Kraven on the relentless drums.  The Japanese CD even comes with a printed interview with Steph Honde – though I cannot read Japanese!

Pick it up – shell out for the Japanese if it’s within your means.

4/5 stars

REVIEW: KISS – Off The Soundboard – Poughkeepsie NY 11.26.1984

 – Off the Soundboard – Poughkeepsie NY 11.26.1984 (2023 Universal)

Are you getting sick of reading all the same complaints about the new Kiss Off the Soundboard CD from Poughkeepsie NY 1984, the fifth in this series?

Me too!

If you can’t appreciate the historical value of a Mark St. John show with Kiss, then I can’t help you.

If you didn’t know Kiss played these songs at lightspeed in the 1980s, then you never saw Animalize Live Uncensored.

And if you don’t know what an official bootleg is, then this CD is not for you anyway.

Actually, the only thing I’m really sick of is typing “Poughkeepsie”!

There are Kiss bootlegs with Mark floating around out there.  I can’t vouch for the audio quality on those.  This, I can tell you, is soundboard quality, which in my opinion is the best way to hear a live album.  Unpolished, the way it was that night on the board.  I love hearing the band make mistakes.  I have no problem with the fact you can barely hear the bass on some tracks, and too much on others.  The vocals are clear and each member is distinct in their singing.  Whether you think Paul is too “erratic” or not, that’s personal taste.

The setlist is similar to Animalize Live.  You won’t hear any Animalize deep cuts that were not on that video.  Two songs are incomplete (“Young and Wasted” and “Rock and Roll all Nite”) due to tape issues but are included for their historical significance.  No issues here.  In fact, “Rock and Roll all Nite” might be better this way…it often drags on too long at the end of a show!

The jazz-influenced Mark definitely added his own style and twists to the solos, even simple ones like “Detroit Rock City”.  There, he inserted an extra note or two to make it his.  Mark was a shredder, and that was the direction Kiss wanted to go in at that time.  It was the 80s.  Bands had to have shredders if they wanted the kids to take them seriously.  Mark wasn’t even Kiss’ first shredder, but he was certainly unique.  There’s a lot of whammy bar, and some pretty wicked licks on songs like “Fits Like a Glove”.  Now, before you get too excited, the “Guitar Solo” listed on the back cover is Paul Stanley’s familiar solo that he was playing during that era.

Mark aside, Eric Carr is a star on this album.  He was a busier drummer than Peter Criss and he goes to town on songs like “Cold Gin” and “Under the Gun”.  Fox fans will not want to miss this CD in their collection.  Peak Eric.  His drum solo will be familiar, yet will also most likely sound better than any version you currently own.  Unfortunately he stops singing on part of “Young and Wasted”, which is one of the partial songs anyway, so no big deal.  We have him singing that on Animalize Live.

Paul Stanley’s performance is pure rock and roll, and especially expressive on “I Still Love You”, but many have complained about the F-bombs dropped during his intro to “Love Gun”.  Hey…check out the Animalize Live version for something naughtier than an F-bomb!

If you’re Kiss collector, this is ending up in your library regardless.  Choose your format and go wild like the animals.

3.5/5 stars for the quality

3.5/5 stars as a “Kiss show”

5/5 stars for historical value and significance to the Kiss army

REVIEW: Night Ranger – Big Life (1987)

NIGHT RANGER – Big Life (1987 MCA)

This CD was a gift from Tim Durling, and this review is simply a conversation with Tim Durling!

Tim:  Big Life might sound dated to you, it is very 1987 and possibly one of their mellowest albums. Of course I have a soft spot for it, but then I like the band.

Me:  That’s the one I’m popping in now actually.

Tim:  Your Big Life is a fancy 2009 remaster that I’d never seen before. The original was my very first CD back in 1990.

Me:  Oh jeez, it’s the album with “Secret Of My Success!”  Now I have two copies of that song…The booklet is nice, full lyrics.

Tim:  You can file that under guilty pleasure for me, I know it’s cheesy but “worlds collide, and hearts will be broken” damn it’s so catchy.

Me:  Wow, Blades’ name is on every single songwriting credit.

Tim:  Fun fact: there are two different covers, and I didn’t know that till I had Josh from Fans in Motion on my show.  Same band shot, but some copies have less stuff in the background. I love learning stuff like that.

Me:  Interesting. So somebody said “We need to add a spotlight and a wall” to some versions.

Me:  Wow this opening track is very…Umm…Faux-macho.  Sorry, not liking “Big Life” the track.  It’s like when Warrant tried to act tough on “We Will Rock You”.

Tim:  Doesn’t bode well, but I did say it will sound dated to you.  If you’re looking for a more typical catchy Night Ranger tune, I’d recommend “Carry On”, maybe my favourite on this album.

Me:  I’m gonna give it a fair shake.  This guitar solo is great. Gillis?

Tim:  Not always sure who does which solos, all I know is that if you hear crazy whammy bar, that’s Brad.

Me:  “Color of Your Smile” is better.  I like this one.  Very youthful lyric.

Tim:  Wow, I figured you’d hate it.

Me:  No,  there’s something here that reminds me of youthful summers.  Fuck, this is good. Didn’t see this dual solo coming.  OK, so we have a winner here on track 2, good tune.  If I had this as a kid, it would have been the song I played for girls to get them to like me.

Me:  “Love Is Standing Near” – starting well.

Tim:  That’s encouraging.

Me:  It’s the guitar that sets this band apart for me. Puts them a level up.

Tim:  Definitely one of their calling cards.

Me:  Now I’m on the David Foster produced song (“Secret Of My Success”) that we already know my opinion of.  I really hate it.

Tim:  I will accept that, frowning.  But I get it if you didn’t grow up with it.

Me:  It’s like they’re using the ZZ Top Afterburner book of samples

Tim:  With you there, way overboard on the bells and whistles.

Me:  “Carry On” is a little corny, but might grow on me.  Actually…love it…Very Bon Jovi to my ears, but better vocally.

Tim:  Probably why I like it, never made that connection.

Me:  “Better Let It Go” – I like the acoustic, don’t like the drum loops.

Tim:  “Better Let it Go” is a great faux-ballad, sabotaged by Fitz’s unfortunate decision to use the “French horn” patch similar to Don Henley’s “Sunset Grill”.

Me:  It was a thing. I never liked that kind of thing, but it was a thing.

Tim:  Get ready for the French horn patch.

Me:  Oh it’s like House of Lords French horn.  “Under Blue Skies”.   Yup, I hear it.

Tim:  Down at the sunset grill.

Me:  Marillion have some like this too.

Tim:  I have to say I was most apprehensive about your thoughts on this album, so not bad.

Me:  Well, I mean context is important, 1987 was peak synth.

Tim:  Yes.

Me:  Things got toned down in ’88, ’89, ’90 and then of course ’91 killed synth!  …This guitar solo is great.  Why are Gillis and Watson named more frequently on lists individually, rather than as a duo?  Just strikes me, these guys are absolutely up there with the great duos.

Me:  “I Know Tonight” is a little overwrought.

Tim:  Man, I can’t predict shit.

Me:  OK, now it’s kicking in.

Tim:  I thought you’d dig it.

Me:  Now it’s like “Turn On the Night” by Kiss.

Tim:  It is! Good comparison.

Me:  Yeah see this would have been kicking it in my stereo in 1987-88, IF ONLY MUCHMUSIC PLAYED THESE GUYS ON THE POWER HOUR. I never heard this music

Me:  Please tell me they’re not ending this album on a ballad.

Tim:  They’re ending this album on a ballad.

Me:  Ah damn.

3.5/5 stars