Reviews

REVIEW: Brent Doerner’s Decibel (2006)

BRENT DOERNER’S DECIBEL – Bd=I0log(P₁/P₂)=dB (2006)

The Doctor, Brent Doerner, departed Helix in 1989.  His presence was missed by long time fans.  Although he rejoined in the 90s, it was only briefly.  Through the decade, he maintained his chops and took up country music in the clubs.  This added new dimensions to his playing when he inevitably returned to rock.  After spending a decade and a half as a “guitarpenter”, Brent decided he wanted to get back into music and make a statement on his own.  “I was bound and determined, come hell or high water, to make an album,” he said.  With a new band called Decibel consisting of Shane Schedler on lead guitar, the late Ralph “Chick” Schumilas on guitar, and Dan Laurin on drums, Brent did just that.  “If you don’t write good songs, it ain’t gonna fly baby,” says Brent.  Fortunately, the guys had a bunch of them.

The band lineup included three guitar players, two of them soloists.  On this disc, the triple axe attack is joined by future Helix guitarist Kaleb Duck on a couple tracks.

Opener “The Sum of 2 People” begins with a lethal riff and a slow, determined groove.  It then detours into a psychedelic, watery sound with Doener’s clever lyric contrasting love with math.  “X and y are the fractions, multiplied by nine!  Our love exceeds the math of the sum of two people.”  Good song, excellent set of words from the Doctor, showing off his underappreciated lyrical talents.  The track itself is quite varied, with a variety of connected parts and a classic sounding guitar solo.

Brent plays bass on most of the album, but Mike Benedictine guests on the wickedly choppy “A Body For You”.  “I’d hide a body for you, baby!” goes the chorus, but the riff is the real killer.  This is a challenging song, but check out the cool dual guitar bit in the middle.  Very vintage Helix.

The highlight track is third in line:  the pure boogie of “Takin the Color Right Outta Da Blooze”.  This is an upbeat, slide-laden track made for shaking asses.  Had there been a single, this is the clear choice.  It has the taste of twang, and unforgettable hooks.  It’s pure joy set to music.  “We’re getting bull-ridin’-ready!” sings the good doctor.  This is just a song about letting loose, and it’s the perfect accompaniment to doing just that.  Awesome track.

Another killer track, “On Bended Knee” has a vibe similar to early 80s Kim Mitchell – think songs like “Miss Demeanor”.  Simply excellent mid-tempo sentimental rock.  There’s something slightly majestic about the chorus guitar hook.

Drummer brother Brian Doerner guests on “Fire in the Bedroom”, a suitably upbeat rocker.  Giddy up, says Brent.  Solid advice.  The excellent solo features some of that twang but this otherwise pure rock and roll smoke.  Just fun.  Brian on drums adds a different flavour; a little more sophisticated rhythm and brainy fills.

If you like bands with multiple lead vocalists, then you will be pleased to note that guitarist Shane Schedler takes the microphone on “Never Turn Yer Back”.  He has a higher tone to his voice, and he throws in a soulful twist.  The song itself has an early Van Halen kind of vibe.  Mike Benedictine is back on bass, but that’s not him on the impressively dexterous intro!  “I play that, says Brent.  “I play the intro and the exit on that.  That’s from me being a guitar player; it sounded cool on bass.”  He’s right!  Another album highlight.

“Breathe My Name” has a cool kick to it, and an unorthodox groove.  A lot of the tunes on this album are smarter than you’d think.  They’re not meat and potatoes rock.  They have different rhythms throughout, changing and shifting and then suddenly sounding like another genre.  “Breathe My Name” largely rocks, but not in a brick-headed way.

There are no ballads on this album, but “Stainless Steel Emotion” is the most laid back of the songs, and really emphasises a southern twang.  Again, the riff recalls early Kim Mitchell, which might be why it sounds so classic.  “Got up late, felt not so great, with alcohol blues.  She just laughed, turned on the gas and waited for the boom!”  A funny, quirky song about love gone sour.  You can’t particularly compare “Stainless Steel Emotion” to any single band.  Brent likes writing unique songs, and this one has the right fit to be second last on an album.

Hilliard Walter, who would later join the band on bass and vocals, sings lead on the unique “Dancing Frogs (The Zamboni Song)”.  The powerhouse soul-blues vocalist kicks the song up about eighteen notches with class and sass.  The vibe of the song evokes the classic image of the dancing frog from the Warner Brothers cartoon One Froggy Evening.  “You can just picture the dancing frog with the top hat and the cane,” Doerner explains.  Why “The Zamboni Song”?  Because Hills Walter drove one!  “We’ve got the best damn Zamboni operator/driver/singer/lead vocalist in the country, man!”  There’s an old automobile “ooga” horn in there too, as a final original touch.  Do Zambonis have horns?

It must be stated:  Brent Doerner did not create an “immediate” sounding album on his debut.  He didn’t set out to make simple music.  The songs have twists in them, but also great hooks that will get you in time.  You notice by second listen, the hooks have started to set in.  The running order could probably be improved by opening with something catchier like “A Body For You” instead of the menacing “The Sum of 2 People”, but your experience may vary.  If only the album had big-budget production.  Some of the songs could have had potential.

Must-haves:  “Takin the Color Right Outta Da Blooze”, “A Body For You”, “On Bended Knee”, “Never Turn Yer Back”, “Stainless Steel Emotion” and “The Zamboni Song”.

4.5/5 stars

REVIEW: Steph Honde – Empire of Ashes (2020)

STEPH HONDE – Empire of Ashes (2020)

Steph Honde, the awesome singer/guitarist from France who has worked with Paul Di’Anno, Don Airey, Jim Crean, the Appice brothers and many more, is a man of varied musical tastes.  You might recognize the names “Hollywood Monsters” or “Now Or Never”?  In 2019 he recorded an acoustic album called Empire of Ashes that featured as its claim to fame, a full 23 minute version of “Supper’s Ready” by Genesis.  It is a truly excellent album, intricately arranged and recorded with lots of space between the instruments.  Honde made the album for himself, but in doing so, he created music for anyone.

Opener “Big Trouble” has a tropical acoustic vibe with breezy percussion.  Honde’s baritone voice is inviting but his guitar playing is really impressive come solo time.  You’ve heard him rip on electric before, but this is something completely different.  Yet as good as “Big Trouble” is, the second track “The Only Way” is only better.  It’s a passionate ballad based around a delicate piano line.  Honde deserves credit for his vocals on this song.  His French accent only adds to the aura.

Third, a different course is charted on “Gentle Shore”, which is a duet with Janita Jenny Haan from the band Babe Ruth.  The contrast between the two voices is really sweet and effective.  There’s a laid back, early Zeppelin vibe whether intentional or not.

One of the most inventive songs on the album is the acoustic cover of Deep Purple’s “Sail Away”, a complere 180 degree turn from the dark funky groove of the original.  The rich voice of Honde is complemented by Jim Crean’s rasp.  The two duet on a slowed down “Sail Away” in a completely different way from Coverdale/Hughes.  Crean just kills it, singing Glenn Hughes’ lines but in his own instantly recognizable style.

“Sail Away” was a side closer for Deep Purple on Burn, and it feels like it holds that same role, even though Empire of Ashes is a digital release.  That would make the title track “Empire of Ashes” the side two opener.  It is another brilliant song, with a glint of piano offering some brightness.  The chorus and solo are wonderful.  There’s something warmly familiar about the chorus.  Then, “Hearts Grown Cold” goes in a different direction.  Musically soft but with powerful vocals.  “You’re the one whose heart’s grown cold!” shouts Honde and it sounds like he means it.  Soulful backing vocals join him partway through.  The penultimate track “King For a Day” is a gentle climax (with a detour into Pink Floyd’s “Eclipse”)…before things get really crazy.

Faithfully covering all 23 minutes of “Supper’s Ready”?  That is crazy!  The electric guitars come out to play on this insane cover.   Honde did the whole song, every little twist and turn, and every rhythmic challenge and labyrinthine lyric.  The pure love of doing it comes through.  It’s simply one of the most impressive cover tunes you’ll have the opportunity to hear, hands down!

Artist like Honde, who do it for the music and not the money on albums like Empire of Ashes, deserve the 52 minutes in your ears.  If you consider yourself a fan of bands like Purple, Genesis and Floyd, then you owe it to yourself to check out Empire of Ashes.

4.5/5 stars

RE-REVIEW: Def Leppard – Slang (1996)

Part Twenty of the Def Leppard Review Series

Original ReviewSlang 2 CD edition (1996)

DEF LEPPARD – Slang (CD Collection Volume 2 Disc 3) (Originally 1996, 2019 remaster)

“Too alternative!”, they moaned.  “Doesn’t sound like old Def Leppard!”, they whined.  But what choice did Def Leppard have?

The world of 1996 was not the same as 1992, when Def Leppard re-emerged after a long hiatus with Adrenalize.  Leppard experimented wildly with their music on 1987’s Hysteria, but tended to stick to formula on Adrenalize.  After the hardship of losing Steve Clark, we can forgive them for not trying to re-invent the wheel a second time.  But by 1996, grunge had passed and the decade continued to move further away from classic hard rock and heavy metal.  It was overdue for Leppard to re-invent themselves one more time.  They owed it to themselves.  But it was actually more natural that that.

Vivian Campbell was on board for his first real album with Def Leppard, only to find they were “moving the goalposts”!  After making two painstakingly produced albums, it was time for change.  The band desired a fresh start with Campbell, using no holdover music from the past.  They wanted a more organic album, and part of that was Rick Allen incorporating acoustic drums back into his setup.  They were going to try and express themselves a bit more, and take some serious chances.  To hell with the critics, expectations, and old ways of doing things.

Regardless of how it sold, the final album Slang became a cult favourite for good reason.

Opening on a fade, the new Leppard begins different from any in the past.  “Truth?” is a slow, exotic groove with background samples and loops.  Not a stretch from “Rocket” in a technical sense, but completely different results.  Deeply distorted chorus vocals are a striking shift from the past, but are just as fetching.  An middle-eastern sounding solo nails the vibe, and drum loops offer more modern twists.  The mix sounds just as dense as anything you hear on Hysteria, but with completely different elements.  And fortunately Leppard haven’t forgotten how to write hooks, even if in a darker tone.

“Turn to Dust” takes the scene to India, with sitar and tabla.  Tempos are still slow and deliberate.  “Turn to Dust” has a bit more of the Def Leppard sound on the chorus, with Phil Collen singing backup, but the lyrics sure are different:  “Sentence rape me, segregate me” is a stark turn from “Let’s Get Rocked”.  But everybody was pissed off in the 90s.  This one drones on with ample musical genius towards the end.  Lots of strings and exotic instrumentation, backed by the grind of electric guitars.

The title track “Slang” is an immediate and fun change of pace.  With a modern sound, it could have been a “Pour Some Sugar” for the 90s had it caught on.  Beats and samples mixed in with an irresistible chorus make for a catchy concoction.  It’s really the only upbeat song on the album, but a treat it is.

The ballad “All I Want Is Everything” was briefly previewed on the VHS release Video Archives, in an October 1995 acoustic performance at the Wapentake Club in Sheffield.  That acoustic rendition did not really hint at the dark ballad on Slang.  A simple but effective droning guitar part forms the backing, but the luscious Leppard melodies are delivered vocally and with guitar flourishes.  It’s a different kind of ballad for Def Leppard, but no less stirring.  It was a single, but underperformed compared to past Leppard hits.

Vivian’s “Work It Out” sounded more like a Crowded House song in demo form, poppy and quirky.  Once Leppard wrestled with it, a different kind of track emerged.  Duskier, heavier, with really dominating drums and surprisingly slinky bass from Rick “Sav” Savage.  The final Leppard version is certainly superior to Viv’s demo in the long run though both have merit.  “Work It Out” was another Slang single that should have done better.

One of the biggest album surprises (and perhaps most divisive) is the supple ballad “Breathe A Sigh”.  Gentle tic-tic-tic R&B drum samples back a song that is mostly vocal with minimal instrumentation.  Drums, piano, and understated guitar melodies should have guided this to a hit spot on the charts.

Flip the record for a darker turn of events.  “Deliver Me” is more straight-ahead rock, but certainly not upbeat.  This is heavy, foreboding and dangerous Def Leppard.  Again, not without their knack for a melody.  The quiet/loud dynamic is very 90s, but that doesn’t make it bad.  The fact that Leppard always strove for a melodic foundation keeps it from falling into the morass of soundalike 90s rock.

“Gift Of Flesh” is another surprising twist.  Blasting fast and loud, this track is the most old-school, but still dark like a cloudy sky.  With lyrics like “scorch the Earth and torch the sky,” this is a more apocalyptic kind of rocker for the Leppard we were used to.  But it does rock, and hard!  You could bang your head to it even if you can’t rock rock ’til you drop.

Was Slang too ballady?  “Blood Runs Cold” is the third such song, followed by a fourth called “Where Does Love Go When It Dies”.  Joe Elliott really nails a killer vocal on “Blood Runs Cold”, which is very light and airey.  “Where Does Love Go When It Dies” lightens the skies further.  Acoustic strumming is a more traditional sound for Leppard.  It’s a little more like the acoustic Adrenalize B-sides, with a minimal arrangement.

The last few Leppard studio albums had “album epics”:  “Gods of War” on Hysteria and “White Lightning” on AdrenalizeSlang ends on an epic called “Pearl of Euphoria”.  There’s a lot going on in this track, with guitar overdubs and drones.  It’s a very Zeppelin-y song, but done in a modern way.  It draws from the same worldly wells that Zeppelin often explored.  Its fade-out alone is a minute long!

Unfortunately one of Slang‘s strengths, its adherence to the darker side of pop rock and hard rock, is also the factor that keeps it from hitting 5/5 stars like Hysteria.  It doesn’t necessarily make you feel as great after hearing it.  It does feel like you’ve heard something deeper and more profound, but not something that brightens your soul.

4/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive
  19. “Slang” (UK single)

Next:

21.  I Got a Bad Feeling About This:  Euphoria – Record Store Tales

REVIEW: Helix – “Don’t Get Mad Get Even” (7″ single)

HELIX – “Don’t Get Mad Get Even” (1983 Capitol Records 7″ single)

Here’s a rarity for you, with a picture sleeve, even!  “Don’t Get Mad Get Even” is one of Helix’s least-known singles.  As a No Rest for the Wicked track, it has always been overshadowed by “Heavy Metal Love”.  I saw the music video, which was filmed at the same time as “Heavy Metal Love”, just once.  You never heard it on the radio.  It’s only on one (out of print) Helix “best of” CD appropriately titled Deep Cuts.  It wasn’t even on Over 60 Minutes With…, which focused on this period from Capitol Records.  In short, it’s a forgotten track except among the faithful.

Written by Lisa Dalbello and Tim Thorney, “Don’t Get Mad Get Even” boasts dual strengths. First there is the guitar hook, as tasty as any on classic rock radio today. Second is the chorus, an exceptional one at that, the kind Helix are good at. Powerful, melodic, emphatic and rebellious! Add in some cool solo work and what you have is a lost Helix classic. It’s truly a gem that deserves another listen from strangers and fans alike.

Interestingly enough, in 1982 “Don’t Get Mad Get Even” was recorded by Canadian rock singer Lydia Taylor (1983’s Most Promising Female Vocalist at the Juno Awards).

The B-side, “Check Out the Love” (credited to Helix as a band) is a little more well known than the A-side.  It was on both Over 60 Minutes With… and a live album recorded in Buffalo, NY.  I’ve probably heard ’em play it live on one of the many times I’ve seen Helix since 1987.  One way or another, this is a solid Helix banger with a dirty guitar hook.  The guitars on this song are just lethal, whether soloing or sliding.  Brian Vollmer’s vocals are melodic with grit.  It’s just the kind of song Helix are known for.  Rough n’ tough, but memorable.

The picture sleeve is an added bonus.  On the front, back row, that’s Greg “Fritz” Hinz, Brian Vollmer and Mike Uzelac.  In the front, the guitar duo of Paul Hackman and Brent “The Doctor” Doerner.  Every kid on our street thought Doctor Doerner was the coolest.  You can see why — he just that “look”.

Thanks to pal Craig Fee for locating this and many other Helix singles for me.

5/5 stars

 

REVIEW: Polychuck – “Hero” feat. Derek Sherinian (2022 single)

Montreal’s Polychuck is a heck of a prodigy.  He’s a megatalented singer / songwriter / shredder / teacher / mixed martial artist (!!) who does it all, and now he’s expanding his palette and progressing.  Far beyond his first two EPs.  When we spoke to Polychuck on the LeBrain Train last year, he expressed his desire to get more progressive on his upcoming recordings.  By collaborating with former Dream Theater/Kiss/Alice Cooper keyboardist Derek Sherinian, he’s made a huge leap.  Also playing on this track are drummer Philipe Landry and bassist Frédérick Filiatrault.  With the added firepower, “Hero” has a fuller sound than previous Polychuck songs.  It’s like the playing field just got a whole lot bigger.

So let’s get to it.  Cut to the chase.  Polychuck, who is of Ukrainian descent, says “Hero” is a cry for peace, directly about current events.  In times of crisis, music helps sooth.  In turn, crises often inspire great music.

“Hero” commences with steely rhythm guitar with a wicked tone.  It bounces from heavy rocking to acoustic picking and an instrumental outro.  When Sherinian comes in near the start, he’s instantly recognizable.  His solo work here is lyrical, and the perfect compliment to the song.  Not to mention Polychuck’s own lead work, which is both impressive and melodic.  All the playing here is just awesome, period.

“Hero” is an impressive construction.  It’s complex, with several different sections including one at the end that reminds me of the keyboard part in “No More Tears” by Ozzy.  Importantly, all the sections work together like chapters in a story, and the flow is natural.  Best of all, “Hero” never stops being great through its 3:26 length.

Support up and coming talent like Polychuck and buy “Hero”.  If you love that Dream Theater vibe, you will absolutely dig it.

5/5 stars

REVIEW: Def Leppard – “Slang” (1996 UK single)

Part Nineteen of the Def Leppard Review Series

Alternate review:  “Slang” Souvenir pack single

DEF LEPPARD – “Slang” (1996 UK Mercury single)

Kobayashi Maru:  The no-win scenario.  By 1996 the musical landscape had drastically shifted.  Five years of musical upheaval had left many bands in the dust, but Leppard were one of the few survivors.  They simply could not rest of their laurels, and they knew that.  Had Def Leppard come out with another soundalike album in 1996, they would have been accused of retreading the outdated and obsolete 1980s.

We knew Leppard were interested in a more organic way of recording after being locked in studios for so many years.  Their interest in acoustic music was now expressing itself in songs like “Can’t Keep Away From the Flame”, a truly excellent if obscure Japanese Vault bonus track that was also included as a B-side from the new album Slang.  If a track this solid was considered a B-side, you could imagine what the new album was going to be like.  It was a positive sign.  But the album wasn’t going to be acoustic.  Where were Leppard headed this time?

A clue was revealed by the title track, released as a single in May 1996.  Def Leppard had returned to experimentation.  Just as Hysteria was different from Pyromania, now they finally had something just as different from Hysteria.

With hip-hop beats and a big guitar, “Slang” shocked the faithful.  Rick Allen was starting to incorporate acoustic drums back into his kit and they sounded fresh and hot.  All the old Leppard ingredients were shaken n’ stirred, and the new concoction was an acquired addiction.  It’s an upbeat celebration of the new Leppard.  They had indeed gone outside the box.  They had to.  And they did it with creativity and integrity whether you like it or not.

This UK single came with three acoustic bonus tracks, all recorded for the BBC.  Continuing their acoustic side road, “Animal” and “Pour Some Sugar On Me” fare well in acoustic form.  Other acoustic versions were coming, on a limited 2 CD edition of Slang (which we will discuss when we get to that disc of CD Collection Vol 2).

The real treat of this single is the acoustic version of “Ziggy Stardust” (also included on CD Collection Vol 3).  A brilliant take, in fact.  Most bands sound like jackasses trying to cover classic Bowie.  Not Def Leppard.  Their acoustic version has just as much edge as an electric take would.  Joe Elliott’s penchant for Bowie will become relevant a few years down the road, when we take a detour on a Cybernautic misadventure.

“Sugar” and “Animal” acoustic at the BBC remain exclusive to this single.  Worth tracking down.  Though ultimately there are other recordings out there, these are just as good and collectible as ever.

4/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault
  18. Video Archive

Next:

20. Slang

GUEST REVIEW: An Evening With Bruce Dickinson, 03/30/22, Kitchener, Centre In the Square by Dr. Kathryn Ladano

BRUCE DICKINSON – An Evening With Bruce Dickinson, 03/30/22, Kitchener, Centre In the Square 

By Dr. Kathryn Ladano

 

On the evening of Wednesday March 30th, I headed over to the Centre in the Square with my good friend Dave to check out “An Evening with Bruce Dickinson”. Dave bought two tickets to the show as soon as they went on sale months ago and asked if I’d like to come. While I’m admittedly not an Iron Maiden expert, I did grow up listening to the band via my brother (Mike LeBrain) and was aware of all of their albums and singles throughout the 80’s. I spent a lot of time watching Iron Maiden videos on Much Music and I recall when I was in grade 3 or 4 being asked what my favourite song was and answering “Aces High”. No one had any clue what I was talking about. I have a lot of nostalgia for that time and when I was a kid I knew all of the members of Iron Maiden by name and instrument, and of course I was very much in awe of Bruce Dickinson. So when I had the opportunity to learn more about him and hear some of his stories, I was keen to take advantage of that.

When Dave and I arrived at the theatre, we were in row X on the orchestra level – the last row on the floor. The audience size wasn’t as big as I was expecting and shortly after we arrived an usher came by and asked us if we’d like to move up to row L – we said yes! I don’t think the theatre was even half full, but I liked that – especially in COVID times when about 75% of the audience was unmasked and I’m admittedly wary of getting sick. It also obviously gave us a much better view. The show started exactly at 7:30 PM. I had the impression through the whole show that Bruce Dickinson had meticulously timed everything. The show didn’t even start a minute late. The intermission was exactly at 9:05 PM. The length of the intermission was exactly 25 minutes – that sort of thing.

The show was in two sets. The first set was Bruce telling stories from throughout his life and the second set was strictly for audience questions. From start to finish, the show was a full 3 hours in length. It all started with Bruce coming on stage with the backdrop of a (very) old picture of him alongside a picture of his great uncle Frank. He started the evening by telling us about his uncle Frank, a WWII pilot and a huge influence on his life and interests. He also proceeded to tell us that in the image of him, he’d put blue crayon on his upper lip to make him look older. Right from the start you could tell that Bruce was extremely energetic and was going to give us everything he had. He was frequently bouncing around the stage – this wasn’t the kind of show where he sat on a stool and just talked the whole time (there was a stool there for him, and he never used it). He also came out with a beer – I suspect it was a “Trooper” beer – and enjoyed sipping that throughout his show.

While I was expecting him to speak primarily about Iron Maiden, he actually didn’t do a whole lot of this. He started out talking about his early days and how his parents sent him to “public school” – which we learned is essentially the equivalent of “private school” in North America. It was here that he started to get into music – originally wanting to be a drummer. His first band’s singer didn’t exactly work (a choir singer with an operatic approach), so Bruce switched over to vocals after a short time. I found his discussions about singing and the use of his voice to be the most interesting. Apparently when he started with Iron Maiden he was strongly encouraged to push his voice farther – to extend his range and use his falsetto voice and to really establish his own unique vocal timbre. He claimed that he really didn’t like the sound of his voice at first when he did this but gradually adapted to it. As a musician and teacher myself, I’m constantly trying to encourage my students to push outside of their comfort zone in this way, so I found his experience with this quite interesting. One other thing about his voice that was interesting to hear is that his voice, like everyone’s, has changed with age. He describes his as being deeper and rougher now, and he actually likes the sound of his voice better now than he did when he was younger. He feels the vocal changes that have come with age have allowed him to do things with his voice now that he couldn’t do before. This was really refreshing to hear because so many other singers have essentially lost their singing voices with age. Bruce Dickinson’s is just getting better.

Bruce spent a good chunk of time talking about the early days before Iron Maiden. He had pictures and stories from one of these bands, “Samson”. He told humorous stories of going to a gun shop in the UK and seeing a plastic Canada Goose statue which he had to purchase. He then proceeded to tape it to the roof of their car as they toured north to Scotland, and as he explained it, with pot smoke streaming out of the windows. No one ever stopped them! During this time he explained that he was already friends with the guys in Iron Maiden. When they needed a new singer they asked him and the rest is history. He told some funny stories about how at the start, he loved being in the centre of the stage, but Iron Maiden’s bassist, Steve Harris, also liked taking that spot at certain times during the show – so there were some battles in the early years for the prime spot on stage (apparently their original singer would set himself up off to the side and not right in the centre of the stage, so this wasn’t a problem for the band previously).

We heard about Bruce Dickinson’s battle with cancer – which he won. Apparently he never lost any hair on his head, but he lost all of his beard hair – and almost all at the same time. We heard stories of him being at a restaurant and his plate filling up with beard hair. We also heard stories about when he met the Queen and Prince Phillip. They both asked him “and what do you do?”. The Queen seemed to have no idea who he was or what heavy metal music was. Bruce spent a good deal of time talking about flying planes and we learned that he was not the first member of Iron Maiden to learn to fly – that was actually Nicko McBrain.

I also really enjoyed his talk about beer. Apparently Bruce Dickinson is the biggest beer fan in Iron Maiden. The band was asked by a winery if they would like to create an Iron Maiden wine and the band said no, because well, that seems like an odd fit. It was this, however, that gave Bruce the idea to create an Iron Maiden beer instead. If you can believe it, every single brewery that he approached with the idea turned it down except for Robinson’s brewery. Bruce was primarily involved in the process of creating the legendary “Trooper” beer, which they had for sale at the show. We learned a lot about the process of creating that beer and also that there are Trooper breweries in several different countries – and each country has its own unique Trooper flavour that isn’t available anywhere else. I’m hoping that a Canadian Trooper brewery crops up at some point.

When the intermission arrived, the video for Iron Maiden’s song, “Writing on the Wall” was shown. At this point I had to temporarily leave the theatre because as someone with post-concussion syndrome, my head started to feel like it was going to explode as soon as the music started. For anyone else though, I’m sure the experience of this song being played through the Centre in the Square sound system, along with the video on the huge screen would have been something pretty special.

There are far too many stories to try to summarize in one review, but I found the evening to be really enjoyable. Bruce Dickinson is a great showman – he displays such passion for his life and career and I feel that we more than got our money’s worth. Kitchener was the final stop on this tour. He did inform us that he was travelling to LA at 8 AM the following day to start working on a new solo album and this summer Iron Maiden will start their “Legacy of the Beast Tour”. Unfortunately there are no stops in Kitchener.  Overall, a great show!

 

REVIEW: Jacob Moon – Under A Setting Sun (2022)

JACOB MOON – Under A Setting Sun (2022)

I’ve only helped crowdfund two things in my life.  I’m happy to say I picked a winning horse in both cases, the second being Jacob Moon’s new CD called Under A Setting Sun.

Although Moon is certainly a stunningly good musician, and his voice could be described as “angelic”, it’s his songwriting that really sets him apart.  Each song on the EP has a different flavour.  That being the case, they all share a certain light, an uplifting feeling that just makes you feel better after a listen.

The opening track “Live A Little” feels like a morning sunrise, with gently picked acoustics ringing clear, and a hint of slide shining from the shadows.  “Today we’re going to leave all those cares behind, and live a little” sings Moon, asking us to look at the stars above.  The message here is simple but necessary.  A brilliant song with a bright glow that will sound great in just about any setting.  It’ll go great on the porch this summer.

The familiar crunch of an electric guitar is joined by the moan of organ on “Tennessee”, a brilliant slow ride.  It has a vaguely southern feel especially when the slide guitar joins in.  “And the road has got the best of me, I thought I could be free yeah, like the winds in Tennessee,” sings Jacob as a soulful backing chorus joins in.  This one will sound great in the car on a country drive, guaranteed.

A unique acoustic song called “Miles To Go” has a gentle, breezy vibe.  A terrific song; you could imagine Jon Bon Jovi clenching his fists in jealousy that he didn’t write it.  It sounds in the pocket of mid-90s Bon Jovi when they weren’t afraid of getting a little more laid back on These Days.  The track sounds more lush as it goes, building to a nice resolution at the end.

If you’ve got the guts to call a tune the “Song That Won’t Leave You Alone”, it had better be catchy!  It’s actually about the creative process, but the title demands an actual song that won’t leave you alone.  The lyrics are fascinating but the chorus is really fantastic.  Great guitar work on this one as well, an absolute gem of a song.

“A Little More Time” is a quiet ballad, but backed with a strong drum beat.  The chorus is perfect.  Once again, a certain Mr. Jovi might be gnashing his teeth that he didn’t come up with this one, but that’s just pure speculation.  He couldn’t sing it like Moon does anyway.

The title track ends the album with a string-coated song that brings the vibe of the album full circle.  If “Live A Little” sounded like morning, then “Under A Setting Sun” brings the day to a close.  Whether that’s intentional or not, that’s one interpretation if you like.  Regardless, “Under A Setting Sun” wears an understated strength on its sleeve, based on the rhythm of the acoustic guitar.  The strings raise it to the clouds, dreamy and powerful.

2022 has been a year for strong releases already.  Add the name Jacob Moon to your list of must-hears.

5/5 stars

 

DVD REVIEW: Def Leppard – Video Archive (1995)

Part Eighteen of the Def Leppard Review Series

DEF LEPPARD – Video Archive (1995, 2001 Mercury DVD)

Only two years since their last home video, Def Leppard went back in for round three.  There were not many new video clips waiting to be released, just the four from Retro-Active and Vault, plus an alternate version.  Mostly, this Video Archive focused on live material.

Def Leppard’s big hometown gig in Sheffield was something they were very proud of, and so it appears here and on the previous album’s Vault double disc edition  Well, some of it anyway.  Nine songs were on Vault; you can watch eight of those on video here.  (The ninth, “Photograph” is available on Visualize.)  The whole show has never been released (22 songs total) but this small handful can be had.  The hometown gig had 40,000 people going nuts for Leppard, something Joe mentions in the opening interview.

No shirts for Phil right from the first song, “Let’s Get Rocked”.  The editing in this concert relies on minimal gimmicks, but the choppy slo-mo bits probably were not necessary.  It also seems like the songs aren’t in order, because at the outdoor gig it gets dark and then light again.

On CD, “Armageddon It” comes second.  Here, it’s “Foolin'”.  I like when the camera switches to Phil when Joe sings “take your fill”.  Take your “Phil”?  Solid version of “Foolin'” and nice to see it with Vivian picking away for the first time on video.  “Rocket” features a cool light show, but what’s cool here is seeing Phil Collen and Vivian Campbell taking turns soloing.  Getting the chance to appreciate the differences between the two.  It’s definitely fun seeing Viv do the ol’ two-handed tapping like it was the 80s again.  Then Joe goes into “Whole Lotta Love”, before “Rocket” resumes its course.

The acoustic B-side “Two Steps Behind” is introduced as being from their next album Retro-Active.  The crowd already knows it.  The atmosphere goes from campfire singalong to party mode in seconds flat as “Armageddon It” begins.  Vivian does an admirable job of Steve Clark’s original solo – and then Joe Elliott jumps down to crowd level!

The familiar drum beat to “Pour Some Sugar On Me” is greated with the appropriate “hey! hey! heys!” necessary to start the song.  Viv is really having fun on this one, running and sliding across the stage.  “Rock of Ages” is a natural song to follow it with.  Rick “Sav” Savage doubles on bass and keys.  Some good shots here of Rick Allen doing his thing on his specialised drum kit.  Finally, “Love Bites” closes this portion of the program dramatically.  Fantastically fitting solo work by Viv, and Sav on keys one more time.

The next section of the DVD focuses on the music videos released since “Visualize”, beginning with their latest hit “When Love & Hate Collide”.  It’s here in two forms, but the straight performance is better than the “Epic 8 minute version”, which is bogged down by boring story and dialogue.  The simple, stripped version of the video suits the 90s even though it doesn’t really fit the string-adorned track.  “Two Steps Behind” was a cool grainy clip, featuring a string section this time!  The backwards-walking footage is fascinating and trippy.  Next is the rarely seen “Action” filmed on tour.  Joe’s sportin’ a goatee this time.  Toto, I don’t think we’re in the 80s anymore!  Also rarely seen, “Miss You In A Heartbeat”.  It’s the version with piano & band, and Joe’s tinklin’ the ivories, goatee still intact.  It’s like Lifestyles of the Rich and Famous, as each band member is playing in beautiful mansion settings.

The highlight of the video is the final section:  Def Leppard unplugged at the Wapantake Club back in Sheffield, 1995.  In the interview footage, Phil says that he enjoys the acoustic setting because it proves that Def Leppard’s famous backing vocals are indeed live.  Meanwhile, Rick Allen appreciates the challenge of using an acoustic drum kit again.  But what’s really special is that the last time Def Leppard played the Wapantake, it was 1978.  Their triumphant return in 1995 is really cool and really should be released in CD form.  Fortunately it was filmed!

Once again, it’s “Two Steps Behind” but without a screaming crowd.  It’s just Def Leppard in a very packed but respectfully quiet room.  “Armageddon It” is bouncy, and the audience responds.  This take is one of the best versions of “Armageddon It” out there; just fun and perfectly performed in the right setting.  Then the new song:  “When Love & Hate Collide” was made available in live form right here mere weeks after its single release.  The acoustic setting works, but novelty aside, Def Leppard have better ballads.  “Animal” and “Sugar” bring the party atmosphere back to the Wapantake.  “Animal” works great acoustically, and “Sugar” takes on a different form.  Phil makes a good point about the backing vocals.  It’s great to hear them live and bare like this because they’re stellar!

Even though Joe said that was the last song, he lied because for the first time, and “for a laugh”, it’s “Ziggy Stardust”!  Joe says it’s the first time they ever played it live as a band in front of a crowd, so that’s special.  It’s also a brilliant version which doesn’t hurt.  Leppard nailed it with pure love.

But wait, there’s more!  The closing interviews discuss the new album Slang:  “Up to date”, “stuck in the 90s”, “different direction”, “complete different turn”, “experimental” are a selection of words used…but then there’s a preview.  Live at the Wapantake, and only for a few seconds, is the new song “All I Want Is Everything”.  One chorus and that’s all we get, though the folks at the gig that night heard the whole song.  The viewing audience at home only got a taste.  Not enough to judge by.  Not enough to get a feeling of what Def Leppard meant when they used words like “experimental”.

We’d find out soon enough.

The end credit music is an instrumental version of “When Love & Hate Collide” with only piano and strings and no band. Now that would be something cool to include in a future box set.

4/5 stars

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault

Next:

19. “Slang” (UK single)

REVIEW: Ghost – Impera (2022)

GHOST – Impera (2022 Loma Vista)

Ghost have been pretty consistent over the years.  In all honesty the only album of theirs that I seldom spin is their second Infestissumam.  Everything else has been pretty solid to me so hopes were high for the new Impera.  Tobias Forge and Ghost have steadily evolved since Opus Eponymous in 2010.  From their melodic gothic metal origins, Ghost have gradually shed metal elements and replaced them with pop sensibilities.  Impera is most similar to their last album, Prequelle.  Let’s take a deep dive and analyse what Forge and his Nameless Ghouls have come up with this time.

Inspired by the real life rise and fall of empires, but through the lens of 2020, Ghost seem less interested in Satan while remaining fascinated by the dark side.  The idea had been long-simmering in Forge’s skull:  empires, repeating patterns in history, followed by annihilation.  The opening instrumental “Imperium” sets the stage with acoustic and electric guitars, layered in a way that recalls classic 80s Leatherwolf but far more lush.  Then we are suddenly engulfed not in darkness but in Darkness — the opening guitars sound like the British band, and Forge’s opening scream is a dead ringer for Justin Hawkins!  “Kaisarion” could easily have been a Darkness song.  High speed and instantly memorable, it’s the only song that will have you singing words like “Far away from the stench of the heavens,” this summer.  An immediate triumph, “Kaisarion” has it all from wickedly melodic guitars, deep backing vocals and clever instrumental prowess in all corners.  Can’t wait to road test this on a warm day in the car with the windows down.

“Spillways” might recall Trash-era Alice Cooper, with a tremendous amount of attention paid to the incessant melodies.  One after the other, the hooks keep coming.  Be it the vocals, the guitars or hell even the goddamn drums, “Spillways” is nothing but hard catchy rock they way you remember it from ages past.

The dark single “Call Me Little Sunshine” takes a different turn.  A simple spare guitar lick makes up the backbone of the song, with quiet verses and explosive choruses.  “Call me little sunshine, call me Mephistopheles,” sings Forge going full-Faust.  I’ll call it a song that takes a couple listens but will eventually bore its way into your permanent memory.

The second single, “Hunter’s Moon” follows, an upbeat prowl through dark woods.  (This is the single mix, with a more elaborate version included in the film Halloween Kills.)  While an impressive enough song on its own, “Hunter’s Moon” is over quickly, and overshadowed by the awesome “Watcher in the Sky”, a possible contender for album highlight.  Relentless bass and drums set up the biggest boldest chorus on the album.  The lyrics are hard to pin down, speaking of Machiavelli, bloodlines, and the rot of empires.  Possibly about looking to God for salvation but getting no reply.  Regardless of the dark theme, it’s one of the most party-ready tracks on the album.

The horns that blow on “Dominion”, an instrumental interlude, lead to a shocking transition.  “Twenties” is the strangest song on the album and contender for one of Ghost’s most bizarre tunes overall.  Beginning with a dark Metallica “Through the Never”-ish riff, “Twenties” soon transforms into something completely different.  Indescribable and simultaneously existing in the 1920s and 2020s alike.  Not sure if I like ir or not.

“Darkness at the Heart of My Love” is a pretty epic ballad, with suitably epic accompaniment from harpsichord type keys to angelic sonic backdrops.  Choirs of vocals join by the end, heaped on top of guitar harmonies in decadent fashion.  Brightening the mood, the poppy “Griftwood” returns us to a classic hard rock sound circa 1987.  The lyrics offer a critique of organized religion, but in the brightest musical frame.  Forge has leaned heavily into a specific kind of 80s hook of late, and “Griftwood” is soaked in them like cold gin.

A brief instrumental called “Bite of Passage” precedes the final song, “Respite on the Spatialfields”.  The empire has fallen, and Forge asks “I wonder, did no one hear the distant thunder?”  (We did, but we chose to ignore it.)  This complex track might be called a metal ballad, but it’s more progressive than that.  It has elements of Ozzy, Queensryche, Savatage, Whitesnake and Europe’s “The Final Countdown” all rolled into one.  An epic way to close the album.  “Nothing ever lasts forever.”

Musically invigorating and lyrically thought-provoking, Forge has created another memorable Ghost album for the masses.  While we hope the world doesn’t end too soon, and Forge can continue making albums, Ghost have harnessed the musical and apocalyptic themes of the 80s and brought them forth to the present day.  Job well done.

4.5/5 stars