FU MANCHU – Clone of the Universe(2018 New Damage)
First the first time in a long time, “I’ve Been Hexed” by the brand new Fu Manchu album.
Clone of the Universe sounds cut from the same cloth as classic albums such as King of the Road and The Action is Go. Aside from the mind-bomb that is the 18 minute track “Il Mostro Atomico”, each song is short, riffy and to the point. “(I’ve Been) Hexed” is an immediate thumbs-up, a reminder of what we liked about Fu Manchu when we first heard them.
You can’t tell if “Don’t Panic” has anything to do with Douglas Adams, but it’s as fast and relentless as the UFO-themed “King of the Road”. Maybe the Sabbath-crawl of “Slower Than Light” is also about space travel; maybe it’s not. The fun is in the guessing, but by the end the song is at moving at warp. Both “Nowhere Left to Hide” and “Intelligent Worship” boast riffs carved from the stones of Mt. Iommi, contained with in the Fu Manchu groove. The title track “Clone of the Universe” is like a heavy metal hammer, or a stoner rock Mjölnir.
Despite the strong Fu Manchu grooves throughout, it is undoubtedly the side-long “Il Mostro Atomico” that is the centerpiece. Suddenly from somewhere left of center comes the “Snow Dog”; Alex Lifeson of Rush with his own style of lead guitar. Lifeson always had a knack for finding cool artists to work with outside his normal sphere. Hearing him rip and make noise with Fu Manchu is so right. Not to mention, this jam which keeps going on and on has plenty to offer when you listen all the way through.
GETTING MORE TALE #715: The Lost Chapters – “The First Year”
Ever seen High Fidelity with John Cusack? When Cusack says, “I hired these guys to come in three days a week, and they started coming in every day. There’s nothing I can do to stop it.” That was us. That me and T-Rev. The boss man hired on Trev in the fall, two months after I started. We worked opposite nights and opposite weekends. We were like ships passing in the night. We never would have gotten to be such tight friends if we didn’t keep coming into the store every freaking day!
See, as used CD store, we got in new inventory every day. We were getting in cool shit. I was just beginning to transfer my music collection over from cassette to CD, so I just started to upgrade and buy up old back catalogue. I snagged You Can’t Stop Rock And Roll by Twisted Sister that year, which was a big deal to me because it was deleted at the time. I got some Dio CDs that I never had before. I began collecting Rush in earnest. We had rarities too. I got a split King’s X / Faith No More live bootleg called Kings of the Absurb which is pretty damn good. I really got quite a few CD singles at that time too. A few previously unknown Faith No More singles dropped into my lap. It was crucial to come in frequently. If you didn’t, you might miss something you were looking for. Or something you didn’t know you were looking for.
After two months of shadowing the owner, I was working solo and loving it. I got to pick my own music every night, within reason. There were obscure rules. Judas Priest was out, but Soundgarden was OK. Anything that was a new charting release was considered OK for store play. We were allowed to open anything to play it, as long as we didn’t abuse that. For the first while we were even allowed to bring music from home.
That ended when I brought in a bunch of recent purchases to listen to one morning. They included an indi band from Toronto, called Feel, formerly known as Russian Blue. The sound was vital, and the early 90s buzz was that Toronto was going to be the next Seattle. I was all over these bands, like Slash Puppet, Russian Blue, Attitude (later Jesus Chris), Gypsy Jayne, and the rest.
[An aside: I caught a little flak when I took in a used copy of Slash Puppet. “This is an indi band,” the boss complained. “It’ll sell,” I defended myself. “Trust me I know this band.” I knew half a dozen customers by name that I could recommend it to. I sold it to the first of those guys to come in, this insurance guy named Tony who loved 80s rock. He bought it after one listen.]
The day I had my personal Feel This CD in the store player, a customer noticed it. He thought it was cool, wanted it, and asked how much. I had to tell him it was my own personal copy, and no I couldn’t order it in because it was an indi band. He would have to write to the band to get a copy, and I wrote down the information inside the CD for him.
The boss thought this was kind of a silly situation, and rightfully so. Why play music we weren’t selling and were not able to sell? This was a store. So that ended. No more bringing music from home. I guess I’m the guy who ruined it for generations of Record Store employees to come.
THE GANDHARVAS – Sold for a Smile (1997/1998 Universal US and Canadian versions)
What a band were the Gandharvas. Lead howler Paul Jago could hit those Perry Farrell highs, and they wrote some pretty fucking great songs including their major hit “The First Day of Spring”. An unappreciated gem would be their third and final album, 1997’s Sold for a Smile. Led by the anthemic single “Downtime”, this is a hard album to resist no matter which version you get. It even made our list: “88 Unrightfully Ignored Albums of the 90s“.
Versions? Yes, two: the Canadian and US have different track listings. In 1997, Canada got the basic 10 track CD. When it was released Stateside, a number of tracks including “Downtime” were remixed. The US and Canadian versions of “Downtime” have vastly different guitar solo and outro mixes, for example. The States also got two bonus tracks: a new recording of “The First Day of Spring” and a cover of Cyndi Lauper’s “Time After Time”. (The original album was a shorty at just under 40 minutes.)
The Gandharvas turned it up a notch for this album without losing sight of their more delicate tendencies. “Gonna Be So Loose” is a slamdance of squealing vocals and chords. (This song is available remixed on the US version.) But then “Shells” is a low, strummy song perfect for the headphones. It shows of the layered vocals that are a Gandharvas trademark. “Waiting for Something to Happen” then goes somewhere between Guns N’ Roses and screamy, psychedelic punk rock — an astounding song, which then defies all logic by going acoustic. And then all over the place.
Time for a little more pop in the rock, with “Hammer in a Shell”. Snarly pop, with a sour candy coating. “Watching the Girl” was another fine single, a more streamlined song for this album. It too was remixed on the US edition, putting the guitars way louder. Then strap in for “Sarsasparilla”, a boulder-heavy rocketship blast into space. “Into the Mainstream”, then, is a bit more complex, and perhaps a little bit epic.
“Milk Ocean” leads you to the end, with a healthy dose of acidy psychedelia. It’s the closer, “Diabaloney” that’s a real head scratcher. Is it a joke? I can’t tell. “I fuck it up, I got the fuck, I got the luck,” goes one set of lines. Heavy and screamy goodness, but a real headscratcher nonetheless. What the hell did I just listen to?
On the US version, the new recording of “The First Day of Spring” is placed third in the running order, after the remixes of “Downtime” and “Gonna Be So Loose”. It’s quite a bit heavier than the original, though a brilliant song it remains. Could it be actually a polished up live version? Why does Paul Jago yell out “Colorado!” in the middle? For fun? This band is from London, Ontario not Colorado! And “Time After Time”? They twist it up, give it bite, and for better or for worse make it their own. Unless you have a serious attachment to the song, the Gandharvas’ interpretation is quite cool.
As if you can’t tell, this is an album you should own. Get one or the other, or both!
GRETA VAN FLEET – Anthem of the Peaceful Army (2018 Republic Records)
Greta Van Fleet have become one of the most controversial new bands in a dog’s age. They are either lauded or loathed for their slavish adherence to a classic Led Zeppelin niche. It wasn’t cool of them to claim that Aerosmith was a bigger influence — we know the truth. Just like somebody from Kingdom Come claimed he’d never heard Led Zeppelin. It was bullshit in 1988 and it’s bullshit in 2018.
The problem is, Greta Van Fleet are pretty good. They’re young, they’re impressionable, and this is their first real album. Every band should be allowed some leeway so early in their careers. Especially when, in 2018, that classic Zeppelin sound is so refreshing. They might get young kids into that sound. When I was 15, I wouldn’t give Led Zeppelin a chance because they looked old-fashioned and the lead singer wore sandals on stage. I did, however, listen to Kingdom Come.
What makes the band special is singer Josh Kiszka. A voice like this is rare. A younger, smoother Robert Plant, perhaps. He will eventually develop and come into his own. His soaring voice makes “Age of Man” such an impressive opener that you will have to keep going. Its slow, epic quality is unusual for an opener, and sets the tone for an album that might take itself too seriously, but not at the expense of good music.
There’s nothing as blazingly celebratory as “Highway Tune”, but admit it or not, Greta Van Fleet have written an album’s worth of good songs. “Cold Wind” rocks. It’s loaded with obvious Zeppelin references like an outtake from Physical Graffiti. They captured a Bonham-esque drum sound to go with it, but haters will be nauseated by Josh’s “ma-ma-ma-ma” improvisations. “When the Curtain Falls” might have been chosen as a single because it sounds so Zep (with hints of Deep Purple), but it’s not the strongest song here. They sound better when using tasteful doses of keyboards, like on “Lover, Leaver (Taker Believer)”, an epic and one of the most slammin’ tunes. (Great slide guitar too.)
Their acoustic “You’re the One” is Zeppelin III oversimplified; a good tune but not enough to fill the shoes it’s trying to be in. “New Day” is better because it doesn’t adhere to the blueprint. Also a lil’ different is “Mountain of the Sun”, but Josh’s yodel-like vocal affectations might be too much. Still, check out the apocalyptic “Brave New World”, definitely a step in the right direction. It gets a little wobbly again at the end, with a return to the hippie Zeppelin acoustic format.
Anthem of the Peaceful Army is a good album for a debut long-player. They will have to continue to step it up. In the meantime, this collection of songs will be spending lots of time in my ears this winter.
HELLOWEEN – Keeper of the Seven Keys: Part I (1987 Noise)
It’s 2AM in my land, and I really need to catch the Z’s. I put this review off way too long, and now I must suffer the consequences. But if you thought I was going to miss the last review of the month (on Halloween nonetheless) you are very incorrect. Sleep deprivation is no stranger to this man, I SHALL FORGE AHEAD WITH MY TRUSTY KEYBOARD TO REVIEW… Helloween – Keeper of the Seven Keys Part I. This is my review of the power metal classic, it’s going to be just as kickass as the album itself, and I don’t care if no one agrees. I’m right in my own little world, and that’s all that matters to me. Really this is just stream of consciousness, which is impressive because I’m barely awake. Awake as in “I Awake” by Soundgarden. There’s a good Halloween tune.
Holy shit, Batman! I’ve got to stay focused. Anyway, Helloween – We Couldn’t Think of a Longer Fucking Title if We Tried, So Fuck Anyone Trying to Review This You Stupid Pricks Pt. 1 is a classic power metal release. Manowar can piss off; Helloween is the real deal. Unlike Manowar, Helloween knows how to make an album with classics instead of just one to two good songs and a whole lot of Viking poser bullshit ballads (Manowar sux). This album is a real step up for the band in that Helloween finally realized that they needed a good singer, so they got Michael Kiske who basically sounds like a German Geoff Tate with a little less power. I’m talking prime real estate Geoff Tate too, so this is pretty good as far as metal singing goes.
When I first put on this album there were obvious classics, “I’m Alive”, “Twilight of the Gods”, “Future World”, and the epic “Halloween”, but all the other two full length tracks “A Little Time” and “A Tale That Wasn’t Right” revealed themselves to me upon repeated listening to be the genre staples that they claimed to be. There are only six songs on this beautiful slab of wax because “Halloween” is over thirteen minutes long, and two songs are an intro and outro respectively. And I do respect them, because they’re not very long and they add to the tension instead of impeding on the awesome. These are complex, compelling, melodic tunes that don’t get sunk by their European ambitions. “Holy wars… in the skYYYYYYY” the classic “Twilight of the Gods” bridge will have you tapping your fist against the wall in no time, because it’s so good. LOVE IT ALL. It’s worth it. If you’re a metal fan and don’t have this in your collection, you’re doing it wrong my amigo.
STEVE PERRY – Traces (2018 Fantasy Records deluxe edition)
So what’s the story? Does Steve Perry still “got it”?
He does. We just might not agree on what exactly “it” is.
Traces is Perry’s first solo album since 1994’s For the Love of Strange Medicine. He’s been keeping a low profile since leaving Journey after 1996’s Trial By Fire. If you were worried that Steve Perry has gone “soft” and his voice has changed in that time…then you were right!
But that’s not a bad thing. Steve Perry’s voice is one of a kind. The soul cannot be copied; it’s just raspier now. If you want the youthful range, go listen to Journey instead. Or buy Arnel Pineda’s forthcoming solo album. If you want an older, wiser but still the same Steve Perry, he is here on Traces. He’s collected 10 slower songs, some more upbeat than others like the lead single “No Erasin'”. Each one still retains Perry’s ability to compose memorable material. These songs are honed, short, and to the point. Even the ballads are pretty basic: quiet and contemplative, but with soft hooks. All fat has been trimmed. “We’re Still Here”, “No More Cryin'” and “We Fly” are among the best tracks, but “No Erasin'” is the clear highlight.
The deluxe edition, a Sunrise exclusive in Canada and Target for the US, has five more songs of varying styles. “October in New York” sounds like a quiet piece from a stage musical. “Angel Eyes” goes more for soul, while “Call on Me” has the tropical flavours you might remember from Journey’s “Baby I’m Leaving You”. The fabulous “Could We Be Something Again” has a choir on it. The good thing about the bonus tracks is you can tell the reason they were cut was not quality. It was simply that they don’t fit in with the direction of the main album.
Traces is not for Journey fans who wanna rawk. This is for fans of classy pop rock, soft rock, and the ballads on Trial By Fire. If that’s you, get Traces (the deluxe of course) and take some time to dig a little deeper.
Good day everybody; Harrison here with a public service announcement/review. You see, on the 20th of September 2018, something amazing happened. As part of their endeavours to digitise their archives, the Beat Club (a poor man’s Rockpalast), surreptitiously uploaded a video to YouTube. But this was no ordinary video. It was a video of an Iron Maiden show. As Iron Maiden are renowned for their stinginess with archive material and reissues [1], this upload was met with celebrations across cyberspace for those in the know. And for those not in the know, here is this review of the show to bring it to your attention. [The video can be found at bottom — LeBrain]
As you will be able to tell, this show falls in the Di’Anno era, of which the only official video release was the six song “Live at the Rainbow” from 1980, which left fans clamouring for more. (Yes, I am aware of the 1980 show on Disc 2 of The Early Days but given its status as a curiosity due to its terrible quality, I’m ignoring it for the purpose of this review). As a side note, while the original six-and-a-half song broadcast of this show has been available as a bootleg for quite a while, this is the full twelve song show (and a little more), without the visual effects of a degrading VHS either. Unfortunately, the audio and video are just ever so slightly out of sync.
We kick things off rather characteristically with the taped “The Ides of March” heralding the band’s arrival onstage and it’s instantly clear, that this is going to be so much better visually than Live at the Rainbow. While yes, the Iron Maiden stage set of the Rainbow is not present, neither is the tape hiss of that show, which, rather obviously, leads to a much better sounding show. That’s not all. The atmospheric theatre lighting of the Rainbow is also gone, having been replaced by the ever-present TV studio lighting. While it does break the immersion a little, the net result is a picture that despite being only 480p, puts virtually every other video from that era (and some after it too [2]) to shame. It really does look fantastic for its age. But that’s only the tip of the iceberg. The band have the performance to back it up too. [3]
The performance commences rather uncharacteristically with “Prowler” following “The Ides…” instead of the quintessential “Ides of March/Wrathchild” combo, although this was well known as “Prowler” opened the original broadcast as well. With Paul Di’Anno and Clive Burr both in fine form, “Prowler” doesn’t get much better than this.
Next up however, is something that did not feature on the original broadcast nor features on any Maiden video since: one of my favourite songs from the debut, “Charlotte the Harlot”. It becomes clear here, as the band kick the energy up to 11, of the great hindrance that Wil Malone’s production on the debut was. Steve Harris is right. It didn’t even begin to capture their ferocity live. Thankfully this mix rectifies that error, and this song is a definite highlight of the show, no mean feat in a Maiden performance. Another broadcast song, “Wrathchild” follows on, with the honour of being the first song of the show from their then unreleased second album. An awesome rendition of the enduring Di’Anno era classic, there’s not much else you can say about any of Maiden’s performances of this song.
On the other hand, there is much to say about the performance of “Remember Tomorrow”, except, not much of it has to do with “Remember Tomorrow”. During the second verse there’s a most interesting sound coming through: the sound of a technical failure, and the band stop playing soon after, having a beer and mucking around with their guitars as the problem is fixed. I’m so glad they left this interlude in. It shows a little bit behind the scenes and is a nice deviation from the main stuff, one that is not often shown, even on these full show sorts of things. Eventually someone decides to stop using up tape, and we cut to the start of the second go at “Remember Tomorrow”, which is done by the numbers in spectacular Maiden fashion.
With things definitely back on track the band plough into “Transylvania”. When it comes to instrumentals, Maiden really knocks it out of the park, and I do wish they’d done more. This performance is no exception, although I do think I might prefer “Genghis Khan” from Killers. Now, despite being one of their few singles at the time, “Running Free” didn’t make it onto Live at the Rainbow. This travesty thankfully does not reoccur here, and while Live After Death boasts the ultimate “Running Free”, Di’Anno and co. are no slouches and that’s reflected in probably one of this line-up’s best performances of the song.
Another Killers song, “Innocent Exile” is next. It’s done well, and as this is before the era of the twig-snapping bass tone, you get a nice full little bass workout from ‘Arry as the intro. [4] “Sanctuary” comes next. It’s one of my least favourite Di’Anno era songs and I fully believed it outstayed its welcome on subsequent tours. It’s not the best rendition either: Di’Anno mixes some lyrics up and the solos are not up to the usual standard.
Now here’s something interesting though: “Killers”. This show was recorded only 11 days before that release of Killers, yet this version of “Killers” is the most experimental I’ve ever heard it. The intro and the guitar harmonies have a spacey feel to them and there’s even the changing up the lyrics for a couple lines. Di’Anno’s screams being mostly absent for most of the intro only accentuate this experimental vibe. It’s nice to have a good quality video now of the album lyrics (most of them anyway).
“Another Life” is the next song, one that was fade-cut halfway as the credits rolled on the original broadcast. Now it’s here in all its glory: a good, if perhaps almost filler song from Killers. It’s a fiery rendition, but it suffers from “If you’ve heard it once you’ve heard it three times”. The drum solo is sadly but expectedly skipped on this show, pushing this good, if unspectacular song into the background.
This slight lull in awesomeness is immediately rectified with “Phantom of the Opera”. The original Iron Maiden epic, it was played at breakneck pace at the Rainbow show and it’s not much slower here, a slight shame because “Phantom of the Opera” is one of the few songs I think isn’t better when done faster. That being said, it’s still a chunk of pure awesome no matter how you slice it.
Of course, now it wouldn’t be an Iron Maiden show without “Iron Maiden” and it wouldn’t be an awesome rendition of the song without Paul Di’Anno. [5] The end of the show is signalled in spectacular fashion, with the ever-reliable Eddie making an appearance to send off the show in style. Except that it’s not the end yet. They were recording for TV after all, so the band semi-encore with another rendition of “Sanctuary” to replace the muffed version from before. And then it’s over. One hour’s worth of early classics and deep cuts by the best band on earth. [6]
Watch now or else.
4.5/5 stars (-0.25 for audio/visual sync issues, -0.25 for lack of Di’Anno screams here and there)
Tracks: – Intro/”Ides of march” – “Prowler” – “Sanctuary” – “Phantom of the Opera” – “Iron Maiden” – “Wrathchild” – “Innocent Exile” – “Sanctuary” – “Another Life”
[1] This year is the 20th anniversary of the 1998 remasters.
[2] The 1983 live album and video Alchemy by Dire Straits is a prime example of this. It has terrible lighting, being way too dark most of the time. But then again, most landmark live albums don’t have video components anyway, so we should be grateful to have any sort of video of Alchemy in the first place. Although when it comes to picture quality verse age, you can’t beat Deep Purples Granada 1970 performance.
[3] Don’t even get me started on the video of The Rolling Stone’s Live at the LA Forum 1975. Complete waste of valuable high-quality film.
[4] ’Arry’s bass tone on Maiden England ’88 is a thing of beauty. (Actually no, it really isn’t)
[5] The only Dickinson rendition of this song I think is truly awesome is the Beast Over Hammersmith one.
QUEEN – Bohemian Rhapsody – The Original Soundtrack (2018 Hollywood Records)
“Best Queen greatest hits yet,” said a trusted fellow Rock Connoisseur. “Nahh”, I thought, remembering the red and blue CDs I grew old with. But his theory might just hold water. For fans new and old, listening to the Bohemian Rhapsody soundtrack from start to finish is very satisfying.
The movie’s getting torn to shreds by the critics. Don’t let that scare you away from the album. Worth the price of admission for die hard fans is the new Queen version of the “20th Century Fox Fanfare”. Who needs an orchestra when you have a Brian May? Then it’s “Somebody to Love”, which you can imagine playing over the opening credits, can’t you?
“Doing All Right…revisited” is a pre-Freddie version of the Queen song, by the pre-Freddie version of the band, called Smile. This is a first for collectors, and is hopefully a taste of more Smile music to come. Moving on chronologically, it’s the scorching classic “Keep Yourself Alive” from the legendary Live at the Rainbow ’74. Because Queen was one of the greatest live bands of all time, having live tracks mixed in with hits won’t phase the old fans. Folks out there who hate live versions (yes they exist) will whine that the originals aren’t included. That’s OK because sometimes Queen live was actually as good or better than Queen in the studio. “Keep Yourself Alive” is one such track.
One can’t fault the song selection. “Killer Queen”, “Crazy Little Thing Called Love”, “Under Pressure”, “Another One Bites the Dust” and “We Will Rock You (in a movie remix) represent the radio perennials. Other favourite Queen songs are present in a mini-set from Live Aid. It’s not the whole set, unfortunately, but a large slice: “Bohemian Rhapsody” (also present earlier on the CD in its studio version), “Radio Ga-Ga” “Hammer to Fall” and “We Are the Champions” are stellar performances from an historic concert. No one is poorer for having these.
You may question your need to own a remix of “Don’t Stop Me Now” with too much guitar, or a live “Now I’m Here” from the Night at the Odeon album. Well, you’d do it to get “Fat Bottomed Girls”, which was chopped from the Live Killers album, or “Love of My Life” from Rock In Rio in front of 500,000 people. It’s a trade-off with you as the winner.
ROD STEWART – The Story So Far: The Very Best Of (2001 WEA)
Sir Roderick Stewart might be best known for his covers, though he certainly wrote his fair share of corkers. He’s the kind of artist that made certain covers his own, to the point that some think they’re his originals. “Downtown Train” (Tom Waits) is a good example. So is “The First Cut is the Deepest” (Cat Stevens). Rod’s versions are iconic. Something about his blue-eyed raspy soul.
Stewart is also known for his successes in multiple decades. He was big in the 60s, with Jeff Beck. He was huge in the 70s with the Faces as a solo artist. He successfully rode out the disco era with a huge hit (an original, “Da Ya Think I’m Sexy?”, co-written by Carmine Appice). He became a massive pop star in the 80s, and even kept the momentum going through the start of the 90s with MTV Unplugged. Finally he became an adult contemporary sensation in the 2000s with his Great American Songbook albums, before finally returning to writing original music. Rod just has an ear for a good song, and an ability to wrap his inimitable voice around it. The Story So Far: The Very Best Of Rod Stewart captures a huge chuck of music from the late 60s to 2001. It’s separated into two discs, for two moods: the upbeat A Night Out and the softer A Night In.
Is The Story So Far all you need? No, but it touches the bases. It’s easier to think of songs that aren’t included. You’ll still want to get “Handbags and Gladrags”, “Infatuation”, “Broken Arrow”, and many more. This CD set will help you hone in on what you want, and you’ll still get plenty of goodies. From “Stay With Me” and “In A Broken Dream” all the way through “Some Guys Have All the Luck”, and into the unplugged “Reason to Believe”, it’s loaded with quality. In fact there’s only one dud, which is “Don’t Come Around Here” with Helicopter Girl (who?) from 2001’s dreadful Human. The programmed beats reek of an age past when everybody turned to computers to stay trendy.
There are even a couple hard to find tracks. “Ruby Tuesday”, from Rod Stewart, lead vocalist was not originally released in North America. “All For Love” is a Bryan Adams song featuring Rod and Sting from the Three Musketeers soundtrack. “In A Broken Dream” is an oldie by Aussie band Python Lee Jackson, featuring Rod at the mic. These are good songs worth owning.
One misfire on a compilation of 34 songs ain’t bad, and Rod’s ballads are as good as the rockers so both discs are equal in strength. Get your “Hot Legs” on the dance floor with some “Young Turks”. You’ll have a great time, “Ooh La La”, so “Tonight I’m Yours”. “Tonight’s The Night”, so go get some Rod Stewart!
FU MANCHU – Clone of the Universe (2018 New Damage)
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