BILLY CONNOLLY – Live in New York(2010 Rykodisc DVD)
There are few funnier than singer/comedian Billy Connolly. My theory is that it’s the Scottish accent. Live in New York is the funniest comedy DVD that I own. I don’t buy a lot of them, because I find they have a limited lifespan before they get old. I have another Billy as well (Erect For 30 Years), which combines his old standup plus interview and documentary footage. From his Too Old to Die Young tour, Live in New York is the one to get; it’s pure gold.
There isn’t much “standing” in Billy’s stand-up. He’s mobile, acting out his scenes, rarely stationary. This was recorded in 2005, before Billy’s Parkinson’s disease diagnosis. What storytelling ability! Like a big beast, every story is recreated on stage for your entertainment.
Even though I have seen some of these bits before (Billy scaring his sister is classic), they all come across as if Billy is telling the stories for the first time. Halfway through a story, he will go off on a tangent. He’ll stop his story mid-breath, pause, and then say, “I just have to tell you about something…” Then he’ll tell another story, and come back to his original story 10 minutes later, to much laughter and applause.
Everything’s funny, but some bits here were absolutely hilarious. They include:
The afforementioned “sister” story which takes 10 times as much time to set up as the story itself.
The stories about his dad who had a stroke. If you have ever had a family member who’s had a severe stroke, then you’ll know. Billy nailed this one on the head, hilariously.
The “thistle” tattoo.
And best of…opera. You’ll know what I mean when you see it. Billy nails everything I love and hate about opera!
Audio is plain stereo, format is full screen. No special features; just the show. Billy may be getting old, his hair may be white, but his humour has lost absolutely nothing over the years. This is, in my humble opinion, the very best DVD that Billy has to offer.
QUIET RIOT – Road Rage (2017 Frontiers Japanese version)
We’ve always been honest but truthful Quiet Riot fans here at LeBrain HQ. We’ve been banging our heads for almost 35 years now, and they included some ups and some downs. The death of Kevin DuBrow was heartbreaking. Some of our Quiet Riot reviews haven’t been the most popular, but we have always maintained an open mind. Frankie Banali’s resurrected Quiet Riot with no original members left a bad taste in the mouth, especially after management attempted to re-write the band’s history on Wikipedia. Pages were edited to indicate that the Metal Health album was Quiet Riot’s debut, seemingly in order to qualify Banali as an original member. Ugly and undignified; but music talks and bullshit walks. Quiet Riot’s first post-DuBrow always was 2014’s 10, with Love/Hate singer Jizzy Pearl taking over as the band’s sixth lead singer. It wasn’t that good and it’s conceivable that the band know it. No physical edition was ever released, and you can’t even buy a download anymore.
So, it’s delightful to be able to say that the new 2017 Quiet Riot album called Road Rage is…not bad at all! Actually quite good!
It’s even been rocky since 10. Jizzy Pearl left amicably, to be replaced by ex-Steven Adler singer Seann Nichols. They recorded a new album, even released one full song online…and then suddenly Nichols was out! American Idol alumnus James Durbin was hired in short order, and re-wrote and re-recorded the entire album.
Skeptics, be silent. Our fair and balanced take on Quiet Riot in the past should speak volumes for the review you are about to read. It would be far easier to mock Quiet Riot for their choice of a TV show contestant as a frontman, but it would be grossly inaccurate.
Durbin’s youthful enthusiasm will either win you over, or leave you complaining that he’s “not enough like DuBrow” and it “doesn’t sound like Quiet Riot”. Here’s the truth — that’s good. We’ve endured one soundalike singer after another. Durbin has a fresh spin, and there’s little question the guy is just pleased as hell to be fronting this band! he gives it all on “Can’t Get Enough”, a new uptempo Quiet Riot party tune. Co-writer Neil Citron must have written the riff with a classic Quiet Riot vibe in mind.
Then it’s down weird street a little bit with the Indian-flavoured intro to “Get Away”. It takes a moment, but once you realize “Hey, this isn’t the same old Quiet Riot”, you will be able to realize that “Get Away” is a damn good song. It’s actually quite melodic rock, but with a Zeppelin groove. Then it’s the pro-weed “Roll This Joint”, which has a seriously decent Zep vibe too. The lyrics are pretty cheesey (“I’m with Cheech and Chong and Willie and Marley!”) but you gotta cut Durbin some slack. He’s young and it’ll connect with some of that crowd.
The thing is, you just can’t dislike Durbin. He wins you over, especially on the lead single “Freak Flag”. This is the most Quiet Riot sounding track of the disc, but with Durbin it’s no carbon copy. “Freak Flag” kicks ass and you can imagine it working great live. Same with “Wasted”. That chorus (“Take a shot!”) grows fast. Even the ballad “The Road” doesn’t suck. Through the 11 tracks, it’s clear who the star on this album is. The new frontman rose to the challenge. In the back, Frankie Banali’s providing the Quiet Riot backbeat; the linkage between past and present. Guitarist Alex Grossi also turns in a worthy performance, and Chuck Wright (bass) has a co-write on the slippy-slidey “Still Wild”. Despite the circumstances in the making of the album, Quiet Riot sound more focused than they have in decades.
Frankie’s revival of Quiet Riot has been going seven years straight, through five singers before getting James Durbin on board. Only the singer has changed; Grossi and Wright have stood by through thick and thin. No matter what, Quiet Riot will continue. Fans should be advise that the first album with Durbin has turned out great, and let’s hope this is a long-term lineup. He’s got the necessary range to sing vintage DuBrow, but in his own voice. And that voice is growing quite compelling. Not every song is killer, but the majority of the album gets the job done. Enough to justify putting your money down.
The Japanese version of Road Rage has an exclusive bonus track. It is an acoustic version of “Make A Way”, one of the heavy album tracks. This isn’t a crappy remix, but an entirely new recording of the song in acoustic arrangement. It’s different enough that it actually seems like a new song. Bonus track: win!*
As Durbin sings, “Take a shot!” Give Road Rage a road test. Just don’t “Knock ‘Em Down”, or you will have to “Get Away”. The quality of this album in terms of sound and songs gives the new Quiet Riot a level of credibility they didn’t have before. Easily their best album since 1993’s Terrified or even before. Let your “Freak Flag” fly, James Durbin!
3.75/5 stars
* Former singer Seann Nichols made a comment in an interview that implied the version of Road Rage with his vocals was released in Japan; this is unfortunately not the case. If you have any Seann Nichols versions of the Road Rage songs, please contact us here. We are dying to review them in contrast to the final album!
A question I often get is “Have you heard ‘x‘ by ‘band y’?” I’m always eager to offer up opinions, but like any other music collector, there are albums I simply have not heard yet. Friends and fellow writers continually offer fantastic suggestions, but time and money are always limited. I like to listen to my old music too, and not just stuff that is new to me all the time. Getting caught up on bands I may have missed is a time consuming process.
The Kinks are one such band. Growing up as a rocker, I was aware of their hits and the overall narrative of their career. As an adult, I wanted to start with a compilation. When you have a band with a career as long and varied as The Kinks, I very much enjoy getting a snapshot of the whole thing rather than pick off albums one by one. Sony’s double disc Essential Kinks is 48 tracks of rock from 1964 to 1993. It’s a rather monolithic slab, but it does tell a story.
The beginning is hard and ragged British invasion rock and roll, and the road is windy. Whether you know these tunes from movie soundtracks (“Nothin’ in This World Can Stop Me Worryin’ ‘Bout That Girl”) or Van Halen riffs (several), many songs are familiar. Early on, their pop and rock stylings could be compared with equal respect to that of those Beatles. The songs are just as unique, memorable and British. The charismatic vocals of Ray Davies immediately capture the imagination. His knack for melody is uncanny. As time goes on, their music becomes more unique and conceptual, but no less captivating. It is here that I discovered my favourite Kinks song, “Apeman”.
Perhaps I shouldn’t be too surprised that I already knew many of these songs as covers. Queens of the Stone Age did “Who’ll Be the Next in Line”. Def Leppard did “Waterloo Sunset”. The Jam tackled “David Watts”, and made a hit out of him again. I can also hear a lot of Dave Davies’ guitar in the rock bands that followed. There is no denying the influence of the Kinks.
The only imperfection with this compilation is that live tracks are substituted for studio ones on “Lola”, “Till the End of the Day” and “Where Have All the Good Times Gone”. You’ll tell me “just buy the albums, then” and to that I respond, “OK”. (“Lola” live is a single B-side.)
I’ll be lazing on a “Sunny Afternoon” with the Kinks.
VINNIE VINCENT INVASION – All Systems Go (1988 Chysalis)
Ex- guitarist Vinnie Vincent could have made it big as a solo artist. He had the talent, and the songwriting ability. What he didn’t have was self control. It’s too bad, because his second album was far more accessible than the first. With a movie tie-in with the lucrative Nightmare on Elm St. movie series, the Invasion was primed and ready….
And then the band split.
According to singer Mark Slaughter (on an instalment of the Eddie Trunk show), Vinnie told Mark that was going to fire bassist Dana Strum. “Where does your loyalty lie?” he asked the vocalist. Mark told him if Dana was going, he’d rather go with Dana. So that’s what happened. Mark and Dana formed the successful Slaughter, while drummer Bobby Rock joined another huge band called Nelson.
This all came as a bit of a shock to fans, who expected the Invasion’s second album All Systems Go to take off. It spawned two singles/videos that were right in sync with popular rock at the time. Vinnie toned down his guitar excesses from the first album, and Mark Slaughter was obviously the kind of frontman born to rock. A damn shame.
All Systems Go wasn’t a skimpy album: 11 tracks plus two CD-only instrumentals. Vinnie took sole writing credit on every track, including the drum solo. For extra fun, the tracks are not listed in order on the back cover and the instrumentals are unlisted. This is a throwback to the way records were sometimes released in the 60s and 70s. The tracks (including the instrumentals) are listed in the correct order on the CD itself. This kinda sucks when you are actually listening to it and want to know which song is playing.
This is the album that lived up to what Vinnie was capable of, although he stated a preference for the first “uncompromised” first album. “I should never have changed singers,” he said without mentioning Mark by name. Mark’s sassy vocalizin’ dominates the album, which might have pissed off Vinnie. His charisma and talent is immediately obvious on the sleazy groove rocker “Ashes to Ashes”. A tight song with a good riff and a great chorus is all you need. Vinnie’s solo is no less impressive, but much more innovative and suiting to the song. Guitar heroism in the making…almost.
“Dirty Rhythm” brings more sleaze: faster, more cowbell and more Sunset Strip. The Invasion had more talent than the average glam rock band of the day, and so this is pretty exceptional stuff for the genre. Where they really succeeded was with the radio friendly stuff. The Freddy Krueger crossover ballad “Love Kills” should have been massive. We the benefit of hindsight, we can see that Mark Slaughter was born to be a star. He was absolutely the right singer for these songs.
Goofy title aside, “Naughty Naughty” is a decent return to sleazy glam, and “Burn” rocks similarly. “Heavy Pettin'” is an even worse title, concealing another good glam rocker. Perhaps lyrics weren’t Vinnie’s greatest talent, but there’s not much else wrong with it. Guitar heroism returned on “The Star-Spangled Banner”, played by an orchestra of electric guitars! It’s an apt intro for “Let Freedom Rock”. It’s over the top fun, and the guitar solo would make Yngwie pee his leather pants.
The other single “That Time of Year” was just as good as “Love Kills”, if not better just because it’s not as dark. Its midtempo rock pseudo-ballad stylings were instantly likable. It’s easy to imagine it as a hit, despite a glut of soundalike bands in 1988. Vinnie’s solo verges of majestic. It’s really hard to imagine was he didn’t like about this album. It’s not a bad thing that the songs dominate over the solos; the solos are more impressive when they serve the song.
Had the band not split, and if they released a third single, it could have been “Ecstasy”. Don’t forget, Vinnie wrote “Tears” which was a pop hit for John Waite, and even recorded by Peter Criss. “Ecstasy” is its spiritual sequel. “Deeper and Deeper” also has pop qualities, but is clearly a rocker. The point is this: don’t underestimate Vinnie Vincent.
Out of the blue, the LP/cassette version of the album ended on heavy shred metal. “Breakout” kicks ass. If fans felt at any point that the album was going soft, then “Breakout” would have redeemed it for them. The only real issue is a problem on many of the songs on this album: the production. It’s thin, and the backing vocals tend to be shrill. “Breakout” could be rib-busting with more crunch.
On CD, there are two instrumentals to close. “The Meltdown” is a messy cacophony of drums and electronics. You’ll be thankful it’s over. Stick around for Vinnie’s acoustic tune “‘Ya Know’ – I’m Pretty Shot”. What a diverse and schooled player he is. From classical fingerpicking to blues and traditionals, is there anything he couldn’t do with just six strings? Years from now, this is what Vinnie should be remembered for. This one acoustic instrumental should establish him as a genius on the same level as Randy Rhoads and Yngwie Malmsteen.
Potential was almost fully realized here. If the sound was thicker and the disc was trimmed for length, All Systems Go would be fully classic.
QUEENS OF THE STONE AGE – Villains (2017 Matador double vinyl)
At my heart, I am a skeptic.
I was skeptical that Star Trek: Discovery would be any good, and that it wouldn’t piss all over the fans. (It was and it didn’t.) I like to share light doses of my skepticism with social media followers. One record I have been consistently skeptical about is the new Queens of the Stone Age, Villains. The first single, “The Way You Used to Do” did little for me. It sounded more like Eagles of Death Metal than my beloved Queens. Craig Fee over at 107.5 DaveRocks dubbed it “The Way You Used to Write Good Songs”.
Skepticism remained high, but vocal friends such as the trusted J at Resurrection Songs urged me to be open minded and give it a listen. Fast forward to September 2017. While browsing at my local Sunrise Records, one of the new Queens songs came on. I liked it.
“I’m going to ask her if this is the new Queens,” I said to myself, “and if it is, I’m going to buy it. On vinyl.”
It was and so that’s what I did. The song was called “Fortress”.
My fears were assuaged on first listen. “Mark Ronson’s a pop producer,” I thought. Ronson has probably never recorded anything as heavy as “Song for the Dead”, but the songs on Villains have their own heaviness. It comes from a deeper place. It’s not about the volume of the guitars and the speed of the drums, but the melding of parts in a simmering cauldron. Even “The Way You Used to Do” has grown on me. The stuttering guitars are layered brilliantly within that dance beat.
Villains‘ nine songs are a unique concoction, like Queens meets Faith No More meets David Bowie at the Apple store. You might miss Nick Oliveri or Mark Lanegan (who doesn’t?), but the current Queens are still lethal. Be lulled into the pulse and fuzzy landscapes of these new songs, and be slowly drawn to their unmistakable melodies. They have always been eclectic, and Villains is the latest in that tradition. With “Un-Reborn Again”, Josh Homme quotes from the Georgia Satellites “Keep Your Hands to Yourself”, on a song that sounds crafted from the leftovers of Van Halen’s “Sunday Afternoon in the Park”.
Why vinyl? For the gatefold vinyl and the graphic etched fourth side. Also for the rich sound and included mp3/Flac download.
If you are one of those who has a general “No Josh Homme” rule, this album will not convert you. If you merely skeptical like I was, then be fearless and delve right in.
MR. BIG – Defying Gravity (2017 Frontiers CD/DVD edition)
I can still remember, very clearly, my thoughts about “To Be With You” when it finally became a hit in 1992.
“It’s a deserved hit,” I thought, “But that’s the end of Mr. Big having any chance of being seen as a serious band by the general public.”
Serious indeed. Eric Martin had a previous career as a blue-eyed soul singer. Paul Gilbert was in shred band Racer X with future Judas Priest drummer Scott Travis. Pat Torpey was a well-known drummer for appearing on several shred rock albums, like Impelliteri. And Billy Sheehan, of course, is generally listed as one of the top bassists of all time, with a period at the end. These guys were not slouches. But they did form a commercial rock band, and suffered the consequences that most commercial rock bands did in the 1990s. They faded to obscurity. Everywhere but Japan, where they continued to thrive as rock heroes.
It’s gratifying that 25 years later in 2017, Mr. Big have an album out that’s as good as any of their first four. They even reunited with their original producer Kevin Elson. But it’s all not peaches and cream. Pat Torpey suffered a setback in 2014 when he was diagnosed with Parkinson’s disease.
Undaunted, Torpey still worked with his loyal bandmates on Defying Gravity. Just as before, he participated in shaping the songs, even though he was unable to play on them. Ace Frehley’s drummer Matt Starr* has taken over live and recording duties, while Torpey wrote and produced the drum parts. In the accompanying DVD, it’s very gratifying to see the band adapt seamlessly to this new reality. They even have fun with it in the music videos, as Starr and Torpey play together and switch instruments. Check out the lead single and title track for a great example of making it work.
Speaking of the lead single/video…holy shit, what a hook! Gilbert’s tricky and exotic timing and note choices are somehow bent and twisted into a pop song! It’s that schooled approach that makes certain Mr. Big songs completely unlike whatever is on the radio, but just as catchy.
All the songs have spark, and the solo work is untouchable. Bluesy and funky hard rock is the basis of “Open Your Eyes”. The second single (“Everybody Needs a Little Trouble”) stomps out a heavy blues rock beat. On to “Damn I’m In Love Again”, Mr. Big take a drive into the country. “Nothing Bad ‘Bout Feelin’ Good” is a hybrid, using the acoustics in a heavier way. There are plenty more hit-quality highlights: “Forever & Back”, and “She’s All Coming Back to Me Now”. For the fans: “Nothing At All”, the heavy rockin’ “1992” (a brilliant look back at the glory days), and “Be Kind” which is just a jaw dropping example of what these guys can do with just their voices, instruments and a song!
For a deeper understanding of this album, check out the deluxe edition with bonus DVD.** Not only will you get all the music videos, but also behind the scenes segments on set, and the EPK (“electronic press kit”). Finally there is a track by track analysis of every song featuring each member, and more behind the scenes footage. This is where you’ll find the most insight. Influences abound from the expected to the unexpected. From doo-wop to Christina Aguilera? Why not. The one with the beat cribbed from Aguilera is actually one of the heaviest and solo-dense tracks (“Mean to Me”).
Defying Gravity isn’t really a surprise, because Mr. Big have put out plenty of good albums over the recent years. Perhaps it’s a bit more inspired. It certainly has potential to be on a few “top ten of 2017” lists this year.
4/5 stars
* Matt Starr may in fact be a Klingon. In the Original Series, Klingons looked much like humans, without their trademark head ridges. What gives away Starr’s possible Klingon status is his dead ringer of a Klingon moustache and beard.
Matt Starr is the one with the drum head.
** I know what you’re thinkin’. “LeBrain, why didn’t you buy the Japanese edition with a bonus track?” This time out the only bonus track is a radio edit of “Defying Gravity” which, cost considered, I can live without.
– The Ritz, NYC, 12th August 1988(from 4 CD set Radio Waves 1974-1988) (2015 American Icons broadcast release)
At last, we are at the end of the Crazy Nights era. Radio broadcasts are the next best thing to a bootleg. Actually, strike that. Radio broadcast CDs are often better than bootlegs. The audio is usually decent because it’s a professionally recorded broadcast. They are almost always cheaper than an equivalent bootleg CD too. Broadcast discs are easily found on various Amazon sites and all over Ebay. Thanks to their abundance, sometimes you can even choose from multiple releases of the same concerts.
One such show is Kiss’ 1988 performance at the Ritz in New York in 1988. It’s a tight, hot Crazy Nights recording, but there are pros and cons to the different releases. There was a 2013 Gold Fish release of the Ritz concert, called The Ritz on Fire, reviewed here. Fans immediately noted that “Reason to Live” was missing, although others had “Reason to Live” on different releases. In fact The Ritz on Fire is missing two songs: “Bang Bang You” is the other.
To get all the songs, one recommended version is the 4 CD set The Very Best of Kiss – Radio Waves 1974-1988. Inside you will get:
Disc 1: Agora Ballroom, Cleveland, April 1 1974. We reviewed a better version of this show with bonus tracks from ABC In Concert and the Mike Douglas Show.
Discs 2 & 3: Animalize Live Uncensored 1985. Missing some of the stage raps, but including all the songs from the original VHS release.
Disc 4: The Ritz NYC 1988. All the songs, but missing some of the stage raps.
Nothing’s perfect. These broadcasts are quirky that way. You can buy Radio Waves 1974-1988 to get all the songs from the Ritz show, but not all of Paul’s stage raps. You could, of course, compile the best of the two versions together into one custom complete concert. The sound quality is virtually the same. What about an official release? The only Kiss-produced media of this concert is a rare 11 song bonus DVD that came with Kissology Vol. 2, but only at US Best Buy.
Regardless of which version you buy, this concert has a good reputation with fans and it is easy to hear why. Eric Carr and Bruce Kulick rose to the challenge and gave a Kiss a hard, professional sheen. Meanwhile, behind the curtain stood Gary Corbett, thickening up the sound with additional keyboards and backing vocals. Paul Stanley was in his prime, hitting notes only dogs could hear. Meanwhile Gene Simmons was present in body if not spirit. Notably, “Shout it Out Loud” was performed at the Ritz, making it a rare 80s appearance of that song. “Dr. Love” was also something of a rarity at the time.
Choose according to your own preferences, but don’t be afraid to pick up some version of Kiss at the Ritz.
I asked Aaron Lebold if he wouldn’t mind throwing in a few words about “Distant Early Warning” for my Grace Under Pressure review. He sent me 772 words! So here’s an entire separate post for you — Aaron Lebold on “Distant Early Warning”.
RUSH – “Distant Early Warning” / “Between the Wheels” (1984 Anthem)
by Aaron Lebold
Mike has asked me to do a review on the song “Distant Early Warning” by Rush. When I first met Mike I quickly realized that Rush was one of his favorite bands,* and though he showed me a lot of their work, this song was the one that always stuck out to me the most.
My interpretation of the song may be a bit different now than it was when I first heard it; one of the greatest things about music is that its personal meaning can shift depending on what is going on in your own life. I find musical interpretation to be completely personal, and what you take from it may be completely different than what the artist even intended.**
I was always reluctant to hear the artists of the songs I enjoyed explain them, as it could feel very crushing if the impact it had on me was not the actual meaning. I will explain what this song means to me, but that doesn’t mean I’m right. It does mean that I am able to see why it had relevance to me, and if you have found a different interpretation, you are not wrong.
“An ill wind comes arising, Across the cities of the plain, There’s no swimming in the heavy water, No singing in the acid rain, Red alert, Red alert”
To me this is the ability to foresee an event, there is a metaphoric storm on its way, and it is serious enough for us to stop our own distractions, and unhealthy coping strategies in order to prepare for what is ahead.
“It’s so hard to stay together, Passing through revolving doors, We need someone to talk to, And someone to sweep the floors, Incomplete, Incomplete”
This talks about the separation among us as people to me; we all tend to find our own paths and some of us become relevant to each other, where others become lower class, and we may see them as nothing more than the person who is sweeping the floors for us. This type of discrimination makes us incomplete as a human race.
“Cruising under your radar, Watching from satellites, Take a page from the red book, And keep them in your sights, Red alert, Red alert”
This again is a reference to having greater insight than others may possess. Being able to observe a situation undetected and being able to gather forethought about what the results may be. The Red Book is a reference to Psychology, and this suggests using that manner of thinking as you move forward.
“Left and rights of passage, Black and whites of youth, Who can face the knowledge, That the truth is not the truth, Obsolete, Absolute, yeah”
To me this makes reference to our way of thinking, and things we may have misinterpreted as priority. Rights of passage is the idea of moving from one group to another, and relates to social classes and advancement. Separating the races of children is another method of creating a divide. The truth could refer to the idea that we are all one class and one collective group of people, and that a lot of our perceptions are obsolete in the big picture.
“The world weighs on my shoulders, But what am I to do? You sometimes drive me crazy, But I worry about you”
To me this means that even though I may have my own problems, and I don’t always agree with someone’s actions, I still care for them and can’t help but notice when they seem to be heading in a bad direction.
“I know it makes no difference, To what you’re going through, But I see the tip of the iceberg And I worry about you”
This basically means to me, that I am aware that my insight does not change your situation, but I can see the bigger picture and it makes me worried about how it may end up affecting you. The Tip of the Iceberg is of course a reference to the Titanic, and how there is much more lurking under the water than is visible from the surface. The results can be potentially devastating, as they were for the historic vessel.
I can’t recall exactly what drew me to this song when I was younger, and I may have interpreted things differently back then, but the bottom line is that I found relevance and importance in the lyrics. You may have a completely different take on this song, which is great. The best thing about music is using it to find our own connections, and get us through our own lives.
Aaron Lebold
* So he thought. In 1994 I was still a Rush poser. I only ownedChronicles.
** “Distant Early Warning” was written about the loneliness of someone who worked the DEW Line- a system of radar stations in the far northern Arctic region of Canada set up to detect incoming Soviet bombers during the Cold War, and provide early warning of any sea-and-land invasion. – wikipedia
RUSH – Grace Under Pressure (1984 Anthem, 2011 Universal remaster)
When Rush followed 1982’s synth-driven Signals, they said goodbye to producer Terry Brown. The band weren’t satisfied with the sonics of Signals and wanted to try working with different people. They chose Steve Lillywhite, who wasn’t available, and so used Peter Henderson. The album Grace Under Pressure was one of their most difficult to make. Perhaps this is why it has such a cold, dark aura.
Even if Grace Under Pressure has a downer vibe, the first side is excellent. Few albums have a strong an opener as “Distant Early Warning”. Rush’s recent penchant for keyboards is front and center. It also boasts one of their most catchy choruses: “I see the tip of the iceberg and I worry about you.” This single is a perfect storm of hooks, tension and biting guitars.
The album as a whole shows new influences. “Afterimage” has a contemporary 80s new wave sound, but “Rushified”.* Alex Lifeson in particular seemed to draw new influence from Andy Summers of the Police. Reggae and ska became a part of the band’s arsenal, with Lifeson deftly handling those enigmatic chords. “The Enemy Within” is one track that shows off these tricky new rhythms, in a frantically rocking way. Synths and sequencers are a part of the picture on “Red Sector A”. This post-apocalyptic track utilizes robotic rhythms to paint a picture of a future world. “Are we the last ones left alive? Are we the only human beings to survive?” The lyrics are actually inspired by Geddy Lee’s mother, a holocaust survivor. With the digital pulse beneath, you could just as easily imagine it’s about The Terminator.**
The second side also has memorable tracks such as “The Body Electric”. This number definitely has a Blade Runner-like future setting. “One humanoid escapee, One android on the run, Seeking freedom beneath the lonely desert sun.” And how many songs can you name with lyrics in binary? A lesser Rush song, “Kid Gloves”, is upbeat but not legendary. “Red Lenses” is also somewhat forgettable, except for Peart fans who will savour every little moment of exotic and electronic percussion.
Rush saved the longest track for last, “Between the Wheels”, a melancholy but challenging track that reminds of the old school progressive Rush. Backing guitars are exchanged for keyboards, but Lifeson uses the guitar to make unorthodox sounds.
It’s unfortunate that Grace Under Pressure has a brittle and icy production. While that definitely works on “Red Sector A” and “Distant Early Warning”, one wonders what side two would sound like if it were a little fuller.
4/5 stars
* “Rushified” is a word coined by Paul Rudd in the filmI Love You Man.
** Aaron Lebold will return tomorrow to discuss Rush lyric interpretation.
– In the Land of the Rising Sun (Big Boy Records bootleg from 1988 tour)
If you are in the mood for some live Kiss from the late 80s, then your journey might just come to an end here: Kiss at the Budokan, Tokyo Japan, April 22 1988. It’s not the last live Kiss from 1988 that we’ll examine, but it’s decent. This 2 CD set boasts a more extensive track selection than Monsters of Rock, recorded in Germany in August. It’s an audience recording, but above average quality. It sounds like it is sourced from a previous vinyl generation.
In Germany, Kiss opened with “Deuce”, but in Japan, they didn’t even play it. Instead they opened with “Love Gun”, chased immediately with some “Cold Gin”. Therefore, it’s cool to have a couple bootlegs from this tour, to get a broader range of songs. Japan also heard “Bang Bang You” from Crazy Nights. Not a highlight to be sure, but a rarity that Kiss fans will want in their bootleg collection. In a strange twist, “Fits Like a Glove” is split into two tracks, just like it was on the Germany CD, made by a completely different company.
Bruce Kulick’s solo before “No No No” is much longer, leading us to think that the solo on the Germany CD was edited for length. This is the one to check out, to hear what kind of solo Bruce was playing in 1988. Kulick is continuously impressive. He always does justice to the original Ace Frehley (or Vinnie Vincent) ideas, but by playing his own solos with the right feel. His technique is all but flawless. This disc also has the Eric Carr drum solo and Gene’s bass solo intro to “I Love it Loud”.
There are plenty of tunes here that either weren’t played in Germany or just weren’t on that CD: “Bang Bang You” (see above), “Calling Dr. Love”, “Reason to Live”, “War Machine”, “Lick It Up”, “I Was Made For Lovin’ You”, “Shout it Out Loud”, and “Strutter”. “I Was Made For Lovin’ You” hadn’t been played live since 1980.
Almost every bootleg CD I own has some amusing mistake or quirk that I enjoy picking out. This has a couple. The label can’t decide if it’s named “Big Boy” (inner sleeve) or “Big Apple” (disc itself). There are three “producers” and two “engineers” credited, for a bootleg CD. I guess Eddie Kramer wasn’t available. Kiss is credited on the disc as — not Kiss! — as the “Metal Boys of New York”! Finally, in order to appear that nobody was making money off Kiss’ back, it is claimed on the CD that this “promotional copy” is “not for sale”.
BILLY CONNOLLY – Live in New York (2010 Rykodisc DVD)
RUSH – Grace Under Pressure (1984 Anthem, 2011 Universal remaster)
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