Reviews

REVIEW: Alice Cooper – Paranormal (2017 2 CD edition)

ALICE COOPER – Paranormal (2017 Edel 2 CD edition)

Both Alice Cooper and Bob Ezrin had a lot to live up to with their latest collaboration Paranormal.  Excluding 2015’s covers album Hollywood Vampires, their last record together was the remarkable Welcome 2 My Nightmare in 2011.  Bob Ezrin has already produced one of the more impressive rock albums of 2017, Deep Purple’s InFinite.  Considering this recent track record, one might say we expect the goods this time too.

Paranormal is a great album, loaded with fantastic Alice Cooper material of different rock and roll styles.  It is not up to the level of brilliance of Welcome 2 My Nightmare.  That album (a concept album sequel) was dense with ideas and composition.  Paranormal is a step towards something less conceptual and more like a traditional album.  The big surprise this time out is the drummer:  U2’s Larry Mullen plays on 9 of the 10 core songs, and you’d never guess that without reading the credits.

The title track is impressive on its own.  It has a haunting guitar hook and vocal, and is built a bit like Alice’s horror material from the 80s.  That’s Ezrin’s pal, Roger Glover from Deep Purple on bass.  Back to the early 70s, get down with some hard rocking “Dead Flies”, but don’t let your guard down.  Relentlessly, “Fireball” blazes down the terrain, kicking aside everything not nailed down.  Alice doesn’t have anything that sounds like “Fireball” on any of his other albums.

The lead single “Paranoiac Personality” (a single worth tracking down for an exclusive live B-side) is similar to “Go to Hell” (from 1976’s Alice Cooper Goes to Hell).  It’s the kind of magic that happens only when Alice Cooper and Bob Ezrin work together.  Memorable Alice Cooper rock, accessible enough for radio play, but within the personality of Alice.

Moving on to sleaze rock, “Fallen in Love” is a strong entry.  If it sounds a little greasy, that’s probably because Billy Gibbons is on it.  It’s followed by a speedy trip called “Dynamite Road” with a neat spoken-word style vocal.  It suits Alice’s storytelling lyrics.  After a couple of heavy bashers, it’s good to get back to a groove on “Private Public Breakdown”.  These are some impressive songs, each different from the other but fitting the whole.

A kickin’ horn section joins Alice on “Holy Water”, a fun and unorthodox rock and roll sermon.  Then there’s a good old fashioned punk rocker called “Rats”.  It might remind you of Michael Monroe’s classic “Dead, Jail or Rock ‘N’ Roll”.  It’s the only song on disc one that Larry Mullen doesn’t play on.  “Rats” has the surviving original Alice Cooper band: Michael Bruce, Neal Smith, and Dennis Dunaway.

Going for a haunting close, there is an understated song called “The Sound of A” to end the album proper.  This truly recalls Welcome to (and 2) My Nightmare.  Original bassist Dennis Dunaway co-wrote and plays bass on the track.  Although he was not in the band during the Nightmare era, that is what immediately comes to mind.  This is the kind of song that has the potential to become an Alice classic a few years down the road.

Cooper has been generous with bonus tracks on his last few albums, and Paranormal has a fully loaded second CD.  There are two more brand new songs featuring the surviving members of the original Alice Cooper band.  Steve Hunter is also on board with some slippery slide goodness.  “Genuine American Girl” is a transgender celebration, the kind of thing that would have been cutting edge in 1972, but today is just timely.  Smith co-write this with Alice and Ezrin, and it’s a remarkably catchy little tune.  “This is no-man’s land and I live here every day” sings a gleeful Alice.  It does sound like something the original band could have played back then.  “You and All Your Friends” (Cooper/Dunaway/Ezrin) is more of an anthem.  A crowd could definitely sing along.  These two tracks serve as reminders to what great players the original band members are.  Neal Smith is absolutely a drumming maniac and Dennis Dunaway is still one of kind.

There are six more bonus tracks, all live cuts from 2016 featuring Alice’s stellar live band.  It’s good to have these, because really the only thing missing from the new songs is guitarist Nita Strauss.  She’s a monster player.  For those hoping to hear Nita on Alice’s new album, at least she’s on the bonus tracks.  The live cuts are a fairly standard selection of 70s hits (all but “Feed My Frankenstein”).  You know what you’re getting:  expertly performed Cooper classics by his gang of professional rock and roll misfits.

Paranormal is yet another late-career triumph by Alice Cooper.  It’s just a hair shy of mind blowing.

4.5/5 stars

REVIEW: Cheech & Chong’s Greatest Hit (1981)

CHEECH & CHONG’S GREATEST HIT (1981 Warner)

Even if you’re not into comedy albums, Cheech & Chong’s Greatest Hit compilation should be considered for your collection.  For one, it can be found in any format for cheap.  And that justifies buying it for their classic song “Earache My Eye”.  Classic song?  It’s been covered and homaged by bands such as Soundgarden, Korn, and even Rush.  So listen up!

Cheech & Chong’s original “Earache My Eye” is heavy metal and horns gone wild.  Cheech sings as his persona “Alice Bowie”.  The song was featured in the group’s first movie, Up In Smoke.  There is also a lesser song on the album called “Basketball Jones”, but it too is noteworthy because there’s a Beatle on it:  George Harrison!  And a slew of others including Billy Preston, Carole King and Nicky Hopkins.

Everyone in the world should know Cheech & Chong’s comedy sketch “Dave”.  If you don’t, shame on you and go hear it immediately.  “Dave” is here in edited form so you’ll get the gist.  Other popular bits include “Sister Mary Elephant” (remember the teacher screaming “SHUUUT UPPP!” to the rowdy classroom?) and “Sargent Stadanko”.  Most sketches focus on (gasp) drugs!  “Let’s Make a Drug Deal” is a spoof of a popular TV show.  “Cruising With Pedro De Pacas” is a paranoid drive with a Latino stoner.  Pedro and his sidekick Man take up most of side two.

Listening to this is a real throwback.  Sneaking people into a drive-in movie back when a drive-in movie was just 50 cents per person!  It’s good stuff but it may only appeal to people who remember those times.  Cheech & Chong’s laid back style of comedy makes this album (almost 55 minutes long) difficult to finish in one sitting.  Take a break between sides if it’s too slow for you.

The most important life lesson contained within is don’t try to sneak friends into a drive-in movie in the trunk of your car.  Especially if you’re with two guys named Pedro and Man.

3.5/5 stars

REVIEW: Lee Aaron – Radio Hitz and More… (2012)

LEE AARON – Radio Hitz and More… (2012)

Respect to Lee Aaron!  She’s persisted through the decades with a multi-faceted career, including her early metal roots.  What she really needed was some kind of compilation CD that captured it all.  1992’s Powerline is a good compilation but some of Lee’s most interesting work came after.  Radio Hitz and More… fills in some of the blanks from the past 20 years.  You can only get it via Lee’s website as a promotional item.  I bought a T-shirt and got the CD with it, signed and personalized.*

Even if it haunted her career at times, “Metal Queen” is a damn fine song.  Period, end of sentence.  Today we can see that “Metal Queen” had it all:  killer quintessential riff, howling vocals and a searing solo.  Few metal singers could touch Lee Aaron’s ability.  While the fans knew she could do more than metal, she absolutely owned it on “Metal Queen”.  Hail to the queen.

Lee eventually shifted into a hard rock mold.  “Whatcha Do to My Body” was a big hit, and it’s next in radio edit form.  It delivered big hooks and didn’t require any song doctors.  Lee Aaron and her longtime guitarist John Albini wrote it and were rewarded with loads of MuchMusic video play.  However the two did collaborate with an outside writer on “Powerline” (1987) and that outside writer was surprisingly former Rainbow singer Joe Lynn Turner.  “Powerline” is a bit light and heavily reliant on keyboards, sounding a little like Heart.

The songs included from Lee’s “rock” period are all pretty much hits in Canada.  “Hands On” followed “Watcha Do to My Body” in regular video rotation.  “Sweet Talk” and “Sex With Love” were singles from another big Lee Aaron album, Some Girls Do (1991).  The title track “Some Girls Do” is here and very Van Halen.  Two of Lee’s most stunning ballads are included too.  “Barely Holdin’ On” could be her best song, period.  “Only Human” was from the 1987 pop rock era, but is a strong ballad regardless.  Only a few notable singles are missing.  The always likeable Disco-dis “Shake it Up” is too hard to find out there in the wild.  Another big ballad, “Peace on Earth” is missing in action.  However the space does not go to waste.

In 1996 Lee Aaron resurfaced with a new band called 2preciious.  The lineup included Lee and the three Dons from Sons of Freedom!  A strange combo to be sure, and the alternative-flavoured album they came out with didn’t make waves, though it got decent reviews.  “Mascara” is edgy acoustic rock, completely unlike Lee’s previous work.  There’s even a rare European-only track called “Concrete and Ice” which is a bass-heavy 90s groove rocker.  Great stuff; it’s unfortunate it didn’t gain traction,  because with Alanis Morissette being so big at the same time, perhaps Lee could have tagged along.

The next stage of Lee Aaron’s career was her entry into the jazz world.  2000 saw the release of her album Slick Chick, and in 2004 there was Beautiful Things.  Tracks from both are here, including the instantly likeable “I’d Love To”.  It’s a little jarring to hear “Handcuffed to a Fence in Mississippi” in the middle of a bunch of rock tracks, though.

This compilation is great for gathering together a bunch of Lee Aaron’s diverse hits, but that’s not all.  Track 18 is a little bonus for collectors.  From Sweden Rock, it’s killer track “Baby Go Round” originally from Emotional Rain.  This live version is available nowhere else, which is like catnip for collectors.

77 minutes of music, for free?  How do you spell N-O-B-R-A-I-N-E-R?

4/5 stars

*If ordering, check before assuming they still offer signed CDs.

 

 

 

REVIEW: July Talk – Touch (2016 vinyl)

JULY TALK – Touch (2016 Sleepless Records)

Surely one of the most exciting bands to emerge from Toronto in the last few years has been July Talk.  Defying categorization, they’re often lumped in with “blues rock” and “indie”, neither of which really describe July Talk.  You could also call them “art rock” because July Talk truly treat their music as high-energy art.  Loud art.

July Talk are a five piece rock band known for their volatile live shows where anything can happen.  Lead singers Peter Dreimanis and Leah Fay offer a contrast, he of the gravel voice and she as the smooth one.  They songs are like battles between characters, little stories with Fay and Dreimanis playing the parts.  Dreimanis and bassist Josh Warburton have also entered the visual world, with each directing some of July Talk’s most interesting music videos.*

Picture yourself in a tangle with another, you’ll feel your body awaken.  That’s the opening lyric to “Picturing Love” but also apt listening advice.  Some of these songs sound like the act of sex in motion, limbs tangled and struggling to get free.  On “Picturing Love”, Leah Fay contrasts Dreimanis’ grit with a sassy vocal.  “I suppose, I’ll strike pose…”  A band is usually lucky to have one memorable front person.  July Talk have two and that’s their secret weapon.  “Picturing Love” is one of three singles.  Another is the next track “Beck + Call”, a bass-heavy groove that hits with body blows.  Dreimanis screams “She loves me, she loves me not!” while Leah Fay floats above it.

Things get dancey on “Now I Know”, a track which recalls certain aspects of the 1980s and a little bit of U2.  Fay takes the center stage with an irresistible shouted chorus.  We go punky on the brilliant “Johnny + Mary”.  Fay has a punky sass that she employs with pure attitude.  Meanwhile the band chug away on some heavy riffing.  One lick even sounds like an Iron Maiden melody.  A dusky ballad called “Strange Habit” closes the first side.  This delicate song shows that July Talk can do it quietly too, and successfully.

If you have not heard the first single from Touch, “Push + Pull”, do so now.  A slinky groove turns into a battering ram.  “Push + Pull” is a great representation of the July Talk sound.  Whether you are dancing or thrashing, “Push + Pull” will work for ya.

“Lola + Joseph” rests on a spare but killer guitar hook.  Fay and Dreimanis trade off vocals seamlessly, as things get hot.  “But I’ve never done this, can you show me please,” pleads Dreimanis during one sexy exchange.  “Just count to five, not too fast,” whispers Fay in response.   “Lola + Joseph” is the hidden gem on this album.  It’s the nice little surprise that you get for playing the album through.  It’s just killer.  Leah Fay goes for a new wave punky snarl on “So Sorry”, another brilliant and loud track.  “Jesus Said So” has a completely different vibe, more like classic 50s doo-wop in a modern song.  Closing with a haunting song, the last is the title track “Touch”.  Piano is the main feature as it builds to a dramatic close.

Check this band out.  Touch is only their second album.  Time to get on board!

5/5 stars

* “Guns + Ammunition” directed by Warburton is one of the coolest technical achievements in a music video you’ll ever see.  Check it out below.

REVIEW: Judas Priest – ’98 Live Meltdown (1998)

JUDAS PRIEST – ’98 Live Meltdown (1998 BMG)

First in a long line of non-essential Priest live albums, here’s ’98 Live Meltdown.  Why did bands at certain points feel the need to add the year to the title?  Warrant – ’96 Belly to Belly – Volume One.  Kind of silly, right?  For fans who know their metal history, 1998 falls in Judas Priest’s Ripper Owens years.  Priest had just released their first album without Rob Halford, Jugulator.  Live Meltdown (let’s leave out that ’98 part for simplicity’s sake) captures the tour that followed, from various uncredited dates.

Fortunately the album is better than its title and awful cover art.  (Shame on you Mark Wilkinson!)  Ripper Owens provided fresh young lungs and with him at the mic, Priest were uber-powerful live.  All the new tunes from Jugulator were better in the live setting too.  “Blood Stained” is devastatingly powerful, and an enthusiastic crowd eats it up.  There are a few extraneous Jugulator tunes.  The world could have lived without “Death Row” and “Abductors”, and maybe the title track could have been thrown in instead.  Fortunately the track list is an otherwise excellent mix of new tracks and old cuts.

Priest deserve points for re-imaging their Joan Baez cover “Diamonds and Rust”.  The acoustic version was completely new for Judas Priest and Ripper could easily handle the heavy and the light.  Even though it’s acoustic, “Diamonds and Rust” represents Sin After Sin on a CD that gives face time to nearly every Priest album.   Rocka Rolla and Ram It Down are shunned as usual, but otherwise the only albums without tracks on this are Turbo and Point of Entry.  There is an emphasis on the classic material from the 70s, solid songs from the early 80s, and four tracks from Painkiller.  It’s a well-rounded album, and by the next live release (2003’s Live in London) they changed it up and added “Turbo” and “Heading Out to the Highway”.

Ripper was a great lead singer for this band during Rob’s absence.  He took one of the hardest jobs in rock and roll and did it with class.  Ripper had the goods.  He could scream the notes.  He added his own slant with guttural growls.  He struggled with “Painkiller” proving he’s a mere mortal but still he got the job done.

Live Meltdown was self-produced by Priest and Sean Lynch, but the guitars are too low in the mix.  The emphasis is on Ripper, but it seems to come at the expense of the volume of the rhythm guitars.  And the packaging is atrocious.  While it is true that most metal bands like Priest found themselves on smaller record labels, this is worse than a 90s indy band.  Fortunately the music and performance justify its existence.

Curious fans are advised to pick up Live Meltdown for the best representation of the Ripper Owens years.  It’s better than Jugulator and Live in London.  Fans are unanimously happy that Rob Halford is back in Judas Priest today, but that shouldn’t be taken as a slight against Ripper.

3.5/5 stars

#587: Jean’s Stormy Weekend Vinyl Tales (With Video)

GETTING MORE TALE #587: Jean’s Stormy Weekend Vinyl Tales

Another long weekend in Ontario has come and gone.  Yes, international friends, the first weekend of August is a long weekend for we Ontarians.  Despite a stormy start, it was just a lovely time.

Every holiday weekend needs its weekend music (unless your name is “1537” or some similar number).  The car trip commenced with the finish of a double live album called Black Masquerade by Ritchie Blackmore’s Rainbow.  This 1995 concert features Doogie White on lead vocals.  We enjoyed it as a contrast to the newer Live in Birmingham 2016 with Ronnie Romero singing, which had been in the car during the week.  On the whole, I think I prefer Romero to White in Rainbow, but that’s not an easy choice to make.  Both are very talented and charismatic frontmen, but with very different voices.

When Black Masquerade came to its natural closing point with “Smoke on the Water”, I switched the deck over to the new Styx.  Don’t be surprised if you see the new Styx album The Mission on many 2017 year-end lists.  It’s been a favourite of mine the past few weeks, and Mrs. LeBrain was very impressed herself.  “And this is their new album?” she asked, since it sounds straight out of the 1970s at times.

We got to the cottage Friday night.  A storm was blowing through.  It was too cold for funnel clouds to form, but as you will see in the video I put together, it was gale force weather.  And then the next day?  Completely calm.

Brand new video!

For weekend entertainment, I brought with me some of the Marvel Cinematic Universe movies.  Thanks to Mr. BuriedOnMars, who has been reviewing the MCU films in order, I have been re-watching the early ones again.  This weekend I chose Iron Man 3 and The Avengers, because neither are on (Canadian) Netflix at the moment.  Both were enjoyable entertainment, but Iron Man 3 is just too gosh darn long and weakly plotted.  And of course there was more music to be heard.  Some friends down the road were partying to George Jones.  It reminded me of the old days when my Grandpa would have done the same but maybe with Kenny Rogers instead.

Mom and dad provided the meat for the weekend, and I did the cooking.  Jen did up her potatoes and I took care of the steaks.  On the holiday Monday, we hooked up with old buddy Peter and his sister Jo.  Regular readers may recall some of my adventures with Peter, particularly Getting More Tale #559:  Hotel Hobbies.  It was fantastic catching up with the two of them at the newly renovated Jean’s for breakfast.  Jean’s is bigger and just as busy.  It’s one of those reliable breakfast places that we have been going for years.  Still reliable!

Peter told me something at breakfast that did surprise me.  I noticed that the old Record Store in which I worked was now buying used vinyl again.  In the past, only Tom‘s store stocked used vinyl but times they-are-a-changin’.  Sadly Peter’s dad passed away late last year.  He had some old vinyl.  Not a lot, just about 20 records or so.  Pete’s dad would have had old German music, nothing of any particular monetary value.  Peter decided to give my old store a call to see if they’d take them off his hands.  What he was told was so strange:  He’d have to send them into the head office, and they’d take a look and get back to him within one month.

One month?  Peter took the old records to Value Village and dumped them there.

I don’t know what the story is with the one month thing.  Maybe they realized the records weren’t their thing and were trying to brush him off?  Seems a bizarre answer.

I’m sure if Peter’s dad somehow had any rare German Scorpions records, he would have let me know, as unlikely as that is!

Great to see old friends again.  After breakfast the weather was starting to turn rotten, so we made our way home.  And what a musical ride it was!  All of Deep Purple’s Purpendicular album.  All of Rush’s Moving Pictures.  Side one of the next album, Signals.  It was a smorgasbord of so called “smart-guy rock”!

Hopefully we’ll make it up a couple more times before the summer is over.  There are still quite a few new albums here at LeBrain HQ that need road trip testing.  Styx’s The Mission passed the road trip test, securing a big point in this year’s Best Album stakes.  To be continued….

 

 

REVIEW: The Black Crowes – The Southern Harmony and Musical Companion (remastered)

 

THE BLACK CROWES – The Southern Harmony and Musical Companion (originally 1992, 1998 American remaster)

On their first album, the Crowes were old time soulful rock and roll saviours.  They were a retro treat, an antidote to the Poisons and Bon Jovis and Warrants.  By their second album, the Crowes became artists.  Fraught with tension, ther brothers Robinson battled over creative direction.  Songs were recorded, re-recorded, dropped, replaced.  But it all happened very quickly.  The songs were written in a matter of weeks, and the album was recorded in a matter of days, according to Chris Robinson.

There was also a lineup change.  Guitarist Jeff Cease (who didn’t play much on the first album anyway) was out and Marc Ford from Burning Tree was in.  Perhaps most importantly, the Crowes added a full-time keyboard player.  Canadian-born Eddie Harsch (R.I.P.) fit like a glove and became a fan favourite relatively quickly.  Unusually, Harsch isn’t on the front cover though he’s on the back and inside of The Southern Harmony and Musical Companion.

Get stung!  “Sting Me” is one of the songs the brothers fought over.  One liked the fast one that opens Southern Harmony.  One preferred the original slow version that’s included as a bonus track.  The fast version won out and you will get why.  It’s hyper-fast, but with the southern flavour added in shots.  Backup singers Barbara and Joy are all over the album, including “Sting Me”, putting a soulful spin on everything.

Can I have some “Remedy”?  Track two was a #1 hit for a stunning 11 weeks.  A slick groove and funky electric piano make this one a blues rocker for the ages.  In one track, the Crowes stepped away from their previous derivative sound, and hit the warp drive.  It’s such tremendous leap in terms of growth.  Barbara and Joy have the chorus covered while Chris scats his way into the charts.

The acoustic side of the Crowes comes out on “Thorn in My Pride”, which also points the way forward to 1994’s Amorica.  Congas and organ add a slightly psychedelic slant, but the song also gives way to an electric jam.  Another single and another hit for the Black Crowes.  Going further into electric blues, “Bad Luck Blue Eyes Goodbye” is raw and exposed.  The band and producer George Drakoulias captured a warm and bare sound, and no track shows it off better.  You can hear the hum of hot amplifiers.  And those amps get cranked up on “Sometimes Salvation”.  Heavy blues, emphasis on groove.  Drummer Steve Gorman has long been this band’s secret weapon.

Side two is cranked immediately on the rock and roll “Hotel Illness”.  Guitars crash and slide, it’s a harmonica blowin’ good time.  Southern Harmony takes a few listens to fully penetrate but a track like “Hotel Illness” takes no time at all.  Then the black moon starts-a-creepin’.  There’s a dark swampy vibe to “Black Moon Creeping”, but heavy with growling guitar explorations.  “No Speak No Slave” crawls up next, bustin’ down the doors with some sweet guitar harmonies.  For songs like “No Speak No Slave”, guitar players have admired this album for a long time. Then it’s on to “My Morning Song” which returns the emphasis to some soul singin’.

An acoustic cover of Bob Marley’s “Time Will Tell” sounds like a jam, but those things are often the magical moments.  That’s what “Time Will Tell” is, a magical moment.  It’s a snapshot of a group of musicians just singing and playing with their hearts.

As with the other Crowes remasters from the 1998 reissues, Southern Harmony has bonus stuff.  All four have a sticker inside with an ad for the forthcoming Crowes album By Your Side on the back.  There are two music videos, a screensaver, and a “link to the Black Crowes’ website!”  More importantly there are two bonus tracks.  The aforementioned “slow” version of “Sting Me” is interesting but the fast version sets it apart but the other mid-tempo material on the album.  Another fast tune, “99 lbs” is an instantly likeable blues cover, more straightforward than the album itself.  It’s more like Shake Your Money Maker Crowes.  Great tune for a bonus track.

If you’re familiar with this album, you may agree.  If you’re not, you probably know this album for its reputation.  Southern Harmony and the Musical Companion is an essential album for any rock collector with integrity.  They don’t come more authentic or proudly individual than this.  Get some.

5/5 stars

REVIEW: Ozzy Osbourne – No More Tears (remaster)

“Politicians make decisions, they’re the ones to blame, so don’t blame me.”  — Ozzy Osbourne

OZZY OSBOURNE – No More Tears (originally 1991, 2002 Sony remastered edition)

No More Tears was a big hit for Ozzy and is usually hailed as a “comeback” and “his best album since Randy Rhoads”. But is it?

No More Tears certainly offers chills, thrills and new sounds.  Slide guitar on an Ozzy album?  Check out “Mr. Tinkertrain”.  Zakk Wylde was starting to spread out and grow, really exploring his southern roots and adapting that to heavy metal.  No More Tears might be the peak of Ozzy’s collaborations with Zakk, as they really did produce some magic here.  Some of the stuff Zakk does on “Mr. Tinkertrain” alone is career-defining.

Ozzy was also trying to escape his “satanic” image, and No More Tears was his step away from that.  It’s also a step towards the mainstream.  Second track “I Don’t Want to Change the World” is an example of Ozzy’s turn to radio-ready hard rock.  It’s a shame because after the chunky guitar assault of “Mr. Tinkertrain”, a speedy metal track like “Don’t Blame Me” would have been perfect in the second slot.  “I Don’t Want to Change the World” is unfortunately not much better than a Motley Crue filler track.  It’s repetitive and despite Zakk’s squeals and licks, fails to launch.  His solo at least scorches hot.  Then the whole thing gets stuck in the mud.  “Mama, I’m Coming Home” (lyrics co-written by Lemmy) was the hit ballad that I never liked.  “Mama” more than any of the other tracks really represented Ozzy’s desire to break free of the shackles of his own image.  There are better ballads on the album.  “Mama” is so generic it could have been recorded by literally anybody.

Moving past, the album catches a little air due to the groovy chugging riff of “Desire”.  The stock melody doesn’t do it many favours, but momentum is restored.

Ozzy did well by discovering his newest member, bass player Mike Inez who later went on to Alice in Chains.  Inez was a co-writer on the title track “No More Tears” and his bass line has become a signature hook.  “No More Tears” is one of Ozzy’s greatest achievements as a recording artist.  This is a direction he should have explored further.  Even though it’s incredibly memorable and accessible, “No More Tears” has slightly progressive and psychedelic elements mixed in.  Its groove was detuned and modern, but the samples and keys bring it levels above what most other mainstream bands were doing in 1991.  And then there’s Zakk’s slippery slide guitar expertise.  It just doesn’t get any better than “No More Tears”.  Ozzy wanted to move beyond being the clown prince of devilish metal?  Mission accomplished and then some, in a completely fearless 7:24.  Ozzy was an innovator when he was in Black Sabbath, and in 1991 he became that again on “No More Tears”.

Opening side two, “S.I.N.” is great old-school Ozzy metal.  Call it “S.I.N.” or just “Shadows in the Night”, this track has the kind of classic hooks and soaring vocals that Ozzy is so good at delivering.  Ozzy had a core writing team of Zakk and drummer Randy Castillo, who wrote this killer.  Lemmy stepped in to help out on “Hellraiser” which Motorhead recorded as well on 1992’s March ör Die.  “Hellraiser” is too middle of the road to be classic.  Even Motorhead’s version kind of sucks.

A stock ballad called “Time After Time” is a tad better than “Mama, I’m Coming Home”.  It has some pretty sweet melodies and harmonies going for it, and another brilliant Zakk solo.  “Zombie Stomp” brings back the heavy, simply by living up to its name.  You got a name like that, you better stomp, and this one stomps like all the beasts in the jungle are coming for you now.  It’s also plenty of fun.  Surely an underappreciated Ozzy career highlight.  Drummer Randy Castillo had a lot to be proud of on this one, as he took the spotlight for the two minute tribal intro.  When that’s all over, Zakk powers the groove.

More fun ensues on “A.V.H.” (no idea what that stands for).  A little bit of southern pickin’ from Zakk gives way to an adrenaline powered blast.  It’s a shorty compared to some of the more epic lengthy songs.  Finally “Road to Nowhere” ends the album with a retrospective.  “I was looking back on my life, and all the things I’ve done to me.”  It’s easily the strongest ballad on the album and one of Ozzy’s personal best.  “The wreckage of my past keeps haunting me,” wrote Ozzy in 1991, perhaps not knowing that it always will.

There is no arguing the importance of the song “Mama, I’m Coming Home” in the career of Ozzy.  It went top 30, and was huge on MTV.  Would No More Tears be a better album without it?  Should Ozzy have released it as a single or on a movie soundtrack?  Try this.  Remove “Mama” from the album, and put the B-side track “Don’t Blame Me”* in between “Mr. Tinkertrain” and “I Don’t Want to Change the World”. There is something to be said for a good B-side, and Ozzy has done a number over the years.  Yet “Don’t Blame Me” is far too good for that fate.  It combines riff with groove and hooks like nothing else on the album, and just listen to Zakk’s funky pickin’.  Fortunately it’s on the 2002 Sony remastered CD, along with a lesser B-side called “Party With the Animals”.  You might remember it from the 1992 soundtrack Buffy the Vampire Slayer.  “Animals” is definite B-side material.

Back to our original question.  Was No More Tears the “best album since Randy Rhoads”?  It’s quite good and easily his biggest since Randy Rhoads.  But it has filler, and some of that filler is downright annoying.  The remastered edition is the one to get, since you don’t want to miss out on “Don’t Blame Me”.  Bark at the Moon is likely the high water mark since the passing of Rhoads.  No More Tears is still one to own, even if you have the hits, for some killer and underrated album tracks (and one B-side).

3.5/5 stars

* Two early album titles used for this record were Don’t Blame Me and No Dogs Allowed.

REVIEW: The Black Crowes – Shake Your Money Maker (remastered)

THE BLACK CROWES – Shake Your Money Maker (originally 1990, 1998 American remaster)

In 1990, just on the cusp of a musical revolution, a new band emerged from Georgia to challenge everything that was going on in rock and roll.  The biggest rock bands in the world had been playing around with the blues, but now there was a new band who lived and breathed it.  The Black Crowes were unlike all the other bands (except maybe the London Quireboys) and their debut album Shake Your Money Maker shook the money tree!

With George Drakoulias in the producer’s chair, the Crowes laid down one fine debut album.  They drew influence from the 70s:  Bands like the Stones and Skynyrd, as well as the old Mississippi Delta bluesmen.  The slide-drenched “Twice As Hard” certainly didn’t sound like a new band in 1990, but its honest authenticity has kept in a fan favourite for decades.  Listen to Rich Robinson’s slide and dig in.  Vocalist Chris Robinson’s bluesy drawl delivers a hell of a chorus.  “Twice As Hard” is perfect in every measure.

Rolling right into the first single “Jealous Again” the Crowes sound like the offspring of the Stones at their boogie-woogie best.  During the summer of 1990, you simply could not escape these songs.  Unlike many of their contemporaries they still stand tall.

The Stones had their “Angie”, the Crowes have their “Sister Luck”.  Shake Your Money Maker is a well rounded album with a few piano based slow tracks.  You want authenticity?  That’s Chuck Leavell on keys (he’s been playing with the Rolling Stones for decades).  Back to the rock, “Could I’ve Been So Blind” kicks it with a shot of caffeine and a great chorus.  Thing go slow again on the organ based blues “Seeing Things”.  The Crowes were just kids but it sounds like they have years and years of pain to pour into these songs.  “Seeing Things” is a tour de force!

One of the most well known singles from Shake Your Money Maker was the old Otis Redding cover “Hard to Handle”.  Bringing the boogie back, the Crowes had a huge hit with this cover.  It must be noted that there are two different versions of this track.  Radio stations were serviced with a very rare “horn mix” that brings in a brass section.  (This extremely rare promo CD is catalogue number PRO-CD-4896.)   The remix still gets occasional radio play.  Unfortunately the album only has the original mix.  (There were plenty of live and acoustic B-sides made for these singles too.)

“Thick N’ Thin” begins with a car crash, and this is one of the most energetic tracks in the Crowes catalog.  Like the Faces on adrenaline, “Thick N’ Thin” is a blast.  Fast paced rock and roll with boogie woogie piano gets the feet moving.  One of the fastest songs gives way to the slowest one.  “She Talks to Angels” is the only one that deserves the tag “ballad”.  Acoustics guitars, organ, and Chris’ plaintive voice took it to #1 on the US album rock charts.  It’s still just as stunning today.

Moving in for the close, “Struttin’ Blues” is relatively nondescript compared to some of the prior ass-kickers.  They save most kick-ass for last:  “Stare It Cold”.  It starts as a standard Stones-y rocker, but then it picks up speed right to the end, brilliantly ending the debut album on a hell of a good impression.

The 1998 remaster contains two bonus tracks and a few anachronisms:  music videos, a screen saver and “a link to the Crowes’ website!”  With the benefit of hindsight, we would have preferred more bonus tracks, but in 1998 this was cutting edge stuff.  The bonus cuts include “Don’t Wake Me”, a slide-drenched add-on.  As a song it’s not the most memorable, but that slide guitar is priceless.  The second is an “acoustic” version of “She Talks to Angels”.  The emphasis is on piano, and it sounds live in the studio.

Huge credit must go not only to the Black Crowes but also to producer Drakoulias.  His reputation speaks for itself but this album still sounds fantastic.  It does not sound like it was recorded in 1990.  The drums and all the other instruments are full and clear.  The brothers Robinson wrote all the original tunes, and as it turned out they were a classic batch.  Shake Your Money Maker is not original or innovative, but it is timeless.

4/5 stars

#583.5: Going the Distance at Sunrise Records

The return of Sunrise Records to Canada has been one of the most exciting stories of 2017 for fans of physical product.  I rarely leave without new music under my arms.  This time I went for the new Alice Cooper album Paranormal, deluxe edition CD of course.  It was there front racked, $29.99.  A bit pricey compared to Amazon, but I wanted to buy it so I went for it.

I always get good customer service at Sunrise, and I went to the counter to ask a question.  The lady working looked it up — the Alice Cooper “Paranoiac Personality” single on 7″ vinyl.  No luck, as it turns out Sunrise don’t get many 7″ singles that aren’t for Record Store Day.  And that’s fine, but here’s where she went the extra mile.  She was working on something else and said, “I’ll be right over here in this isle if you have any more questions.”  Cool.  I appreciated that.

I had no more questions as I came for a few specific things.

  1. Something on vinyl that I didn’t already have on CD.
  2. A fidget spinner.

Mrs. LeBrain bought me a fidget spinner for my birthday, but I didn’t know how many levels of quality there are in those things.  That one is a light silver metal and doesn’t spin very long.  Mrs. LeBrain’s is much heavier and spins much longer.  I timed it once at 11 minutes!  It so happens that Sunrise had a buy one/get one free sale on fidget spinners.  So I bought the heavy one that Mrs. LeBrain owns, and a second metal one that looks like a ninja star!

Finally, some vinyl.  There were plenty to tempt me, but I didn’t want some crappy reissue.  I chose July Talk’s Touch.  And it’s excellent!  This band is impossible to describe.  Lead singer/guitarist Peter Dreimanis has a whiskey soaked Tom Waits howl, but it’s his own twist.  Leah Fay (lead vocals) contrasts Dreimanis, sometime delicate and sometimes loudly.  There is nothing easy to pigeonhole on this album.  They go from bluesy to punky to dancey.  But always with a toe in another genre too.  They get heavy and they get soft and every track is good.

Thanks Sunrise for another successful music run.  It won’t be our last I assure you.