VHS Archives #134: Geoff Tate of Queensryche with Terry David Mulligan in Vancouver (1991)

Ever wanted to know what the legendary Little Mountain Sound studios in Vancouver looked like?  Well, you get a white wall with “Sue was here” graffiti on it.  But, you also get the legendary Terry David Mulligan interviewing the even more legendary Geoff Tate of Queensryche in October 1991!  Peak ‘Ryche.

The band were in town for a session and Mulligan caught Tate when the band were busy sound-checking.  Lots of interesting talk here.  Queensryche has done a lot of studio work in Vancouver.  Why?  According to Tate, because Seattle didn’t have the recording technology they needed to make their kind of music!  You can hear Vancouver on the Empire album, as Geoff explains.

They also talk about “Silent Lucidity” which of course was the big song for them.  It’s not exactly clear what Queensryche were doing at Little Mountain in Vancouver at that time.  Should I ask Mike Fraser?

Getting Ready for Canada Day

This my friends is a Japanese A5 wagyu.  The most highly prized steak in the world.  This will be going on the plate July 1.  It will be my first time cooking it.  Wish me luck!  I definitely will not be overcooking it.  Chefs recommend rare or medium rare.  I’ll aim for medium.  Chefs also tend to season simply with salt and pepper and little else, to let the beef flavour dominate.

So now that we have the food settled, we just need some fireworks and music.  What Canadian songs are your favourites?  Comment below.

 

REVIEW: Seagram Synth Ensemble – “Ephem” (2022 single)

SEAGRAM SYNTH ENSEMBLE – “Ephem” (2022 single)

How many formats do you own?  I know many of you own 8-track tapes, cassettes, CDs, different types of vinyl, DVDs, Blu-rays, and hybrids of said discs.  But do you own any music that comes self-contained in its own electronic box?  The Seagram Synth Ensemble’s new single “Ephem” only comes in this format, but it’s not that simple.  “Ephem” is more than a piece of music.  It’s a statement, an experiment, and an interactive art piece.

First let’s discuss the actual song “Ephem”.  Much like the group’s 2019 album No Moving Air, this track has an atmospheric though melodic quality.  A light beat backs up a couple of recurring and very enjoyable keyboard melody lines.  A sound like a flock of seagulls soaring overhead comes into play.  Things then get upbeat, and a nice fat bass synth sinks the hooks in.  The track builds with more fun melodic accompaniment, and then strips it all back to something like it was in the beginning.  It’s a great standalone song.


Learn more here in this extensive interview with Seagram Synth Ensemble

Here’s the catch.  You can plug in a battery and a pair of headphones, power up, and hit play to enjoy “Ephem”.  But you better pay attention because each time you play the song, it changes.  Like an old cassette tape, each play degrades the sound ever so slightly, almost like the wear and tear that comes with physical media.  Each time you press play, the track becomes slightly more distorted, thin, brittle.  Eventually it will deteriorate and become unplayable.  The point is to listen with intent, pay attention, and absorb the music.  Now, there is a reset function, which is awful nice of the guys, but they discourage using it.  At least that way you won’t be throwing your money away when it’s toast.  Don’t forget the whole point of it though.  To listen; to pay attention, because it will never sound exactly the same twice.  Every single time you play “Ephem” will be a unique experience.  Even the artwork on the box reflects this.

“Ephem” cost just $20 but is now sold out.  (A reissue is possible but not certain.)  Don’t expect these to turn up on the second hand market quickly.  And if it does, pray that it comes with the instructions so you can hear “Ephem” like it was brand new.

A+

 

 

#993: IAM

RECORD STORE TALES #993: IAM

Rest in peace, Shannon Larratt.  Rest in peace, Rachel Larratt.  Both gone now, hopefully to a better place.

In the decades before the WordPress community, there was one place I could go to feel like I belonged.  In 1999, a Toronto native named Shannon Larratt created a community.  He called it “IAM” – “I am” – and it was a place for tattooed and/or pierced individuals to feel welcome.  You might remember Shannon and Rachel from their brief cameo in the Kevin Smith movie Clerks II.  Remember the “freaks”?  That was Shannon and Rachel.

I joined in the year 2000 and began making new friends, close and far.  Sarge was on there.  The Legendary Klopeks were on there.  The Lizardman was on there.  Dan Slessor from Kerrang Magazine, though Kerrang was still in his future.  It was growing, and growing fast.

IAM was different.  Shannon ensured it was not just a safe place, but also a cool place.  You could pay for a membership, or just submit stories and photos for credit.  I did both, but mostly paid, because I wanted to support the community, as did most people.  It’s hard to describe just what made it so special.  It was set as my home page on my browser.  I even had an app in the toolbar that notified me when I had new IAM messages.  I’d open my window and in front of me would be a grid of photos — the most recent IAM profiles that posted updates, in the form of a blog or photos.  It was always exciting to see a friend or girl that I liked post an update!  Or someone who had not been around a while.

There was one character named Raynutz.  He had no visible piercings or tattoos (the one and only qualifier for membership), and his was the very very last profile on the grid (which you could skip through page by page).  This meant it was one of the oldest since his first post was his only post.  All he had was a mullet and a pair of Ray-Bans.  Nobody knew the story behind Raynutz.  I always suspected it was a joke test account made by Shannon, but he would never tell.  Raynutz became pure legend by not interacting with people at all.  Hundreds of messages were sent to his inbox; nobody received a reply.  This eventually led to Shannon selling a “Raynutz Ate My Balls” T-shirt.

Sarge told me he knew the identity of Raynutz, but could never reveal it.

The Raynutz Ate My Balls shirt eventually inspired Sarge to create the popular Purp Ate My Balls shirt, with my face on it.  I went by the name “Purpendicular” after a favourite Deep Purple album.  At one point, I deleted my account after a bad day at work, but I received so many “what happened?” emails that I decided to come back.  I decided on a fresh start with the name “Dewey Finn”, named after Jack Black’s character in School of Rock.  As such, I decided to create a discussion forum called “School of Rock” where each day I would prepare “lessons” for the “class”.  Obscure rock trivia stuff, like listing all the Black Sabbath singers right down to Dave Walker and Rob Halford.  It became so popular that the School of Rock forum was one of the site’s most popular, third only to Shannon’s and my own personal journals!  At least for a couple weeks, I topped the charts!  I learned quickly that keeping up that pace was impossible and eventually I slid down the charts, but usually remained in the top 20.  It was fun and a precursor to becoming LeBrain.

What about that journal?  You guessed it — those journal entries formed the basis of many of the original (and ongoing) Record Store Tales.  Unfortunately I lost many of them when I deleted my Purpendicular profile and started Dewey Finn, and I wish I hadn’t.  I posted reviews, record reviews, and all sorts of personal stuff that I wish I still had.  Incriminating evidence against the people at the Record Store who were making life miserable for me.  Actual records of the days that “the bully” decided not to speak to me for three weeks at a time.  Customer stories galore.  Writings of what I was listening to and when.  I had so much good shit in there!  I posted minimum five times per day, with lists, pictures or stories.  One of my biggest regrets is hitting that delete button.  I remember Shannon wrote some funny code into it.  When you confirmed you wanted to delete your IAM page, the text came back, “Your IAM page is now deleted, throw your computer in the garbage.”

They had big BMEcons in Toronto.  People would come from all around the world.  They’d get tattooed, pierced, suspended, drunk, high, who knows!  I didn’t go, but I do know it was a good time with music and fellowship.

My interaction with Shannon was minimal, and none with Rachel, who continued on with the site after he passed.  Now I have heard that Rachel is gone too.  It seems surreal.  We lost Sarge earlier this year too.  Fortunately most of us are still around.  Mike, Liz, Shoe, and RooRaaah (those are all real names not aliases) are still my friends.  Shoe used to live in England, and now resides in Toronto, but I still have an old mix tape that she sent me from the UK back in 2002 or 2003.  Mix TAPE.

The only elephant remaining in the room might be the question “didja meet any girls there?”  I refer you to Record Store Tales #909:  2000 Dates and the girl I dubbed “Guelph #2”!  There were others — the girl that dumped me while I was in a hotel room in Barrie Ontario was an IAM girl.  The last of them was Thunder Bay Girl, who I swear to this day probably dumped all the hundreds of cassettes that I gave her into the landfill.  I was 30 and she was in her early 20s and I was learning that age did matter.  It was a lot of fun hanging out with these girls with hardware in their nips but I was emotionally in an unhappy place and I eventually realized that dating these young goth girls wasn’t the answer.

Here’s something interesting though.  In those IAM days, I thought that I hadn’t really figured out who I was yet.  But there I was the whole time:  the music-mad journaling guy, documenting the minutia of life.  And the Record Store Tales will continue on.

REVIEW: Def Leppard – Yeah! (2006)

Part Thirty-One of the Def Leppard Review Series

DEF LEPPARD – Yeah! (CD Collection Volume 3 Disc 1) (Originally 2006, 2021 remaster)

Yeah…nah!

Why Def Leppard, why a covers album?  The idea seems to have come from Joe Elliott, who had been pushing to do something like this for over 20 years.  Upon the completion of promotion for the X album and the two greatest hits that followed, Def Leppard had no new songs to put toward another album.  Therefore, Joe’s cover album concept seemed like the right move.

We had sneak previews of two songs, “Waterloo Sunset” and “No Matter What” on Best Of and The Definitive Collection respectively.  After nearly two years’ wait, we finally got the Yeah! album in 2006.   All told, 22 different studio covers and two additional live versions were released over the many different CDs released to various retailers.  That’s a total of 24 songs to collect.  Fortunately, every single one of those tracks is included in the CD Collection Volume 3.  There are three bonus interview tracks that are not included, and we will discuss those next time.  For this review, we will focus on the core album; the basic 14 songs.

Opening with T-Rex’s “20th Century Boy”, there’s little question that Leppard nailed the authenticity vibe.  The guitar tones are perfect.  So why is my finger itching to reach for the skip button?  Doing covers is like performing magic.  It either happens or it doesn’t.  The highlight of this song is Canadian singer Emm Gryner’s awesome backing vocals.

“Rock On”?  No thanks.  I’ve never liked this track.  Blame Michael Damien for that, but…skip.

“Hanging on the Telephone” (The Nerves) is awesome!  Hard rocking, full speed, really kicking ass.  It takes Def Leppard a little further out of their comfort zone and it rocks!

From Def Leppard’s Best Of (UK only) comes “Waterloo Sunset” (The Kinks), which was an awesome bonus track but feels diminished among the other covers here.  It jumps out less in this context.  Still buttery smooth, still tasty.  They picked an excellent song to cover here.

The Sweet’s “Hell Raiser” was covered previously by Motley Crue, except they called it “Kickstart My Heart” I believe.  The instantly recognizable Justin Hawkins from The Darkness joins Joe Elliott on the microphone.  By the books, this should be a slam dunk.  Maybe it’s just a tad sterile.

One of the most pleasant surprises on the album is ELO’s “10538 Overture”.  They captured the lushness, the complexity and the many melodies.  It sounds very little like Def Leppard; another example of them stepping outside the box and absolutely nailing it.

Roxy Music appears via “Street Life”, which fails to make much of a lasting impression.  As the album progresses, most of the tracks seem to just inhabit this nondescript Glam Leppard vibe.  It happens again on Bowie’s “Drive-In Saturday”, and it really shouldn’t.

Free’s “Little Bit of Love” is highly polished, but sounds awesome just the same.  It’s like a jolt after being sleepy for the last couple songs.  Another jolt comes next.  Ian Hunter himself appears on Mott’s “The Golden Age of Rock ‘n’ Roll”, and it’s not his first time with Leppard either for those who remember the Retro-Active album.  That’s Emm Gryner on piano too.  This song truly does recall the golden age of rock and roll.  Well done.

The previously discussed “No Matter What” by Badfinger is slotted in here, previously heard on Rock Of Ages: The Definitive Collection.  Pop genius, rendered well by the Leppard.  They take some chances on “He’s Gonna Step On You Again” by John Kongos, a different kind of rhythm for Leppard.  It’s memorable and tends to work more often than not.  Sounds a bit like what got their engines pumping in the Hysteria days.

Covering Thin Lizzy, now that verges on sacred ground.  And the good news is “Don’t Believe A Word” doesn’t sound bad.  Joe Elliott has worked on Thin Lizzy remixes in the past and he knows what he’s doing when it comes to this band’s music.  It’s not bad.  That’s accurate.  It’s not Thin Lizzy but it’s pretty close.

Phil Collen takes the lead vocal on “Stay With Me”, and he actually nails Rod Stewart’s voice.  Rod was a real screamer back in the Faces days, not the crooner he is now.  Phil probably needed about a thousand lozenges after singing “Stay With Me”.

Yeah! is uneven and unnecessary.  We mentioned earlier that context is important.  “Waterloo Sunset” made a much bigger impact on the Best Of album.  Here, it struggles to be felt among 13 other covers.  Had these tracks come out on the B-sides of singles, some would probably be cult classic covers.  If anything, Yeah! got Def Leppard back into rock and roll music after the meandering X and Euphoria records.  Too many ballads, right?  That’s what we said.  So here’s some rock and roll for you like you ordered, right?

2/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection

Next:

32. Yeah! Bonus CD With Backstage Interviews

Sunday Chuckle: Buble Bieber

I love my grandma and for age 96, she’s pretty sharp.  We were over visiting the other day, watching the Blue Jays.  We were chatting away, and then she changed the subject to current events and popular culture.

“Did you hear about that Michael Buble?” she asked us.

“No…what happened to Michael Buble?” I replied.  I hadn’t heard anything good or bad.

“There’s something wrong with his face,” she answered.

It took me a minute.  Then I realized OH!  She means Justin Bieber!  Yes, Bieber is ill; it’s quite horrible actually.  It’s called Ramsay Hunt syndrome and half his face is paralyzed.  So we corrected grandma and moved on.

Still, 96 years old, she knew Buble and Bieber were both Canadian singers…so not bad, I’ll give her 1/2 a point!

It’s Synth School! The LeBrain Train with Seagram Synth Ensemble, Rob Daniels and special surprise guest Dr. Kathryn

Everything you wanted to know about synthesizer but were afraid to ask!  Thank you to the Seagram Synth Ensemble – James Reesor, James Dowbiggen and Dave Klassen whose No Moving Air album has provided many hours of listening enjoyment.  Thanks also to Robert Daniels from Visions In Sound for cohosting tonight!  And of course, special surprise guest Dr. Kathryn who had some comments and questions of her own.

Topics tackled tonight:

  • Starting out as students
  • Synths, maintenance, analog vs. digital, and more
  • The next gig (July 15 at TheMuseum in Kitchener)
  • Favourite players and influences
  • Formats such as tape and vinyl
  • Why No Moving Air was never released on CD
  • Who their favourite professor at school was and why
  • Top 3 science fiction films
  • And of course, their new single “Ephem”

“Ephem” is unique as a single, as it comes in a brand new format.  It is a piece of art and a statement about the way we consume music today.

This was a fascinating interview for me and I hope you give it a watch.

 

Please welcome the Seagram Synth Ensemble on the LeBrain Train tonight!

The LeBrain Train: 2000 Words or More with Mike Ladano & Robert Daniels

Episode 113 – The Seagram Synth Ensemble

Please give a warm welcome to James Reesor, Dave Klassen, and James Dowbiggen — otherwise known as the Seagram Synth Ensemble!  This trio of talented musicians first came to our attention with their excellent 2019 LP, No Moving Air.  Not only did the vinyl look great, but it sounded amazing.  No Moving Air is a soundtrack, or soundscape, of synth excellence, taking the listener on a journey.

Now the trio is back with a new (sold out!!) single called “Ephem” and, well folks, there’s no other word for it besides “innovation”.  The guys have not only come out with a new song, but also a new format.  It comes in the form of a small black box about the size of a guitar effects pedal.  Plug in a 9-Volt battery and a pair of headphones, and you can hear “Ephem” …but not forever!  It’s not just a song, but also a piece of art designed to make a point about listening with intent.  Music is instant and disposable these days, so the guys decided to say something about it with this project.  We will find out all about that, and much more tonight on the LeBrain Train.

Joining me for our first joint interview together will be Robert Daniels from Visions In Sound.  I can’t wait to hear his thoughts on the Seagram Synth Ensemble.

REVIEW: Fu Manchu / Fastso Jetson – “Jailbreak” / “Blueberries & Chrome” (1998 split single)

FU MANCHU – “Jailbreak” / FATSO JETSON – “Blueberries & Chrome” (1998 split Sessions Records 7″ single)

Fu Manchu turn Thin Lizzy into Thin Sludge…and it works!  Though it’s downtuned and slammin’, it’s still “Jailbreak”.  Fu Manchu went to the effort to mostly duplicate the familiar lead guitar melodies.  The hooks you remember are there.  Vocally, considering that Phil Lynott often liked to speak/sing, Scott Hill from Fu Manchu’s natural approach works just fine.  He’s different from Phil, more than you’d expect.  He doesn’t really attempt to sing the vocal melody, he just applies his own style to it.  Few people will pick this as their favourite Lizzy cover of all time, but Fu Manchu fans should adore it.  Produced by J. Yuenger of White Zombie.

On the B-side, it’s Fatso Jetson with their own brand of stoner rock.  “Blueberries & Chrome” rocks heavy with riff in your face and vocals buried deep.  It doesn’t shy away from dissonant chords but it does allow the vocals by Mario Lalli to explode on the chorus.  “Baby want sugar!”  Let’s just say it’s probably better that you can’t really hear the lyrics.  “He’s about to unwind, and it’s stuck in your face.”  Good tune though, sludgey and heavy.  The chorus is an awesome blowout.

3.5/5 stars

REVIEW: Guns N’ Roses – Hard Skool (2022 Nightrain club clear 7″)

GUNS N’ ROSES – Hard Skool (2022 Geffen 7″ Nightrain club clear vinyl EP)

Back in February, Guns N’ Roses released the Hard Skool EP (or single, or whatever!), containing the first two new Guns songs since 2008’s Chinese Democracy.  With five tracks total (two studio, three live) over three separate formats (CD, cassette, 7″), it was already a pretty good listen.  Axl’s voice has adapted to singing these demanding songs, 35 years after.  But there was always the promise of more in June 2022, and now it has come.

Members of the Guns N’ Roses Nightrain club received a brand new Hard Skool release on clear vinyl, with one exclusive live track added.  The cover art colour has been changed from red to dark charcoal grey, and a “Nightrain Limited-Edition Clear” notation has been added to the front.  This wasn’t cheap, costing $60 Canadian ($45 US) dollars to join.  There are other perks but really, the truth of the matter is I paid $60 for one song.

They had better not reissue this track!

The new exclusive song is “Shadow Of Your Love”, a recent live version recorded with Axl, Slash, Duff, Dizzy Reed, Richard Fortus, Frank Ferrer, and Melissa Reese.  If you cast your minds back to the recent Appetite For Destruction super deluxe edition, “Shadow Of Your Love” was released as a single and it got a bit of airplay.  Live with the new version of the band, it does recapture that Appetite vibe and let’s face it, the song was possibly superior to a couple tunes that did make the final album.  You can hear Melissa on backing vocals, a touch that isn’t on early live versions of the song.  That backing vocal part is present on the studio version from the third disc on the Appetite box, but not the others included.  It’s cool that they’ve brought it back.  This version is just as fast as the old ones too.  It’s awesome to hear Frank Ferrer playing the drum part originally recorded by Steven Adler.  As for Axl, he adapts.  This is one of the most high and raspy of the original Guns repertoire.  Axl delivers it smooth without the rasp and still manages to get his voice way, way up there.  Say what you want about Axl Rose, he’s sounding better than many of his contemporaries.  Of course the real treat is just hearing Slash wail on it, as he should.

As for the other songs on the single; we’ve discussed them before so we won’t spend much more time on them.  “Hard Skool” is a Chinese Democracy outtake that has been reworked with Slash and Duff McKagan.  The duo have writing credits on “Hard Skool” along with Axl Rose and former members Robin Finck, Josh Freese, Tommy Stinson and Paul “Huge” Tobias.  Formerly known as “Jackie Chan”, this song comes closest to capturing the classic Guns vibe – think Illusions era GN’R.  Slash imbues the riff with his trademark snakelike style, and Axl is in full-scream mode on the powerful chorus.  The cowbell brings us back to the 80s a bit, but the experimental solo section is more modern.  The other new/old song “ABSUЯD” is much more Chi-Dem, and more divisize.  Formerly known as “Silkworms”, Guns started playing “ABSUЯD” live after a 20 year absence last year as a surprise.  Axl’s voice is pretty strange here, sounding a bit muppet-ish.  (The screaming portion sounds like tape.)  This live track will take some getting used to.  It’s not that Axl’s voice is bad just…different than what you’re used to.

Both vinyl releases came with a sticker.  This fan club edition also comes with a Nightrain 2022 pin.  The pin comes packaged in a little mini-folder.  It is made of metal and heavy for a pin.  Made for a jacket, not a shirt.  For a higher tier, you could sign up for four pins and a hoodie.  But I really only wanted to shell out for the exclusive track.

You can’t blame Axl for wanting to get some of these old songs out since he laboured for years over them.  It’s fitting that only now with Slash and Duff back in the band, the songs are “finished”.  Keep the releases coming guys.  It doesn’t have to be an album.  It just has to be Guns.

4/5 stars

All cautions made
Every chance was given
No effort spared to save what we had
All in good faith
I would not hesitate
To extend myself and lend you my hand

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

As tempers fade
And lies forgiven
No cause embraced could break what we had
In its place
A storm is lifting
I would’ve thought you could be more of a man

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

But you had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

You had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway

You had to play it cool, had to do it your way
Had to be a fool, had to throw it all away
Too hard school and you thought you were here to stay
If that were true, it wouldn’t matter anyway