This morning I had a blast taping this episode of Tim’s Vinyl Confessions! Together we showed off some of our rarest CDs. That’s part of the pleasure of being a collector: sharing our treasure with you!
Thanks for having me Tim! Enjoy this awesome two-hour extravaganza of digital rarities!
LOUDNESS – On The Prowl (1991 Atco)
Loudness made a distinctly commercial move when giving original lead singer Minoru Niihara his walking papers. They replaced him with American singer Mike Verscera, and on some tracks, they made a turn towards radio-playable rock. Their second record with Vescera was an interesting one. 1991’s On The Prowl features only three new songs, and eight re-writes from their first four Japanese albums. To most listeners, they would be like new songs anyway.
“Down ‘N Dirty” is predictably a hard rocker, slightly sleezy like something Extreme or Bulletboys would have put out. Not a bad song by any means. It surpasses many of its better-known contemporaries by being a bit heavier and by virtue of Vescera’s amazing voice. Having a schooled shredder like Akira Takasaki on lead guitar doesn’t hurt either. But this is a far cry from a “Rock and roll Crazy Night”!
Second track, “Playin’ Games” attempts to go back to the speedy metal of Loudness’ past. It is partially successful. There’s some ripping and shredding going on between Akira and drummer Munetaka Higuchi, who is awesome on this.
Third and last of the new songs, “Love Toys” does compete for “worst title”. Not a bad track actually, with some different playing from Akira, just a bad title. It seemed obvious they were trying for something that worked in America. No songs about crazy doctors this time. Good tune, cool riff, and some great drumming.
Vescera rewrote all the lyrics for the re-recordings. Not all the originals were in Japanese before, but perhaps Vescera was meant to make the lyrics more accessible. “Never Again” was once known as “Silent Sword” (single B-side), a fine ballad indeed, but you can see how the lyrical change would make it a little easier for some to digest. The chorus is also beefed up, massively. Keyboard adornments sweeten the tune further.
“Deadly Player” (formerly “Lonely Player) was an early thrashing diamondback snake in the original days, and it still kicks tremendous ass. There’s a Rush-like quality to the opening, but then Vescera gets a-screamin’. A frantic mixture of disparate metallic parts welded together, this tune is aimed at the brain. Akira even takes a jazzy guitar interlude.
1984’s Disillusion boasted a cool but challenging tune called “Milky Way”; here it is re-titled “Take It Or Leave It” but it is no less slammingly fun. The chorus is probably an improvement, but that’s highly subjective. The playing is awesome.
“Girl” is one of only two tracks not re-titled in some way. This oldie from Devil Soldier is one of the most twisty & turny tunes, with challenging timing. It is faithful to the 1982 original. Though far heavier, it even has a Zeppelin-like flavour to one of the main riff sections. You could picture Page and Bonham jamming on it, but then the track goes full metal (with some serious jazz to the guitars).
1988’s “Long Distance Love” is the most recent track on this album to get the re-recording treatment. From the Jealousy EP, it was never available in the States even though Loudness already had three studio records out in North America. It’s more mid-tempo and melodic than the earlier tracks tackled here. Presumably, Loudness felt it was overlooked. Re-titled “Long Distance”, it came pre-packed with a solid chorus and Van Halen-like hooks.
The legendary “In the Mirror” (no title change) was always one of the early band’s greatest triumphs. Like a lost Judas Priest classic, it combines riff and tempo in that magical way that gets the heads a-bangin’. Vescera’s high pitched screaming (his control is enviable!) adds a modern taste, but the song is just as fortified as ever.
“Sleepless Nights” is now a plural. The original (singular “Sleepless Night”) from The Law of Devil’s Land boasted one of Akira’s very best riffs. Recreated here, with modern production, it is like concrete. Perhaps Minoru Niihara’s original vocal was harder to digest, so here Mike sings with more attention to melodic sensibilities. What a riff though! Let’s not kid ourselves — this song is about the riff. The chorus is different though, and perhaps less of a fit than the original.
The last track is the earliest: “Find A Way” was originally known as “To Be Demon” on the Loudness debut album The Birthday Eve. This classic is half ballad, half monster riff-race! It’s shorter than the original, beginning as a ballad without the speed-rock intro. The vocal melody is completely different and certain memorable sections of the song are missing or altered. While the new version is undeniably more immediate, it might be at a cost. In both versions, Akira slays.
At the end of it all, On The Prowl is mostly an exercise in improved production. Those Japanese albums were not recorded with the kind of expertise that Loudness were able to employ in Los Angeles. The raw appeal of the originals will always be there, but the sonics here are clearly better. That’s On The Prowl‘s strength. Not to mention the new singer was no hack. But there’s a certain commercial slant to new tracks, particularly “Down ‘N Dirty” that feels out of place.
Needless to say, On The Prowl did not reverse Loudness’ fortunes and they were soon without a singer once more. Abandoning the American adventure for the time being, they looked back to Japan for a new singer: E-Z-O’s Masaki Yamada. 1992’s incredible Loudness continued the story, with Yamada even adding “Down ‘N Dirty” to the setlist! Maybe it wasn’t so bad after all?
4/5 stars
RECORD STORE TALES #972: Snowfort Hippies
2022: the winter that snow came back in a big way! The sheer size of the snowbanks brings me back to the winter of ’85, in my old neighbourhood. The snowbanks on the corner rival the ones we had in my youth, something I have not seen in many years. And I remembered the snowfort that George Balasz built on that corner; a regal thing indeed. The most palacious snowfort I have ever occupied! And even this story works its way back around to music.
1985 was the year I got seriously into hard rock. The Pepsi Power Hour was my favourite show and I was just absorbing all this new music through my neighbours. George had an excellent LP collection and he’d always let me tape whatever I wanted.
He had a house on the corner, and in the winter the snowbanks built up as high as I could stand. That was the year he built the ultimate fort. As I remember it, the fort had plywood roof supports, and four rooms inside, lined up in a row. You could squeeze four or five kids in there. My dad was always afraid we’d get taken out by a wayward errant car, but it never happened. He didn’t like us hanging out with George (thought he was a pervert) but he really didn’t like us hanging out in that snowfort.
George ran an extension cord out to the fort so we could listen to tapes on his ghetto blaster. We had a conversation about Judas Priest. Defenders of the Faith was their latest record and I was well familiar with the music video for “Freewheel Burning”. But I was just learning the basics and I had a lot of questions.
“What’s a hippie?” I asked George.
He didn’t really know, but acted like he did. His authoritative answer was “Hippies have long hair.”
“Well then what is Ian Johnson at school talking about?” I asked him. “He said he didn’t like Judas Priest because they’re a bunch of hippies. But Rob Halford doesn’t even have long hair.”
“You’re right,” said George. I was happy to know a few things like the names of some of the members. George or Bob Schipper gave me my first Priest poster, with the five of them standing in a row in the Defenders-era costume. I thought Dave Holland looked the coolest because of that moustache. I taped a copy of the album, but Priest songs like “Eat Me Alive” were still a bit on the heavy side for me.
I wonder what Ian was on about, with that hippie comment. He probably had no idea what the word meant either. Priest might have been considered hippies in the early 1970s, when they were wearing kaftans and denim floods. They abandoned that look a long time ago and were really known for their leather and studs. Meanwhile, Ian Johnson ditched the metal for new wave, by his own admission, in order to find a girl. His opinions and stories changed regularly.
Though my dad worried, and this irritated me, we had good times in that snowfort. George was a bit of a local punching bag, a strange guy slightly older who shoplifted and read porn. He seemed desperately lonely some times, and maybe he had to be if he was hanging out with all these younger kids. He was the oldest teenager in the neighbourhood and it didn’t seem like he had a lot of friends at school. I could identify with the latter.
As the snowfort hippies bantered about Priest, one teaching and one learning, the boombox would be moaning out our favourite songs. We talked about how cool it would be to put in a TV in the fort, but a warm spell eventually caved in the roofs. Although George undertook a mighty rebuilding effort one afternoon, the fort was all but done for the year.
But not done in my memory. As I drive around the corner, I smile remembering my dad’s warnings about safety. I play some Defenders of the Faith and raise my coffee to George, now long gone himself.
To the good times, my snowfort hippie friend.
Badlands made a great second record together, but the timing was all wrong. If coming out in the summer of ’91 against Van Halen, Metallica, Skid Row, and Guns N’ Roses didn’t mean certain doom, then Kurt, Eddie, Layne and Chris would finish them off. On the road to promote the Voodoo Highway album, Jake E. Lee and Ray Gillen dropped by MuchMusic to chat. The former Ozzy guitarist and former Sabbath vocalist might have had a sense that the album wasn’t getting the push that the debut received, but they don’t let on in this interview. A goofy Jake plays with Ray’s head while Ray tries to answer a question.
Topics:
It has come! And I’m in it!
TONY MARTIN – Thorns (2022 Dark Star Records)
Anticipation has been high for Tony Martin’s new album Thorns. His last solo record was the excellent Scream from 2005, but it feels like it was back in the 2nd age of Middle Earth! Fandom seems to have warmed up to Martin in recent years. His Sabbath albums, once derided as lesser Dio clones, are looked back upon warmly by more and more people, which could be good for Martin. And with some of those albums getting the reissue treatment in the future, the time is right for Tony’s re-emergence.
Thorns is heavy. Heavier than expected. “As the World Burns” is out of the gates with salvos of double bass and a gut-punching downtuned riff. This is essentially thrash metal – fast, aggressive, varied and complex. It’s certainly beyond Sabbath. Martin’s range is fully intact, though it sounds like he’s pushing his voice a bit too much and maybe should have laid back a bit in a couple spots. Even so, there is no doubting the man’s enduring power.
“Black Widow Angel” is hellbent for heavy. Then there’s this crazy funk metal breakdown in the middle with some wicked bass stuff, right out of the blue. Many of Martin’s songs demonstrate surprising diversity within the walls of heavy metal. Choirs appear on “Book of Shadows”, a modern Maiden-esque track with a pretty incredible lead vocal. There’s also a solidly Sabbath gothic streak.
One of the most interesting tracks is “Cry Wolf”. An acoustic metal song is often intriguing (ask Wino) and this is a fine tune with a guitar solo to match. Cool instrumentation abounds, and Martin fans know that they can expect some wicked violin within a metal song. The violin emerges on “Damned By You”, slow melodic and heavy. Moving on to “No Shame At All”, the groove takes the spotlight. The chorus is pure vintage Tony, but the groove is new.
Metal ballads rule, and “Nowhere to Fly” is a black rose of a ballad. The music is understated so it’s all about Tony’s singing. (Nothing like Dio’s, incidentally.) “Passion Killer” on the other hand rocks, but is also all about the vocals. Those “woah-oh-woah-ohs!” kick ass. There isn’t much of a chorus to speak of, but the verses slay. Tony then goes for speed on “Run Like the Devil”, hook laden and wicked! But then we get swampy on the surprising “This Is My Damnation”. It’s the second acoustic song, but completely different from the first. “Why terrorism? Why Covid? Why cancer? Why AIDS?” asks Tony in the words, speak-singing like in a Robbie Robertson song.
The closing title track is the most epic, featuring an instantly recognizable Pamela Moore (Operation: Mindcrime). Moore has lost nothing and raises the game by several levels. At first, I wasn’t sure I liked that “ooh-ah-ah” bit that sounds like David Draiman. It grows on you. At least it’s not the main hook of the song like it is with Disturbed.
Acoustic interludes, spoken word, subhuman bass, snakey synth solos, Pamela Moore…Thorns has plenty of delectables on offer. Get yours.
4.5/5 stars
Part Eleven of the Def Leppard Review Series
DEF LEPPARD – In the Round In Your Face (1989 VHS, 2001 Universal DVD)
When I was a kid, in love with music and watching every video on television, there was only one concert I wanted to see. Grade 10, going on grade 11, the only show I craved was Def Leppard. Their innovative stage in the round, in the center of the arena, seemed like the ultimate package. But I was just too young and had no one to go with, so I never made it. Fortunately, Def Leppard released a home video to satisfy those of us who could not be there. I rented the tape from Steve’s TV and made a copy. It was the best I could do on my allowance. To make up for it, I bought it three times since on different formats (VHS, DVD, CD).
I popped the tape into the VCR with anticipation. A sped-up collage of the stage assembly flashed before my eyes, to the sound of “Rocket”. A massive undertaking, but this was just pre-amble. The show was about to begin!
It was just as I had heard about in the highschool halls. The stage was draped on all four sides by massive Hysteria curtains.
“I know what you’re thinking,” says Clint Eastwood over the sound system. “‘Did he fire six shots, or only five?’ Well to tell you the truth you know in all is excitement, I’ve kinda lost track myself.” A laser show begins dancing on the curtains. “You’ve got to ask yourself one question. ‘Do I feel lucky?’ Well do ya, punk (punk punk punk)?”
Guitars replace the echo of Eastwood’s voice.
“I said welcome to my show!” screams Joe Elliot, teasing us before the curtains finally crash down and “Stagefright” kicks off the proceedings! Even in my armchair, there’s still goosebumps.
Def Leppard rip through “Stagefright”, completely in control, on fire as hot as their early days. Each member throws shapes on stage while Rick Allen keeps the whole thing moving, on drums in the middle. Leppard’s stage is not flat, with catwalks and staircases for the band to run and jump all over, which they do. Overhead cameras capture everything, from every angle. Nobody but Allen is confined to one space, as the band leap from place to place in the name of entertainment.
Continuing with the Pyromania, “Rock! Rock!” keeps the pace going at full speed. It brings a tear to the eye, seeing Steve Clark do his trademark whirlwind moves on stage, accented by his red scarf and made only more perfect in the round setting. A reminder that this was it — the last high point of the Clark era. Fortunately captured on camera and tape.
The first new song, and break in tempo, is “Women”. This is the famous version released as a single B-side with the “We got everything we need!” intro. You know it, you love it, it’s legendary: the live version of “Women”. Rick Savage mans the keyboard station for the time being while the lights get dimmer. Lots of echo on this one to duplicate the album ambience. “Too Late For Love” — a damn fine version — brings a ballady vibe, which they then lean into fully on an early appearance of “Hysteria”. The live version of “Hysteria” is lengthier with an extended bass intro. It feels like Def Leppard are a band with four frontmen, with the amount of shape-throwing going on here! And, for a moment, Joe Elliott on rhythm guitar! A funny little 80s axe with no headstock it is, locking down the riff while Steve and Phil embark on a glorious dual-guitar harmony solo.
Steve Clark gets a mini-solo to open “Gods Of War”, a Leppard epic that really shines in the live setting. We always thought it should have been the 8th Hysteria single. Rick Savage on acoustic guitar during the outro. The lights blast at the end, simulation “the bomb” and the band exist the stage as the lights go black. It’s a perfect transition to the gunshot sound effects that open “Die Hard the Hunter”. Lighters up! Off goes Phil’s shirt. This track is a return to the tempo of the opening duo, all three being from Pyromania.
Indeed, it is time to address the setlist. You may have noticed all the tracks are from Pyromania and Hysteria thus far. There is nothing from On Through the Night, and only one from High N’ Dry: “Bringing On the Heartbreak”. “This is one of our earlier songs, that we’re going to play a brand new way for ya,” says Joe. It seems they were trying to focus on the big albums that people had heard on MTV rather than their heavier metallic roots on this tour. Phil Collen gets a nice acoustic intro to show off his skills, along with Steve on doubleneck. This new semi-acoustic version of “Heartbreak” was so the band wouldn’t get sick of the song; it’s interesting anyway.
“Foolin'” ushers in a long stream of big, big hits. Steve’s still rockin’ the doubleneck. Then “Armageddon It” is nice and fresh. Much of this footage will be familiar to fans of the music video. “Animal” is tight, and received with a rapturous applause. Lots of girls in the front row dancing to this one.
There’s a touching moment in the “Pour Some Sugar On Me” intro when Joe says that the return of Rick Allen “the Thundergod” on drums was the biggest “up” that the band ever had. They then make easy work of the hit single. Phil takes a solo rip on the fretboard before “Rock of Ages”, and then of course the obligatory long audience singalong section. (“You can do better than that!”) The encore “Photograph” closes the show, and a great song to do it with. Shirts are no longer required where Joe and Steve are concerned.
This video was expertly directed by Wayne Isham. It is simply one of the best shot and edited live concerts available on DVD. It’s also – sadly – a document of the last stand for this lineup of the band. They had hit the top. Unfortunately you can never stay.
5/5 stars
Previous:
Next:
12. The Wait for Adrenalize (Record Store Tales)
For your convenience and enjoyment, here is an isolated video of the moment we surprised Aaron with the new Tee Bone Erickson music video “Community”. I will remember this night always.
The secret is out! This show was a month in planning. We have been wanting to do a tribute to AARON from the KMA for some time now, due to his passion for Community. And tonight we finally did it, surprising him with a blindside like no other!
For the last month, Tee Bone has been secretly toiling away on his new magnum opus, like a Mr. Holland gone mad, with late nights and early mornings.
Now we can reveal the truth: the Community that Aaron nurtured has repaid him in song. The new track “Community” features our contributions and our tributes to the man. The very first duet with Tee Bone and Meat together, and the first vocal contributions from LeBrain and Geoff Stephen in a Tee Bone song! And we got to spring the surprise on him live! His reactions are on video for you to see yourself.
We had a full house tonight with Harrison, Kevin, Sarah, Geoff, Meat, John Snow and Tee Bone all in the house with James and Aaron! A first!
Key points:
If you were able to watch live, thank you for helping making Aaron’s party something truly special!
You will be able to buy “Community” on Bandcamp next week. Wahoo!!
The LeBrain Train: 2000 Words or More with Mike Ladano
Episode 97 – The KMA Saturday Special
DO NOT miss this. Join Harrison and I for a special Saturday evening show! We replace the usual Friday night chat with special guests…
If you are reading this, then you are a part of the community! The Keeps Me Alive guys were here first, rocking us since 2006 with their passion for music. James is the “concerts guy” where reviews are concerned, and this is his very first time going live with us. Harrison will be grilling James on just why he wanted me to eat a worm and a stick for $7. Meanwhile, I’ll be asking about beginnings. Why did these two guys decide to start writing about music anyway? And what’s the secret to their longevity?
This show has been a long time coming! I have wanted to spotlight the KMA for a year and a half now. Tonight will be a good time, I promise you.
Saturday February 5, 7:00 PM E.S.T. on YouTube, Facebook and also Facebook!
mikeladano.com 