These shows have a different format from the usual. Each of us picks three albums from the year 1981, and we discuss them in depth. From the facts & figures, to the historical context, and personal impact, we will cover it. I won’t reveal the 12 albums total we will be discussing, but you won’t be disappointed. Expect variety. We will also tackle world history and pop culture of the year, and might even have early video footage of a very young Uncle Meat in his first acting role!
Your panel are as follows:
Myself (LeBrain)
Australia Guy (Harrison — who was not even born in 1981)
HAREM SCAREM – Rubber(1999 Warner Japan) RUBBER – Rubber(2000 Warner Canada)
Time hasn’t been too unkind to Rubber, the experimental Harem Scarem album where they actually changed the band’s name to match. Except in Japan where Harem Scarem were huge, a strange album by a band called Rubber emerged in the summer of 2000. A generic, low budget rubber duckie adorned its cover. No picture of the band on the back, but the mixing credits of Harry Hess and Pete Lesperance revealed the connection. In Japan, the album was released in 1999 as a full-on Harem Scarem album, with all four band members depicted on the back, including Barry Donaghy and Darren Smith. (Notably, Smith is not pictured nor listed as a band member on the domestic CD, as by the time it was released, he had left the band.)
What’s the fuss, then? Harem Scarem had released a series of excellent albums with rarely a dud, but little impact in Canada or the United States. Their albums had been skewing progressively more pop as the 1990s wore on. By Rubber, it could almost have been considered a complete re-invention to a pop rock sound, heavily influenced by the simplicity of 90s pop-punk bands. So the band was relaunched in hopes that some people thought they were a new hot group on the scene with a sizzling debut.
The Japanese and domestic CDs had different running orders, but since it was released in Japan first that’s the track list we’ll be following, including exclusive bonus song “Enemy”. To its merit, the domestic CD includes an exclusive remix of “Sunshine” by noted producer Arnold Lanni.
“It’s Gotta Be” opens the album with a very 90s-sounding simple descending guitar riff. It stands upon a catchy chorus, which Harry Hess delivers with the usual melodic expertise. There are stronger tunes on the album, but “It’s Gotta Be” sounds very much like what was on the radio and video at the time. Bands like Marvelous 3.
The oddly titled “Who-Buddy” is more like it! Fast-paced (again, think pop-punk), with twang and candy-coated melody. The build-up to the chorus can’t be resisted. So very different from Harem Scarem of old, but the same four guys do it well. Hess and Lesperance have always had a foot in pop, as demonstrated on the very mainstream Harem Scarem debut. Pop changed quite a bit from 1990 to 2000, and “Who-Buddy” is a reflection of that evolution.
“Coming Down” is a different kind of pop, more lush with Spanish-influenced guitar twang. Slower paced, but just as focused on melody, “Coming Down” is a lovely song that reminds of the melancholy music of the time. “Didn’t know the grass is always greener, and then those blades cut my own hands.”
Thing really go pop-punk on the outstanding single “Stuck With You”. As Hess sings, “There couldn’t be anymore anarchy if we tried,” you believe he’s 22 years old. Smith’s busy drumming is on the mark, and the chorus just soaks into you until it’s just…stuck with you! On the cover for the CD single, the three remaining guys are depicted with contemporary short spiky hair. If not for the lack of neck tattoos they could have been Blink 192. There’s even a reference to the current events of the time. “The killer bees, casualties, everybody’s paying a price.” Remember the killer bee scare of the late 90s? The bees never came.
Unfortunately the hit never came either. Though a brilliant song, it was impaired by a truly terrible music video about a kid who eats a variety of objects including a rubber duckie (seemingly containing the band), a doll and his little sister. Somebody should have deep-sixed that idea.
“Sunshine” opens with typically late-90s skippy sound effects and adornments. The Japanese version is 4:56 in length; Arnold Lanni trimmed his mix down to 3:54. A slow pop song with distorted watery vocals on the Japanese mix, it’s a unique sounding track that fit into the alterna-flavours of the era. Motley Crue made a whole album mixed like this, except it was shit and called Generation Swine. The Lanni mix on the domestic CD retains the sound effects but ditches the vocal distortion, in favour of a clean mix that is easier on the ears, including additional backing harmonies. Both versions have their merits, with the Japanese as a more spacey, experimental track and the Lanni version more aimed at radio.
Next up is the rockabilly “Face It”, continuing the twang of previous songs. Unfortunate album filler compared to the others. Smith’s drumming up a storm though! “Trip” is more fun with a bendy 90s riff, and lead vocals by Pete Lesperance. The chorus is suitably snotty. Another odd title, “Pool Party” conceals an interesting if not quite memorable enough song. The music is a little off-kilter, hinting at the band’s truly excellent schooled musicianship that was largely simplified for this album.
Back to the upbeat, “Headache” is pure bangin’ fun, with influences from rock to punk to ska. Then an understated ballad called “Everybody Else” sits in the penultimate slot, building tension with a stealthy backdrop of strings. Similar to past dark Harem Scarem ballads though wildly different in production. Then we close on the Japanese exclusive “Enemy”, an upbeat track with a big chorus.
Harem Scarem continued with the dual identity for a few more albums before reverting back to their original sound and name. As Rubber, they next released Ultra Feel, Weight of the World and Live at the Gods. Weight of theWorld was a return to their classic, slightly progressive hard rock sound and so the name change back to Harem Scarem was sure to follow. By 2003 the Rubber experiment was fully exhausted and the album Higher was the first to have no connection to that name. From the Rubber era, only Weight of the World was included in the expansive Harem Scarem box set.
Rubber the album isn’t bad though. It’s better than the followup Ultra Feel, and though dated, still contains a number of good songs that are fully enjoyable today. The best track is clearly “Stuck With You”, despite the atrocious music video.
QUIET RIOT – Hollywood Cowboys (2020 King Record Co. Japanese import)
We all wanted Frankie Banali go out on a high note. He fought hard. His battle with cancer was inspiring. Unfortunately, his last Quiet Riot album Hollywood Cowboys is not memorable except as the drummer’s finale. The shame of it is, they previous album Road Rage was pretty decent so it wasn’t unreasonable to get hopes up for the sequel.
The songs just aren’t memorable enough. It’s bad when you can’t remember which track was the single (“In the Blood”). The opener “Don’t Call It Love” is better; singer James Durbin was able to infuse the chorus with some passion. The problem is none of the songs stick. Can you remember how “Change Or Die” or “Wild Horses” goes without a listen? “In the Blood” isn’t terrible by any stretch but there are no real singles on this album.
The musicianship is fantastic, with Frankie drumming like only he could. There’s some tasty organ on “The Devil You Know”, but no hooks. You can hear that they worked hard on Hollywood Cowboys, adorning songs with “woo oo ooo” backing vocals and lickity-split solos by Alex Grossi.
Some highlights include an AC/DC-like blues called “Roll On”, and the ballad “Holding On” which nails the vintage Quiet Riot vibe. There’s also a blast of Priest-like metal called “Insanity” that has plenty of power if lacking in melodies.
The album sounds as if rushed, which would be understandable given the circumstances, but that’s the impression it gives. Even the cover looks rushed. The mix is really saturated and could have used some more loving care. To its credit, it is probably the heaviest Quiet Riot album ever, from drums to riffs.
Here’s the mindblowing part. Only one guy on this album is still in Quiet Riot, and that’s guitarist Alex Grossi. James Durbin left before it was released, and he was replaced by former QR singer Jizzy Pearl (from the 10 album). Legendary bassist Rudy Sarzo is returning in 2022, replacing Chuck Wright. Lastly and most regrettably, Frankie’s stool was filled by former Type O Negative drummer Johnny Kelly. None of that is relevant a Hollywood Cowboys review, it’s just recent history. One does wish for more stability in the lineup, and perhaps Sarzo will bring that.
The Japanese import bonus track this time out is a lacklustre acoustic version of “Roll On”. Frankie plays with brushes, so it’s interesting from a drummer’s point of view. Sadly it’s the kind of bonus track that’s just not worth the price paid for the import.
Hollywood Cowboys is a scattershot collection of parts that never coalesces into songs. Everybody wanted Frankie Banali to succeed, in every way possible. But one must also be honest in a review, and can take no pleasure in shitting all over Frankie’s last record.
THE MOODY BLUES – Long Distance Voyager (Originally 1981, 2008 Decca remaster)
On album #10, The Moody Blues took it to the #1 slot. Let’s take a dive and see what makes Long Distance Voyager work so magnificently.
Opening with a crash of soundtrack-like synthesizer, “The Voice” soon enters a comfortable 80s groove — think “The Highwayman” by Cash, Jennings, Kristofferson and Nelson. But it’s not country, it’s science fiction-like progressive rock. Justin Hayward’s dreamlike vocal and the the vintage keyboards create an instant atmosphere. A brief but killer guitar solo adds the right accents. What a song! A masterpiece indeed, “The Voice” personifies perfect in every way, from mood to melody to majesty.
Lush strings and tinkling computers mesh on “Talking Out of Turn”, which goes Lennon/Beatles on the first verse. Bassist John Lodge sings on this lengthy study, which was still a successful single despite its length. If the Beatles survived intact into the 1980s, perhaps they could have recorded “Talking Out of Turn”. In other words: high praise.
The omnipresent Disco movement has its impact on “Gemini Dream”, a dance able rocker with a killer beat and vocal melodies to match. Expertly constructed, and one of the best examples of a rock band stepping outside their comfort zone into the dimension of dance.
Acoustic guitars ring out on “In My World”, the side one closer and an extensive song with many guitar textures, including some delicate pedal steel. Long and deliberate, but an instrumental tour-de-force.
The second side commenced on the upbeat “Meanwhile”, a short song with quaint keyboards and irresistible Justin Hayward vocal melodies. An uplifting chorus, and you are hooked. Then it’s the wicked “22,000 Days”, like a synthed-up sea shanty! Awesome song unlike most you will hear. Trans-Siberian Orchestra ripped off this vocal style much later on.
The acoustic “Nervous” starts very early-Pink Floyd without the THC. It transforms into a big, bold ballad powered by strings. Awesome song that doesn’t care that it’s pompous and overblown, nor should it. Ray Thomas’ “Painted Smile” has an old fashioned big-top style, a bit circus-like, with rich accompanying singing and an outstanding lead vocal slot.
A final song with a big bold chorus called “Veteran Cosmic Rocker” ends the album leaving you wanting more. A bouncing progressive rock and roll anthem, this would make a great theme song for anybody looking for a corny yet spacey cue. “He struts, he strolls, his life is rock and roll.”
Since that last tune leaves you hungry, the 2008 remastered disc includes a single edit of “The Voice” as dessert. It actually bookends the album quite brilliantly. Those big Dr. Who keyboards return one last time to make sure you leave this album satisfied.
I got to hear this CD because it was Ray Litwiller’s favourite album, and that was good enough for me.
Celine Dion was the host. Sebastian Bach (Skid Row) and Gil Moore (Triumph) were up to present an award.
For context:
On February 24 1993, Canadian Prime Minister Brian Mulroney, with a record low 21% approval rating, announced he was resigning. Bach and Moore were at the Junos a month later, on March 21. Watch what Sebastian does.
Max the Axe went off the rails of the LeBrain Train, and we were hanging on for the ride!
This wide ranging interview with all four Max the Axe band members included the following subjects:
How they got their nicknames (fan question from Jeff Taylor and Tee Bone)
Drinking
Recording on 1″ analog tape vs. digitally
Trying to make a record during the pandemic
Gigs (or lack thereof)
Cover tunes
A 40 year-old tune that sounds current today
New track “Iron Cross”
New track “Droid” (which neither Meat nor Dave heard of before tonight)
Remixes of “Scales of Justice” and “Randy” for a new release
Lyrics, storytelling and getting political
LeBrain’s Cinco De-Listo Top Five Max the Axe songs
Meat’s “retirement” & future of the band
Thank you to Harrison the Mad Metal Man who helped me helm this car crash that you just can’t look away from!
NEXT WEEK:
Harrison and Uncle Meat back to discuss key albums of the year 1981! This is both a sequel to a show I did least year with Superdekes, and also a sister show to Scotch On the Rocks’ own special on the year 1981 featuring Deke and Muc. I was unable to participate in that show myself, but still wanted to celebrate four decades of great albums from that year. Join us next week!
The LeBrain Train: 2000 Words or More with Mike and Harrison
Episode 87 – Max the Axe band interview
Hear ye, hear ye! One band has consistently rocked us all since before the start of the pandemic. That band is Max the Axe, and tonight we will have 3/4 of the group with us.
They are:
Mike Koutis/Max the Axe – lead guitar
Eric Litwiller/Uncle Meat – lead vocals
Dave Haslam/Dr. Dave – lead drums
This will be their first-ever interview together, and Harrison the Mad Metal Man will be with me to quiz the band on the new EP Oktoberfest Cheer. The current crisis had a huge impact on its making and eventual release, and Max is eager to tell the story. The EP certainly brought a lot of joy as we crawled through the second year of this pandemic.
On a serious note: Please give this a “share” on your social media and help the guys out. It’s no secret that views have been down, but every time we do an interview show, we sell a CD or two to a viewer. You can help by sharing this show and maybe some of your friends will watch too. I guarantee a great night and some great tunes!
RECORD STORE TALES #953: The Moment I Dumped Conspiracy Theories
With a lot more free reading time on hand after quitting the Record Store, I dove back into one of my favourite childhood topics: UFOs.
It was Canadian nuclear physicist Stanton T. Friedman who re-convinced me there was something legitimate about the subject. Described as a “genius” by those who knew him, Friedman spent 50 years as a ufologist. He often said, “Most sightings can be easily explained. We’re not interested in those.” His point being there is a small but baffling number of contenders, that have yet to be fully debunked. I began buying up his books, and found his stance as a “facts and figures” man quite convincing. He was quite convinced that the United States and other governments had engaged in a “cosmic watergate” to cover up certain unexplained events. He went to great lengths to find and verify documents in US archives, going so far as to find out if certain typewriters were used in certain offices. If they were not, then the document was a forgery and he discarded it. He put a tremendous amount of time into his research. After seeing him speak in a documentary called Out of the Blue, I was intrigued.
I bought every book by Friedman that I could get my hands on. To balance it out, I also read The Demon Haunted World by Carl Sagan. It is important to read the view of the sceptic, but even so I thought Carl overlooked some things. Then I bought Jesse Ventura’s book called American Conspiracies, which expanded the field into JFK, 9/11 and more. Only one chapter on UFOs, but Ventura’s experiences were interesting at least. Finally, I misguidedly bought a highly reviewed book by Richard Hoagland and Mike Bara in which they presented for evidence a number of photos of “glass domes” on the moon. Suddenly and unwittingly, I had crossed the Conspiracy Threshold.
The Conspiracy Theshold is the line between the conceivable and the asinine. It’s subjective, but exists for all who delve into the world of conspiracies, just as certain and invisible as the air in their lungs. Much like the line between clever and stupid, it is a fine line that differs from person to person. Glass domes on the moon was way, way past my threshold.
What happens if you go further? In my experience, all conspiracies eventually flow to a weird, apocalyptic religious end. How far you go is up to you, but that’s where all roads lead. For example, when I followed UFO conspiracies too far on the way to the top…Barack Obama ended up a being satanist lizard alien.
Q Anon are now the latest who believe in lizard aliens. Cool story. Hey, you know what, I saw “V” as a kid too.
There are variations of the lizard alien theory, with the Queen, the Pope, the Clintons and the wealthiest families in the world all secretly running things in their lizardly ways. You’ve heard of the Bilderbergers? They’re the head honchos, when it’s not the military-industrial complex or the Pentaverate. They’re all aliens, demons or both. It’s a fine line — some who believe that the concept of aliens violates the Bible say that aliens and demons are the same thing. Whatever the finer nuances of a given conspiracy theory, this is where they all lead, if you follow the breadcrumbs all the way.
By that time you’ve either realized you’ve gone too far and need to take a step back, or you’re too far gone to be reasoned with. Not surprisingly, today’s “Pandemic Conspiracies” ultimately take you back to…lizard people and the End of Days. Go far enough down the rabbit hole and eventually you become the rabbit.
These people have sucked the fun out of conspiracy theories. With just a hint of sadness, I for one will never travel that aisle of the bookstore again.
I saw this movie theatrically in 3D, which was an awful, headache-inducing experience. Lesson learned: Movies filmed in 3D look great. Movies converted to 3D look like there is a fine layer of mud on the screen. Then I saw it on Blu, during a movie night where my choice (District 9) was voted down.
At least the 2D Blu-ray disc looks better than the 3D. However, that can’t save this movie, which is over-reliant on CG creatures and settings; all action, no pacing, no story, no character, no emotion. Let’s face it, there was never a legitimate reason to remake Clash of the Titans. There was never anything wrong with the original, except perhaps a lil’ too much homage to Star Wars (robotic owls and young men looking to escape the doldrums of their isolated lives).
When this project was first announced, I knew it had the potential to be a disaster. The only thing that could have saved it would have been going deeper back into the original Greek mythology, which the original film used only sparingly. I mean, there was no robotic owl in Greek mythology. But no, this film is even more loosely based on the source material, while continuing to use made-up characters from the original (Calibos), and let’s face it…the script sucks. The CG is hit and miss, with some things looking great and others just awful. The direction leaves something to be desired, and character development isn’t even in this movie’s vocabulary. It’s a shame, because while Sam Worthington does nothing for me, Liam Neeson and Ralph Fiennes are not too bad. The rest of the performances are like cardboard, with only the odd cameo (Pete Postlethwait’s comes to mind) having any sort of spark.
I do think it it’s funny that we always hear the same argument: “It’s a summer action movie, it doesn’t need a good script.” Why not? You see that same argument in defence of numerous action movies online. Action and script are not mutually exclusive. But it’s your brain cells you’re killing, not mine. And it’s not just just the script in this case. It’s the crappy acting, the generic CG, the fact that it’s an unoriginal remake of a classic movie, etc. Rotten Tomatoes readers have spoken: a 29% rating. Near universal bad reviews everywhere? Action movies don’t have to be stupid. I don’t want to turn my brain off when I’m being entertained. I don’t know about you, but just looking at action on the screen without any sort of raison d’etre puts me in a coma.
Bonus features: Deleted scenes on the Blu-ray are actually better than a lot of the movie itself.
Take a stand against Hollywood remakes. Don’t buy this. Hell, don’t even rent it. Just avoid it. Go get the original. It’s available on a really nice Blu-ray. Burgess Meredith, Sir Lawrence Fuckin’ Olivier, Maggie Smith…and, of course, the brilliant animation of Ray Harryhausen. I met Harryhausen once. This remake was in the works even then, and he didn’t even want to talk about it. He knew it would be not only a disaster, but would tarnish the reputation of the name Clash of the Titans. He was right.
The only way to stop Hollywood from making dumb, brainless remakes is to vote with your wallet. I got chills when I heard this was the first of a trilogy. Lord, no.
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