#895: Toxicity

RECORD STORE TALES #895: Toxicity

I get it.  I understand why people are surprised.  When a guy like me boasts about owning about 4000 CDs, you kind of expect certain things.  Surely, one of those 4000 CDs has to be so-and-so, right?

I’m fond of the saying “better late than never”.  There are always a variety of reasons for missing an important band in my collection.  Sometimes a band’s image turned me off.   That was true of Skid Row for a year or two.  I couldn’t get past Rachel’s nose chain.  In other instances, they weren’t what I was into during a younger phase of my life.   But on a couple of occasions, I avoided bands because they reminded me of people that I didn’t want to be reminded of.

I’ll give you an example:  The Boy Who Killed Pink Floyd.  Even if he didn’t burn me out by playing Floyd every single shift, he was such a shitty worker.  It took me years to finally take the plunge on Pink Floyd.   But I did, and I have most of the albums now.  Certainly all the critical ones and then some.  I mean, I even own Ummagumma!

So, better late than never.  I have my whole life ahead of me to keep discovering your favourite bands that I haven’t got to yet.

Recently, I really discovered The Band.  It started with “The Shape I’m In”.  The local radio station changed up the songs they repeat every year or two.  Thanks to CanCon, there’s always at least one Band song.  Several years ago, they used to spin “The Night They Drove Old Dixie Down” frequently, but this year it’s been “The Shape I’m In”.  And suddenly I was grabbed like never before.

Maybe it’s that I’m not feeling in the best shape myself, mentally and physically.  Robbie Robertson’s lyrics weren’t written about someone like me, though.  “The Shape I’m In” was written for the late Richard Manuel, singer and piano player.  As I often do, I googled the track and read up.  Richard Manuel’s tragic life story struck a chord with me.  Drugs, alcohol, and ultimately suicide.  Every time the song came on the radio, it inspired me to read a little bit more about Richard Manuel, The Band, and the rest of their members.

I watched a bit of The Last Waltz on YouTube and was absolutely blown away.  The vocals!  The musicianship!  The keen lyrical throwbacks to a time before we were born.  It transports you!  This is what I love in music!  What took me so long?

The most toxic person in my life at the Record Store loved The Band.  I don’t know how often we listened to them at work, but I began to strongly associate The Band with this person.  I couldn’t look at a picture of Garth Hudson without a feeling of this person’s presence.  For some reason poor innocent Garth Hudson became the face of The Band in my loathing mind.  It really is unfortunate.  Some of you will read this and say “pffft, snowflake.”  We each respond to stress according to our strengths and what I dealt with at the Record Store drove others to quit when I just kept going as long as I could.

I didn’t know a lot about The Band, and I remember having a conversation with this person about who their lead vocalist was.  I assumed Robbie Robertson, since he was a big solo star in Canada in the late 80s.  I had no idea that they had three main singers, and my impression was that this person thought less of me that I didn’t know.  Either way, our conversations didn’t make me want to listen.  You attract more bees with honey rather than vinegar.  This person was vinegar to me.

On one of the Taranna trips with Aaron, I found Music From Big Pink (remastered) at Sonic Boom for $7.99.  It had “The Weight”, so I bought it.  Still, I only played it a couple times and then put it on a shelf.  It didn’t connect.  Yet.

Suddenly it’s 2021 and “The Shape I’m In” is speaking to me like nobody’s business.  I pulled out Music From Big Pink again, ordered a reissue of Stage Fright, and put The Last Waltz on my wishlist.

It’s not just Richard Manuel.  Yes, something about his voice is sweet and weary and powerful at once.  Rick Danko’s voice was also very special.  The high notes!  Wow.  And Levon Helm?  Watching him drum, he was so physical!  And singing so expressively all the while.  As for Robbie Robertson, the best word I saw used to describe his guitar playing was “stinging”.  That nails it!  But I owe the deepest apologies to Garth Hudson, whose inventive multi-instrumental wizardry is key to the sound of The Band.  Mr. Hudson, I am so sorry that I used to associate your visage with this evil person in my life.

Still, it’s Manuel’s story that I find myself reading most.  So heartbreaking, but his struggles are  common with so many people.  I empathize.  Or maybe it’s just the fact that he was from Stratford, just 30 minutes away.  In fact he’s buried there and I thought maybe it would be cool to visit his grave this summer.

People can be toxic, and they can poison the things you associate with them, but here’s the cool thing.  Toxins can be worked out of the body.  Finally, it is time:  no more toxicity with The Band.  I welcome them into my heart.  They are now becoming part of my being, and that’s the best part.

REVIEW: Paul Stanley’s Soul Station – Now and Then (2021)

PAUL STANLEY’S SOUL STATION – Now and Then (2021 Universal)

Reviewing Paul Stanley’s new album, Now and Then featuring his new band Soul Station, is probably the most challenging task I have ahead of me this morning.  It’s difficult for several reasons, primarily three.  Full disclosure.

 

 

 

  1. Paul Stanley might be my favourite artist of all time.
  2. His voice is in decline and this is always evident.
  3. How can I review Paul’s soul covers without comparing to the originals?

The truth is I like soul just fine, but the bulk of my collection is made of different grades of rock.  I have an Etta James CD.  I’m far from qualified to review this.  But I have to, so I’ll try.

Paul’s band is 10 members (excluding himself) augmented by a horn and a string section.  18 musicians are credited total, with Paul as “lead singer”:  the first time on any of his albums where Paul plays no instruments.  Unexpectedly, Paul’s Kiss bandmate Eric Singer is Soul Station’s drummer.

There are 14 tracks:  nine covers, and five originals.  You can’t accuse Paul Stanley of taking the easy route.

Remember when Kiss were accused of going Disco in 1979?  “Could It Be I’m Falling In Love” really sounds Disco, and certainly there’s nothing wrong with the flawless arrangement, from the lush strings to the punchy horns.  In fact, Paul’s diminished voice is the only noticeable weakness.  He covers for it pretty well.  He used to belt it out all time; now he usually holds back in a soft whispery falsetto.  A performer has to adapt to their limits at every age.  Good tune.  But this is a new Paul Stanley and he’s not the best singer in his band.  He’s just the lead singer.

The first original, “I Do”, sounds like the real thing.  It’s a light ballad, arranged with the strings and full band treatment to sound pretty much just like the covers.  But the really surprising original is “I, Oh, I”, a terrific upbeat dance-y number.  Not only does it sound authentic but it’s also catchy as hell.  You could imagine it in a rock arrangement, and Paul points out in the liner notes that he wrote, arranged and orchestrated all his originals.

“Ooo Baby Baby” is a Smokey Robinson cover, and like the original it’s in falsetto.  It’s one of the harder songs to listen to.  “O-O-H Child” is better, though no substitute for the original.  Paul does well on the upbeat tracks with plenty of melodic hooks.  One of his backing singers take the lead on a few lines.  And although Eric Singer does a mighty job on the drums, he is a rock drummer playing soul, and that’s evident in the fills.  The groove of the 70s just isn’t something that can be recreated easily.

You can tell by the title that “Save Me (From You)” is a Paul original.  Sounds like a leftover from the Live To Win album, jazzed up for the Soul Station.  That said, it’s a pretty good track.  It’s a nocturnal rumble that does really well standing up to the classics.  It cannot be denied that Paul Stanley has a knack for writing a melodic song.  All of his writing credits on Now and Then are solo credits.

“Just My Imagination (Running Away With Me)” is not bad.  It’s the falsetto again, but massaged in the studio, and backed by the Soul Station, this one makes the grade.  Nobody doubts Paul’s genuine love of this music.  In the liner notes he takes ample time explaining his roots with Detroit soul.  And it was him that was hanging out in New York Disco clubs, when he decided he could write one of those songs for Kiss.

“Whenever You’re Ready (I’ll Be Here)” is a duet with one of his backing singers; upbeat, well done.  “The Tracks of My Tears” exposes the weaknesses in Paul’s voice but there are plenty of backing singers to cover for him.  That aside, it’s another great Soul Station cover.  “Let’s Stay Together” (Al Green) underwhelms; I mean how can it not?  The best thing I can say is that it’s better than Michael Bolton’s version.  “La-La — Means I Love You” also kind of just sits there, threatening to send the listener off to sleepytime land.  Fortunately, Paul’s original “Lorelei” revives the album, with upbeat melodic charm.  Cool guitar solo on this one too.

Two more covers to get through — “You Are Everything” (no thanks) and “Baby I Need Your Loving”.  Fortunately the latter song closes the album, on an earnest upbeat note with Paul giving the lungs a little exercise.  Solid ending.

Observation:  I enjoyed Paul Stanley’s Soul Station more the first three or four times I played it — as background music.   When it comes to listening intently, it didn’t capture me.

Observation 2:  Peter Criss got shit all over for trying to make an album somewhat like this back in 1978.

If Paul had released a mini-album (or extra large EP) with only seven or eight tracks, I think we’d be praising his originals and taste in covers.  Unfortunately chinks in the armour appear too frequently on the bulk of the album.  Good background music, but not an outstanding set.

Paul’s originals – 4/5 stars
Covers – 1.5/5 stars
Kiss Fan Fanatic Score – 100/5 stars
Realistic Score – 2/5 stars

Double Header! Andy Curran and Mike Fraser – Back on the LeBrain Train

The LeBrain Train: 2000 Words or More with Mike and Superdekes

Episode 60 – Andy Curran and Mike Fraser double header

It’s the first ever double interview show on the LeBrain Train this Friday night!  Warm up your coffees.

First up, we have Andy Curran back from last week to finish up our chat!  The focus will be on the latter part of his career that we didn’t get to.  Caramel, Leisureworld and beyond.  Andy will be on at 7:00 PM E.S.T.

Second, it is the return of engineering wizard Mike Fraser!  Although we quizzed him for a couple hours last time, we only scratched the surface.  We didn’t get into Dio, The Wild, Satriani or Chickenfoot.  Expect lots more great musical memories with Mike this Friday at 8:30 PM E.S.T.

Friday April 16 on Facebook:  MikeLeBrain and YouTube:  Mike LeBrain.

Gallery: Iron Maiden “Eddie” Reaction figures — full set

Check out the photo gallery below for a gander at all 19 Iron Maiden “Eddie” figures by Super7.  This is their line of 3 3/4″ ReAction figures.  Same size and articulation as classic Star Wars.  For a little bonus content, check out the video instead.  Some havoc broke loose during the photo shoot.

 

REVIEW: Minoru Niihara – One (1989)

MINORU NIIHARA – One (1989 Triad)

Original Loudness vocalist Minoru Niihara was let go in 1988 so they could have a stab at a success with an American singer.  While they went their way (and did not cross over onto the charts as they hoped), Niihara recorded his first solo album appropriately titled One.  He worked at Cherokee studios in Hollywood, where there must have been a lot of rock stars hanging out.  The credits on One include:  Mark Slaughter, Reb Beach, Doug Aldrich, the rhythm section from Journey (Steve Smith and Ross Valory), Kal Swan, David Glen Eisley, and the Tower of Power horns!

That being said, you might expect a straightforward hard rock album right out of 1989 like so many you remember from that year.  You’d be partly right.  However the lyrics are mostly in Japanese, and while the intent might have been to make a straight-ahead commercial rock record, it goes a bit sideways on some tracks.

It sounds like some of the same opening sounds as on Alice Cooper’s Trash album (also 1989) are used on first instrumental “Overture”.  Then it goes soft rock, with guitar strings tinkling like a fragile piece of glass, backed by heavenly keyboards.  In a jarring shift, the first proper song “Let’s Get Together” doesn’t meld well with this intro.  It also sounds a bit out of time, a relic from a couple years prior.  But Minoru is on top of it.  “Let’s get together! Have fun tonight!” goes the boppin’ English chorus, with plenty of the expected thick backing vocals from the Hollywood cast and crew.  Although it already sounded dated for 1989, “Let’s Get Together” is a fun track clearly aiming for a party concert vibe.  Not bad — production is clunky, and there are a couple key changes that sound off, but it’s otherwise a fun song that does what it’s there to do.

American rock vibes dominate “Stand Up to the Danger”, sounding a bit like “Loud and Clear” by Autograph.  That could be Reb Beach just rippin’ it up on the solo, but the track is very standard for the genre.  A neat ballad follows, the Journey-like…ahem…it’s a case of a language barrier, I’m sure, but the song is called “Come Over Me”.  Very much like a Journey ballad, and it’s probably Valory and Smith on bass and drums respectively.  Maxine and Julia Waters on backing vocals.

A cool 80s bass groove sets the tone on “I Can’t Wait”.  This mid-tempo car-cruiser is an album highlight, and a track worth getting in your ears.  Great solo too (Doug?).  Coincidentally, Minoru’s replacement in Loudness was a fellow named Mike Vescera, and he later recorded a different song called “I Can’t Wait” with Yngwie J. Malmsteen.  One of Minbru’s weaknesses (and it probably comes down to English as a second language) is a reliance on cliche song titles.  “I Can’t Wait”, “Stayin’ Alive”, “Dynamite”, and “Fool For You” are all song titles you’ve heard before.

Speaking of “Dynamite”, the next track on the disc — it’s a little more unique.  With a bluesy opening, it soon lets loose with a blast of saxophone.  The chorus is full-on pop.  A little clunky in construction and production, but different and still cool.

A soft keyboard ballad called “You Can Do It” sits right in the middle of the album.  Even though vinyl, and  especially cassettes were big in 1989, One only saw release on CD.  No “side one” or “side two” with this album.  Once more the ballad would sound appropriate on a Steve Perry album, and the guitar solo is really smooth.  Good song; Minoru’s style of singing is a bit overblown for a soulful ballad, but you can certainly tell he loves singing this way.

“Bluest Sky” is cool, acoustic and stripped back but “Stayin’ Alive” really scorches.  It’s the closest thing to classic Loudness.  It is the only clearly heavy metal track on the album.  Probably Reb Beach ripping up his fretboard and whammy bar on the solo.  Definitely Mark Slaughter on the chorus.  The horn section returns on “Fool For You”, but Minoru’s over-the-top singing does not suit the funky metal stylings.  He does well on “Too Long Away to Reach”, a little more restrained.  But it is the third ballad that really does sound like Journey.  So much that you’d assume it was Neal Schon on guitar.

Finally Minoru closes his solo debut on one more ballad, “I’ll Never Hide My Love Again”.  This time it’s a big power ballad with a massive chorus, and because it’s dramatically different from the earlier ballads, it works.  Definite vibes of King Kobra’s “Dancing With Desire” (1985).

See what I mean when I say that One sounds dated already even for 1989?  That doesn’t make it bad, but not all pieces fit.  There are some obtrusive keyboard overdubs, some of the ingredients just don’t mix.  While Minoru is a fine vocalist, and he gives 110% here, some of the songs sound like they would work better if he laid back a bit.  Then again, that could be the language barrier; the words he is singing might be totally appropriate to his vocal output.  Everything in music is subjective anyway.  Regardless of interpretation, Minoru Niihara’s effort is no less than his whole heart, and you have to give credit for that.

3/5 stars

 

 

Live Iron Maiden Super 7 Reaction blind box unboxing

The LeBrain Train: 2000 Words or More with Mike Ladano

Episode 59.5 – Iron Maiden Super 7 Reaction blind box unboxing

 

Wanna see every Iron Maiden figure that Super 7 has ever released in their Reaction line?  Unboxing starts at 2:00 PM E.S.T., Saturday April 10.  This surprise episode is brought to you by Obsessive Compulsive Disorder!

FINAL TALLY:

  • 2 x Killers blood splatter Eddie
  • 1 x Maiden Japan Eddie
  • 3 x Aces High camo flightsuit Eddie
  • 1 x Aces High bulletholes Eddie
  • 3 x Powerslave stone Eddie
  • 1 x Powerslave black transparent Eddie
  • 1 x The Trooper zombie Eddie
  • 1 x The Trooper glow-in-the-dark Eddie
  • 2 x sealed blind boxes remaining

 

#894: Entertainment Needed at the Vaccine Clinic

“I’ve been shot!”

Every once in a while, Jen’s disabilities don’t entirely suck.  We get the best parking spots when we go out, which admittedly isn’t often these days.  She was also eligible for the Covid vaccine due to her high-risk health category.  In a twist of fortune, as her caregiver, that made me eligible too.  I was very concerned about “line jumping” so we called and confirmed multiple times that I was allowed to get the shot.

Ironically, we were scheduled to get our ‘rona shot at the old Rona location in Cambridge.

It used to be a huge warehouse, and now it is a huge clinic.  Very organised, with multiple checkpoints, and ample workers to guide you.  We asked plenty of questions and they were all answered.  For me, the whole process took less than 30 minutes.  Screening, registering, sitting with a doctor, getting the shot, waiting for any sign of reaction, and then finally release and followup appointment.  Jen took an extra 15 minutes due to the complexities of her health, but we were out the door in 50 minutes total.

The sitting area for the wait after the shot was vast, with many chairs, all separated by a good distance.  It was kind of funny, seeing all these chairs facing the same direction as if waiting for a show that would never come.  Here there were workers to answer questions too.

“No movie?” I asked jokingly.

“No movie, no bands,” she answered.  “We should get bands,” she continued.  “I know lots of bands who would love the chance to play here.”

I laughed and said “Well maybe in a couple months they’ll jazz it up.”

Our shots (Pfizer for those curious) were administered by doctors, and I peppered mine with questions.  I was concerned about side effects, although neither of my parents felt any.

“Younger people have much stronger immune systems,” he explained.  “Theirs get revving up much stronger.  When you feel the side effects, that is your body creating those antibodies.  So the side effects are actually a good sign.  They should taper off after a day.”  I couldn’t have asked for a better experience.

Well, except for the live bands — maybe that lady was onto something!

Have any questions about the shape I’m in?  Just ask!

 

Andy Curran…Part One

Apologies in advance for the technical issues on this week’s program. We did our best, and fortunately Andy has agree to come back next week and talk about the latter half of his career!

This week we discussed:

  • The new forthcoming album Coney Hatch Live at the El Mocambo
  • A second live album in the can
  • The first three Coney studio albums:  self-titled, Outa Hand and Friction
  • Road and studio stories
  • Andy’s first two “solo” albums, Andy Curran and Soho 69 – Scatterbrain

And next week we’ll be back to discuss Caramel, Leisureworld, Four and beyond.

I really want to thank Andy for his patience this week.  Hopefully we can get a better stream next week.  When it worked it kicked ass!

Tune into the stream at 0:36:45 for Andy’s arrival and interview.

Thanks for watching, and thanks for your patience everyone!

 

C’mon C’mon, the Legendary Andy Curran is on the LeBrain Train!

The LeBrain Train: 2000 Words or More with Mike and Superdekes

Episode 59 – The Earl of the 8th Note – Andy Curran

His name is on so many albums in our collections, from Coney Hatch to Soho 69 to Caramel and beyond, to writing with Kim Mitchell and helping to put together Rush and Max Webster box sets.  His bass is literally made of the floor of the El Mocambo club, and now Coney Hatch have their first official live album recorded in that same club.

We come at Andy from two perspectives.  Deke has questions he has been burning to ask for 40 years.  Mike is the new fan whose first Coney Hatch purchase was pre-ordering the live album in late 2020.  That groundbreaking concert was live streamed during the Covid pandemic and then prepared for the imminent CD and vinyl release of Live at the El Mocambo.

Please give a huge welcome for Andy Curran on the LeBrain Train!

7:00 PM E.S.T.
Facebook:  MikeLeBrain  YouTube:  Mike LeBrain

 

#893: Damien Lucifer

RECORD STORE TALES #893: Damien Lucifer

My mom used to teach ceramics classes in the basement.  Our basement was split into two rooms — a finished rec room, and an unfinished work space.  There were craft tables and chairs and I liked to use it for building model cars and airplanes.  My mom had a kiln in there for her classes and everything.  On Saturday morning were the “kid classes” when my sister and her friends would paint ceramic teddy bears and balloons and God knows what else.  During the week, the neighbourhood adults and other friends came over to create.

The “rec room” area was more for us.  That’s where the big TV and VCR were.  That’s where I watched, recorded, and re-watched my Pepsi Power Hours.  Naturally the two adjacent areas sometimes clashed.  I had to “turn it down” from time to time.

I generally tried to avoid other people especially when they were close to my space.  We didn’t cross paths much, but on Power Hour days, I would race home from school and be waiting in the basement to hit record, as all the ceramic students were filing out.

I’m territorial but not confrontational.  More passive aggressive.  I know my mom had these hardcore Catholic friends across the street.  I couldn’t stand them.  They wouldn’t let their kids play with GI Joes, because they carried guns.  Yet they were allowed to play with Transformers, because the kids were smart enough not to tell mom and dad they carried guns.  They used to come to the ceramic classes and having them near my precious personal space irritated me more than anything else.  “Hate” is a strong word, but I really disliked them.  I knew they hated heavy metal music (the parents at least).  And I know in my passive aggressive way, I liked to leave my heavy metal stuff visibly on display in my space.

Rock and roll is about defiance, isn’t it?  It was very rock and roll of me to leave albums and magazines down there for them to see.

I loved buying new magazines all the time, and not just rock.  Sometimes it was WWF Magazine, and occasionally I’d buy something like Starlog.  The rock rags were the backbone of my collection, but every once in a while, I’d buy MAD.  If MAD was sold out, I’d buy Cracked.  Who didn’t love MAD and Cracked magazines?  I used to have a pile of favourites.  The March 1991 New Kids on the Block MAD was treasured; it came with an entire sheet of anti-New Kids stamps.  Another classic was my October 1984 issue of Cracked, a Michael Jackson issue.  I wish I’d have kept them, but I say that about a lot of things.

It probably wasn’t an accident when I left out, in plain view, my copy of MAD number 288.  July 1989.  The special Heavy Metal issue.  On the front: Alfred E. Newman in a suit of armor, flanked by Tommy Lee, Axl Rose, and a guy who looks like a cross between Don Dokken and Stevie Ray Vaughan.  But I didn’t leave it out with the front cover showing.  I left it out with the back in plain view.

The back cover was a “fake front” to a faux magazine called “Metal Sludge”, a clear satire of Metal Edge.  The top right corner featured a fat guy named “Damien Lucifer”, lead singer of “Antichrist”.  On his cheek, a pentagram is drawn.  He wears red devil horns and proclaims that “Heavy metal music is not about Satan!”

On another panel, a picture of Poison with a caption about “our confusion over sexual identity”.

There is a contest for the chance to be trampled at a Motley Crue concert.  The panel below that is about Anthrax getting deloused by Tipper Gore.  Another advertises a “life size poster of Gene Simmons’ tongue – special six page fold out”.

Eventually, it happened:  one my mom’s students saw the magazine and was offended enough to tell her that I was reading something “satanic”.  I have my suspicions who it was.  (My mom remembers none of this at all.)  Mom did her due diligence and asked me about this “satanic” magazine that had been seen in the basement.  I laughed at how ignorant that person had to be to think my MAD Magazine was a real rock book!  It seemed so obvious by that picture of Simmons’ “tongue”!  (Six page foldout, don’t forget!)

I couldn’t wait to tell my best friend Bob about this.  After all, it proved everything I thought was true about those neighbours.  How self-righteous, how nosy, how sanctimonious, and how ignorant.  As far as I was concerned, I had won a battle between heavy metal and the religious right.  And I did it with a MAD Magazine.