“Start the day in a cold December way.”
It’s almost December so let’s have a listen to my favourite December song! Though you might not be able to tell from just the music video, that’s Bruce Dickinson’s cousin Rob Dickinson singing in Catherine Wheel.
From their excellent 1997 album Adam and Eve, enjoy this melancholy masterpiece. I don’t know about you, but that’s not what Canadian Decembers look like….
Look for a full album review soon.
This no-disqualification episode was brought to you by Coffee!
First of all — Thank you to all the participants this time out, including Kevin (Buried on Mars) and Deke (Arena Rock). While these two gentleman did appear, they did not do the traditional Nigel Tufnel Top Ten lists and so they are not among the songs below. To access their “bonus tracks” you are going to have to watch the video!
Second — The MVP this week was Sarca Sim from Caught Me Gaming. Not to belittle the effort that anyone put into their lists (as you’ll see), but Sarca utilized an additional caveat: her list was 100% CanCon. A difficult, impressive and rewarding feat.
Third — You can decide for yourself if anyone deserved to be disqualified this week. Have Stavesacre or Wesley Willis ever had a legitimate hit? Is Toto a one hit wonder band? You decide.
Finally — Really, everyone was MVP this week. It was a marathon session. The feedback I have received so far has been excellent.
“I was howling for a lot of it. Michelle kept saying ‘what are you laughing about'” – Chris S
“It was like watching an SNL skit” – also Chris S
“Max is a one hit wonder on this stream lol” – also Chris S
“Love it!!!!!!!!” – My mom
Any songs that were repeated are highlighted below. There are not many. Enjoy these tracks!
Mike – LeBrain
11. Blue Cheer – “Summertime Blues”
10. Spacehog – “In the Meantime”
9. Kik Tracee – “You’re So Strange”
8. Wesley Willis – “Alanis Morissette”
7. Marvelous 3 – “Freak of the Week”
6. Tal Bachman – “She’s So High”
5. The Kings – “This Beat Goes On/Switchin’ to Glide”
4. Blotto – “Metal Head”
3. sandbox. – “Curious”
2. E-Z-O – “Flashback Heart Attack”
1. Loudness – “Crazy Night”
Rob – Visions in Sound and Gimli the Cat
11. Alien Ant Farm – “Smooth Criminal”
10. Arlo Guthrie – “City of New Orleans”
9. Frank Stallone – “Far From Over”
8. Prelude – “After the Gold Rush”
7. J Frank Wilson and the Cavaliers – “Last Kiss”
6. The Crazy World of Arthur Brown – “Fire”
5. Zager and Evans – “In the Year 2525”
4. Paul Hardcastle – “Nineteen”
3. Information Society – “What’s On Your Mind (Pure Energy)”
2. Yello – “Oh Yeah”
1. MECO – “Star Wars Theme/Cantina Band”
John – 2loud2oldmusic
11. Red Rider – “Lunatic Fringe”
10. Modern English – “I Melt With You”
9. Dexy’s Midnight Runners – “Come On Eileen”
8. Aldo Nova – “Fantasy”
7. Frankie Goes to Hollywood – “Relax”
6. Cutting Crew – “(I Just) Died In Your Arms Tonight”
5. Kix – “Don’t Close Your Eyes”
4. Saigon Kick – “Love is on the Way”
3. The Darkness – “I Believe in a Thing Called Love”
2. Gnarls Barkley – “Crazy”
1. Portugal. The Man – “Feel It Still”
Eric – Uncle Meat
11. Bobby Pickett – “Monster Mash”
10. Nick Gilder – “Hot Child in the City”
9. Neneh Cherry – “Buffalo Stance”
8. Deee-Lite – “Groove is in the Heart”
7. Ace – “How Long Has This Been Going On”
6. Haircut 100 – “Love Plus One”
5. Tracy Bonham – “Mother Mother”
4. Donnie Iris – “Ah Leah”
3. Modern English – “I Melt With You”
2. Martha and the Muffins – “Echo Beach”
1. Gnarls Barkley – “Crazy”
Max the Axe – kind of a big deal
11. Donnie Iris – “Ah Leah”
10. Toto – “Hold the Line”
9. Atlanta Rhythm Section – “Imaginary Love”
8. Holly McNarland – “Elmo”
7. Moist – “Push”
6. Youth Gone Mad – “Crime Rate ’88”
5. Stavesacre – “Shiv”
4. Demon – “Liar”
3. The Trojan Ponies – “Deny”
2. Cheech and Chong – “Earache My Eye”
1. Eddie Murphy – “Party All the Time”
Aaron – KeepsMeAlive
11. The Surfaris – “Wipe Out”
10. Rusted Root – “Send Me On My Way”
9. Dan Baird – “I Love You Period”
8. Billy Falcon – “Power Windows”
7. Coleman Wild – “It Doesn’t Matter”
6. Marc Cohn – “Walking in Memphis”
5. Us 3 – “Cantaloupe (Flip Fantasia)”
4. Blind Melon – “No Rain”
3. Sublime – “What I Got”
2. Timbuk 3 – “The Future’s So Bright”
1. Mountain – “Mississippi Queen”
Sarah – Caught Me Gaming – special all Canadian list
11. Alta Moda – “Julian”
10. Cats Can Fly – “Flippin to the A Side”
9. The Kings – “This Beat Goes On/Switchin’ to Glide”
8. Eight Seconds – “Kiss You (When It’s Dangerous)”
7. Idle Eyes – “Tokyo Rose”
6. Len – “Steal My Sunshine”
5. Neo A4 – “Say This To Me”
4. Daniel Lanois – “Lotta Love to Give”
3. John Bottomley – “You Lose and You Gain”
2. Maestro Fresh Wes – “Let Your Backbone Slide”
1. The Northern Lights – “Tears Are Not Enough”
Additional resources – Todd in the Shadows – “One Hit Wonderland”
Nine participants. Epic lists. Utter chaos!
The theme for this week’s Nigel Tufnel Top Ten list was One Hit Wonders! This was a special “no disqualifications” matchup so anything went. Are Toto a one hit wonder band? Max the Axe thought so even if the majority disagreed.
You panel this week:
With special appearances by:
I wrote down all the songs chosen, so when given some time I’ll post all the lists for you to examine in more detail. But after an almost three hour show, I need to go get something to eat.
Added bonus: A quick look at the new Thin Lizzy 6 CD rarities box set called Rock Legends.
It’s a long show, but fucking hilarious. Enjoy.
Everybody wants to come on board this week!
The LeBrain Train: 2000 Words or More with Mike Ladano
Episode 39
It’s One Hit Wonders this week! We’re keeping the definitions loosey-goosey, but still diving into those songs that never had a followup hit. This week’s topic was brought to you by Max the Axe, although I believe Holen suggested it some months ago as well. Either way, there has been demand for a show about One Hit Wonders. So here ya go!
One reason you don’t want to miss this one: A record NINE participants will be appearing!
With special appearances by:
As usual there will be a special unboxing for the early birds who show up before 7:00 pm. Otherwise, check out the One Hit Wonders All-Star Special on the LeBrain Train, Friday November 27.
7:00 PM E.S.T.
Facebook: MikeLeBrain YouTube: Mike LeBrain
GETTING MORE TALE #868: Insomni-omni-omni-a
It happened again. Insomnia. The battle rages on, win some lose some. I’m so wired on Friday nights. Fridays, being the last night of the work week, are the only night I allow myself to enjoy a couple cups of coffee. That’s part of it, but what really gets me wired is this burst of creative energy that comes with the weekend. That’s been amplified recently with the Friday night live streams. Those who have participated know what it’s like. You get this charge; this burst of adrenaline after a good show. I’m up for four hours after a decent one, let alone a great one.
Eventually I go to bed but my head rattles all night: ideas, worries, creativity. The next day is Saturday. That’s my day to have fun, work on enjoyable projects, and spend time with my wife. I’ve had problems sleeping in on Saturdays since I was a kid! It’s a real thing. I get too excited to get up and at ‘er.
It’s especially unenjoyable when I’m tossing and turning in bed with a song I dislike stuck in my head. Radio often repeats songs I don’t like. The Cornell version of “Patience”, or The Wild. Or even J.J. Wilde. (I know, I know, she’s local, I shouldn’t say bad things. I love her voice, just not her song.) The best thing for me to do in that case is get up and listen to something else. I have to think carefully about what to listen to, because it’s likely going to be the next song that will be stuck in my head for the rest of the night. Something old and familiar that feels like good times will work. It has to be familiar though. If not, my brain will skip like a record when it can’t remember how parts of the song go.
I have a few strategies in my war against insomnia. One is to burn off some energy by going for a late night walk, although in recent days this is…not the best option. Not anymore. Not since Covid. A shelter was opened down the street. We’ve seen an uptick in crime and drug use. A few weeks ago, a car was on fire in the middle of the night. I’m not kidding. This is across the street!
Instead of a walk, I’ll go out on the porch, watch some Youtube, listen to some songs, and eventually go back to bed. I try not to rise before the sun does. If the sun is coming out, then I give myself permission to get up. This does not always work out, but it’s a guideline. I have also tried turning my clock around so I can’t see the face. That keeps me from counting the minutes until it’s a good time to get up.
Maybe I’m not the best one for giving advice, but it’s important to talk about this stuff. I’ve said it multiple times — we are all in this together. Interrupted sleeping patterns is part of living through a pandemic. Maybe you can give me some advice. I’ve tried a few different earphones for sleep but nothing has been comfortable enough to wear longer than an hour. Do you have any sleep earphone recommendations? Leave in the comments. Must be wired — no Bluetooth. Helping each other is the way we’ll beat this pandemic and the war on insomnia!
COREY TAYLOR – CMFT (2020 Warner Japan)
I’ve never particularly cared for Slipknot and I don’t own any Stone Sour. However I’ve been aware of Corey Taylor since 2014’s Dio tribute, and “Rainbow in the Dark”. That side of Taylor landed right in my ballpark. So did his solo single “Black Eyes Blue”.
“Why not spend some dollars and get his album, see what he’s up to?” I said to myself.
“Oh wait,” and a pause. “I need to know if there are any bonus tracks so I can buy the most complete version,” replied my Obsessive Compulsive Disorder. Some typing. C-D-J-A-P-A-N into the search engine, a short wait and — confirmed. “Black Eyes Blue”, acoustic bonus track. In stock.
“It’s only money,” said the idiot in the middle of a pandemic.
A few weeks later, a Japanese CD of Corey Taylor’s solo debut CMFT , bejewelled wresting belt on the cover, had hit Canadian shores and was on its way to my post box.
The scene is set when the laser blasts aluminium. A southern rockabilly vibe on “HWY 666” takes us on a heavy car trip in the forbidden zone. This is what Nickelback was wishing they did with “The Devil Went Down to Georgia”.
The big single is in the welcoming second slot. It’s hard to describe “Black Eyes Blue”, except that the beat swings in a danceable way while the chorus delivers big hooks. Just like a classic Bon Jovi rocker, a guitar solo blasts out Sambora-like with a complimentary hook. It’s all over but the crashing chords in just over three minutes. Picture yourself on the highway going on at a good clip with the windows down, but the music blasting louder than the wind. Classic in the making.
Taylor goes for a punky hard rock vibe on the next one, “Samantha’s Gone”, just a blast in a pickup truck on a dusty highway. “We all got nothin’ to lose because the cash is gone,” goes the the thick chorus. Some bright blasts of mean guitar melodicism keeps the hooks-a-flowin’ like booze. It goes full-on punk rock with “Meine Lux”, but still in southern territory. Filler perhaps; fortunately “Halfway Down” has a broader appeal. It’s from the same Sonic Temple that the Cult built in 1989. Straight-ahead hard rock with fat trimmed and bone-in.
Corey opens and lets sentiment out on the sixth number, a dark exploration called “Silverfish”. It’s a big ballad that sounds akin to some of the radio staples of the early 90s, but the surprising next twist is a splash of nice acoustic on “Kansas”. This bright pop rocker recalls the big sounds of the Goo Doo Dolls on some of their biggest albums. Clearly, Corey Taylor is dialled into the pop side of his music collection on this album.
Suddenly, like the car has hit the brakes to save a scared animal’s life, the tone changes and you’ve got whiplash. “Culture Head” gets topical and aggressive. It’s detuned and pissed off. The speed picks up on a tangent with “Everybody Dies on My Birthday” which recalls the drum stylings of Matt Sorum. The metal is strong with this one, as are the “We are!” singalong vocals.
The car you’re driving pulls into a diner on the roadside, and that’s “The Maria Fire”. There’s a local band with a southern twang playing electric guitars. Though the band is hot and the guitarist is smoking the fretboard, this is rough place and the tension feels like a fight could break at any moment. Time to go “Home”.
“Home” is a beautiful piano piece, just Corey and keys. The heartfelt tone and vocals could have been a perfect ending to the album here. It’s one of those moments that maybe should be left as-is, and just walk away. Instead we’re treated to the rap-rock closer “CMFT Must Be Stopped”. Not my kind of thing, but I’m not Corey’s core audience and admittedly it’s fun to bop along to. Listen for some cool percussion stuff in the background. I’m oblivious to his guest rappers Tech N9ne and Kid Bookie; one of them has a very cool speed rap flow. This is the point at which I roll up the windows of the car because I don’t wanna look like Michael Bolton in the movie Office Space. This goes into a hardcore Anthrax-like thrash punk rocker “European Tour Bus Bathroom Song” which ends the album on an unnecessary jokey note.
It turns out that, though financially stupid, my choice of buying the Japanese version of the album was the correct one. They end with the acoustic live version of “Black Eyes Blues”, a sparse version that leaves you feeling refreshed when the album’s over.
You know what lane I’m in musically, and where Corey Taylor comes from. You can divine from this review whether you will like the album or not. I think there’s a good chance that many of you would like most of it, but few would love it all. Certainly not a bad investment since songs like “Black Eyes Blues”, “Samantha’s Gone”, “Everybody Dies on My Birthday” and “Home” have potential to stick around in your head for years.
4/5 stars
STRYPER – Even the Devil Believes (2020 Avalon Japan)
The resurrected Stryper have been riding a solid yellow and black wave of quality for several albums now. Singer/guitarist Michael Sweet has honed in on an early-80s metal sound as Stryper’s foundation, with emphasis on riffs, vocal melodies and cool guitar solos. 2020’s Even the Devil Believes dwells within this rich landscape, drawing inspiration from classics galore.
Speedy metal abides. “Blood From Above” sounds like Accept and Stryper in an atomic collision. No quarter given here; this song is full-on, and you can easily imagine it coming from a lost album of the 80s. However, a title like “Make Love Great Again” could only have come in 2020. Stryper usually stay out of political commentary, but it’s obvious what “There’s a culture building walls, just like vultures consuming all,” is an oblique reference to. While no artist should have to “stay in their lane”, this isn’t the kind of thing I want to be reminded of when I listen to Stryper. Otherwise, the track is a slow metallic Dokken-esque groove, with an uplifting chorus. Perhaps George Lynch has been rubbing off on Michael Sweet, but if Dokken had recorded “Make Love Great Again” in 1987 it would been a single.
Third song “Let Him In” is back to straight preachin’, only it’s preaching from a the open window of a yellow and black ’81 Corvette, rippin’ the tires. 
The Dokken vibes resume on “Do Unto Others”, with a guitar solo that sounds as if inspired by the School of Rhoads. But then the title track “Even the Devil Believes” sounds like “Breaking the Chains”. There’s nothing wrong with that, it just means these songs have a classic vibe that brings back memories and emotions. The chorus has the melodic sensibilities of Harem Scarem while there’s a dual solo a-la the mighty Priest. Stryper then ease up on the pedal with “How to Fly”. Still heavy, but nobody’s racing this time. If anything this recalls some of the better kinds of 90s rock, with still uplifting melodies playing over slower grinds. But then it’s back to biting, vicious and righteous metal on “Divider”.
Something cool happens on “This I Pray”. Out come the acoustics, and we have a ballad that doesn’t sound all that different from Stryper’s celebrated underdog album from 1990, Against the Law. Though Michael Sweet has spoken poorly of it (mainly because they dropped the Christian lyrics), fans have praised the musical direction of that album. “This I Pray” feels the same, but without the lyrical change, and should please many diehards. “Invitation Only” on the other hand brings back the keyboards, and not in a wimpy way at all. More like Marillion. This track sounds like a harder, tougher lost song from In God We Trust.
Moving on to the end, the penultimate “For God & Rock ‘N’ Roll” sounds like a Stryper anthem. Some fun solos and a fist-pumping chorus to go? This sets off “Middle Finger Messiah” (now there’s an image for ya) to thrash its way to the finish line. Kudos to drummer Steven Sweet for laying down the pace for this one. It’s a fully loaded McLaren flying the flag of Jesus, but at least you know what you’re getting with Stryper. Plenty of folks who can’t relate to the lyrics just get off on the music. And “Middle Finger Messiah” sets the phasers on “stun”, especially during the solo/breakdown 2/3rds of the way into the song. The album doesn’t state who is playing which solos, Michael Sweet or Oz Fox, so we’ll just salute the both of ’em.
The Japanese bonus track is an acoustic mix of “This I Pray” which, in this version, is more in the ballpark of later period Cinderella. Once again, not a bad thing. The electric guitars are turned down, letting us hear the nice acoustics, with keyboards providing a little bit of colour.
Here’s the problem with Stryper of late, and it’s a nice problem to have. They’ve put out some pretty awesome albums in recent years. Murder By Pride (2009), No More Hell to Pay (2013), Fallen (2016), and God Damn Evil (2018) all raised the bar, collectively by several measures. Stryper have been so great for a good stretch that it’s almost futile to rate them all numerically. May as just say: yep, they did it again, so go and get it.
5/5 strypes
AC/DC – Power Up (2020 Sony “Light Box”)
FAQ:
41 minutes is all it takes to rock the world. We needed AC/DC in 2020, and we got it. This isn’t the first time AC/DC have put guitars on magnetic tape without Malcolm. That era began with 2014’s Rock Or Bust, but this album is better. The riffs are Malcolm’s, and nephew Stevie Young performs them admirably as he always has. As for Brian Johnson, he sounds as if time stopped back in 1995.
“Realize” is catchier than the average AC/DC, with a few guitar overdubs to sweeten it up. “Rejection” is similarly fun, despite its title. Good tunes. Not immortal classics in the making, just good album cuts as AC/DC have done for decades. Even the first single “Shot in the Dark” doesn’t sound like the kind of AC/DC tune that radio will be pounding out in 10 years, even though they sure are playing the crap out of it today. Good songs all, but comparison to the back catalogue is a doomed endeavour.
The one tune that does sound like a future staple is “Through the Mists of Time”, a title that seems more like Zep than Acca Dacca. Focused on melody and spare guitar picking, it’s a bit softer than what most people expect. The “Ahh-ah” backing vocals sell it. This is probably the song you’ll remember years from now.
Moving on down the tracklist, we have a few songs with potential to grow. “Kick You When You’re Down” has some cool pickin’ rhythm. Also cool is “Witch’s Spell”, another title that doesn’t seem like AC/DC at first. It’s among the most memorable tunes thanks to a stuttery guitars and a fun chorus. The mood changes on “Demon Fire”, an excellent song similar in style to “Safe in New York City” from 20 years ago. It’s got that fast 4/4 beat, coupled with a low Brian Johnson growl (at first).
After “Demon Fire”, we’re in for a series of workmanlike AC/DC tracks without a lot of distinction. There’s “Bad Reputation” (mid-tempo), “No Man’s Land” (slow and menacing), “Systems Down” (mid-tempo), “Money Shot” (mid-tempo with bite), and “Code Red” (slinky). Power Up, like any AC/DC album since about Flick of the Switch, gets the job done. The only true classic is “Through the Mists of Time”, but there is plenty of strong material headlined by “Demon Fire”, “Shot in the Dark”, “Realize”, “Witch’s Spell” and “Money Shot”. It’s still early of course, and in three months you might have some clear favourites. This album has room to grow.
Now, the $60 “Light Box” is…disappointing. It’s a box, made of cardboard, with a sound chip that plays exactly 17 seconds of “Shot in the Dark” through a little speaker in the top, while flashing. (I call it a “Seizure Box”!) It stays lit for a few more seconds, and then stops. You can push the button as many times as you like, because it comes with a handy-dandy USB charging cable. (I bet you needed another one of those!) So that’s all it does. Inside is the standard CD digipack wedged between two sturdy foam slats. On the left hand side with the button and charging port, a cardboard strip is attached to prevent the button from being pushed in the stores. Removing this piece, which you need to do to recharge the box, is difficult and I tore mine. I glued it back, but you can still see it. $60 box, ripped just like that. Bummer.
AC/DC sound like AC/DC the most when Phil Rudd is in the band. With Phil, Brian Johnson and Cliff Williams all back for one more round, authenticity is not an issue. This is an album that deserves multiple listens. You’ll have your own favourites too.
3.75/5 stars
Hey folks! I hope you are having a good weekend. I just wanted to let you know that I’ve decided to retire the Sunday Chuckle by the end of the year, and I’ll replace it with something new. 2020 is the fourth year for the Sunday Chuckle, and it has been a good run.
One of the concepts I’m playing around with is the Sunday Screening. Maybe once a week, I’ll recommend something for you to watch. Does that sound cool?
Here’s what it would be like.
Sunday Screening: Led Zeppelin at Live Aid 1985
Still on the high of all these Led Zeppelin discussions of late, I wanted to check out the much maligned Zeppelin set at Live Aid in 1985 one more time. The unrehearsed band got up and played “Rock and Roll”, “Whole Lotta Love” and “Stairway to Heaven” with two drummers — Phil Collins and Tony Thompson. The performance has been panned by critics and band alike. While it certainly wasn’t great, was it all that bad? You be the judge. I think Zeppelin sounded pretty rough on “Rock and Roll”, but got better from song to song. And it certainly is a joy to hear the crowd go bananas when Robert sings “Does anybody remember laughter?” You can see that same joy on Robert’s face when he witnesses it happen.
Verdict: “Do your own research”
mikeladano.com 