We’re Gonna Groove: Led Zeppelin Lists & Guests!

The LeBrain Train:  2000 Words or More with Mike Ladano

Episode 37

In case you didn’t know, Sarah and Kevin (Caught Me Gaming and Buried On Mars respectively) just finished a massive Led Zeppelin review series.  Separately, they reviewed each Zeppelin album, from Zep I right to Coda.  They did a fantastic job of it, so with that completed, I had to have them on.  We’re going to do the Nigel Tufnel Top Ten Led Zeppelin songs, with a few bonus guest lists in the hopper as well.

“But Mike!” you say.  “I have a hard time keeping up with all those lists, and remembering how many times certain songs or albums were picked.”

You’re right; I have a hard time keeping track too.  So this time, finally, we’re bringing in Geoff from 1001albumsin10years.  Geoff is the graph master.  You give him any subject you can think of, and he’ll come back with some kind of graph.  If anyone can keep track of our Zep stats, it’s him.  I feel the countdown will be in good hands with Geoff.

Tune in tonight at 7:00 PM E.S.T.!

Facebook:  MikeLeBrain  YouTube:  Mike LeBrain

 

 

#867: You Keep Me Rockin’

GETTING MORE TALE #867: You Keep Me Rockin’

I love Helix.  They were one of the first rock bands I ever heard.

There are a handful of Helix albums that I play less frequently today.  I tend to gravitate towards “underdog” albums besides the “big four” on Capitol Records.  I can usually be found spinning Breaking Loose, It’s a Business Doing Pleasure, B-Sides and other lesser-known classics.

As an ending to this past summer of 2020, I decided to change it up and spin some classic 80s Helix, the stuff I grew up with.  I chose Walkin’ The Razor’s Edge and Long Way to Heaven in the car.  As per usual, like an old movie, images, thoughts and feelings came flooding back with every song.

Razor’s Edge was my first Helix, and considered the “big one”, with hits like “Rock You”, “Gimme Gimme Good Lovin’” and “(Make Me Do) Anything You Want”.  The first memory that came back was how disappointed I was with that Capitol cassette when I got it as a gift as a kid of 13 years old.  In Canada at least, Capitol cassettes in the early 1980s were of awful quality.  They always seemed to play slow.  I undoubtedly heard the album play sluggish and warbly for years.

That wasn’t all.  I scanned through the credits and noticed something that I thought was peculiar.

“They didn’t write the only songs on here that I know!”  Even as a kid, I noticed!

“Rock You” was a Bob Halligan Jr. composition.  The other two songs were covers (Crazy Elephant and A Foot in Cold Water respectively).  For the first few listens, I had a hard time getting into Helix’s own originals.  I wondered if I even actually liked Helix at all!  But then as now, I didn’t just fast-forward to the songs I liked.  I played the whole tape front to back every time.  I’m not sure when I started doing that — listening to an album in full, and only in full.  It came later in childhood.  When I played my Styx and John Williams records I tended to just skip around to the tracks I liked.  It’s possible that the change to listening to full albums was a combination of the cassette format with my good ol’ OCD.

I was new to “heavy metal” music, and Helix were one of the heaviest bands I’d heard.  My young ears were not acclimated yet.  Only one Helix original jumped out at me on first listen, and  to me it was clearly the hit that wasn’t:  “Feel the Fire”.  It sounded like a rewrite of “Heavy Metal Love”, which wasn’t on the album.  I liked it because I didn’t have “Heavy Metal Love” (didn’t even know what album it was on), so “Feel the Fire” would do instead.

Time went on, and then suddenly another song clicked: the atmospheric and thumping closing track, “You Keep Me Rockin’”.  I enjoyed the dusky intro before the song kicked into gear.  I can remember listening to this in the family minivan.  Because my own Sony Walkman and Sanyo ghetto blaster couldn’t play Capitol tapes properly, I liked to give them a spin in a car tape deck, which usually had the power to play the tapes at the proper speed.  I cannot remember exactly where we were parked, but it was definitely on a cottage holiday.  It might have been in the parking lot of The Chapel in Underwood Ontario.  I would rather wait in the car listening to music while the parental units were in there browsing.  “You Keep Me Rockin’” came on and I distinctly remember thinking “I’ve never noticed this cool slow part before, but it’s good.”  As if it was the first time, I heard that thunderous riff.  I played it a couple times before I relinquished control of the tape deck back to the parents.

Long Way to Heaven came next into my life, probably Christmas of ’86.  I remember there was a flyer in the newspaper with cassettes on sale.  A&A Records, perhaps?  I circled Yngwie Malmsteen’s Trilogy and Long Way to Heaven by Helix.  Both tapes suffered from the slow warble that was a Capitol trademark in my collection.

Long Way to Heaven brings back fewer memories.  Though the album cover was better, the music is less memorable to me.  No cover tunes this time, though there were two Halligan co-writes.  I remember thinking the old-fashioned harmonies on “Don’t Touch the Merchandise” were cool, and they sound just as good today.  You can really hear the smooth voice of Doctor Doerner in there.

Two of my strongest memories of Long Way to Heaven had to do with the lyrics.  “School of Hard Knocks” confused me.  Was this about highschool?  Was this what I was in for?  A school of hard knocks?  “It’s a long long education” sang vocalist Brian Vollmer.  This caused a bit of a panic for me as I worried about the next year at school!  Then there was “Bangin’ Off-A-The Bricks”.   While the lyrics were about starting out in a rock and roll band, all I could think was “do these guys really beat their heads on brick walls?”  I couldn’t tell but it seemed like it.  “We were just getting our kicks,” sang Brian, but I couldn’t understand what was fun about it.  Any metaphors went right over my head.

I also wondered what my Catholic school teachers would have thought about lines like “It’s a long long way to heaven, but only three short steps to hell.”  But I also didn’t care what they thought.

Those cassettes were hard to listen to, but by 1989 came the answer:  Over 60 Minutes With… was the first Helix CD, compiling the best songs from the first three Capitol records.  There were even three unreleased songs, and they were great!  Finally I had the chance to appreciate deep cuts, by hearing them with the sonics they always deserved.  Fan favourites such as “Animal House” and “Young & Wreckless”.  New stuff like “Everybody Pays the Price”.  Songs I never heard before like “Does A Fool Ever Learn” from No Rest for the Wicked.

I wasn’t able to listen to Helix properly until I had a CD player.  That happened, and it’s been true love ever since.  I’ve been a Helix supporter for many years now and I’m still proud to wear their shirts!

 

 

REVIEW: Judas Priest – Unleashed in the East (1979, Remastered)

JUDAS PRIEST – Unleashed in the East (Originally 1979, 2001 Sony reissue)

The best Judas Priest live album isn’t the biggest or the newest.  It’s the first:  the humble Unleashed in the East.  The first Priest album to be produced by Tom Allom, the last with Les Binks on drums…this is a special album for a number of reasons but most important are the songs.  It would not be going out on a limb to suggest that some of these tracks are now the definitive versions.

Like many live albums of the 1970s, it has been questioned how much of Unleashed in the East was redone in the studio.  Rob Halford has maintained that only the vocals were touched up, but it does not matter one iota when the needle hits wax or laser strikes plastic.  The band were at a musical peak in 1979, and with accelerated tempos, they attacked the best of their body of work, although neglecting the bluesier debut Rocka Rolla.

With “Exciter” (from 1978’s Stained Class) opening the set, this collection has more energy by comparison to the somewhat stiffer studio counterparts.  Les Binks has his foot on the pedal and the band is fully energized on this proto-thrash classic.  “Stand back for Exciter” indeed, as Halford has the Tokyo crowd in the palm of his hand, heavy on the echo.  “Running Wild” (1978’s Hell Bent for Leather) is extra caffeinated compared to the in-the-pocket original, giving the album the feel of a race.  KK goes bananas at the end, and then it’s his showpiece:  “Sinner” from 1977’s Sin After Sin.  Finally it sounds like Priest have stopped hurryin’ about.  About half of the track features KK taking his guitar to outer space in a trippy solo segment.

In its original form, “The Ripper” (1976’s Sad Wings of Destiny) was thin and stiff by comparison.  Here it is a beast, with Rob Halford fully unleashed and stalking the back-alley streets.  Easiest contender for most definitive version of a song on Unleashed in the East.  “Green Manalishi” also comes close, with this electrifying version containing the full-blown dual solo in fantastic, crisp, live glory in stereo.  Each part of the solo is an essential part of the song, just as “Green Manalishi” is an essential part of the album.  If you own the LP, this is where you flip sides and go straight into an adrenalized “Diamonds and Rust”, keeping the energy moving.  Binks’ double-bass work is fun as hell to listen to, like a kid who can’t stop tapping his feet excitement.

The Priest epic “Victim of Changes” takes its time to unfold, though mightily it does.  The live setting and the unstoppable Les Binks make this another definitive Priest live version.  It is the climax of the album, with the last two tracks “Genocide” and “Tyrant” unable to surpass its mountainous metal spires.  Regardless, both are far more fuelled than their seemingly crippled studio counterparts.  Halford is more expressive and engaging live, while the guitars riff on relentlessly.

This album would be 5/5 stars right here, full stop, no need to elaborate.  The already definitive Priest live album became even more definitive in Japan in 1979, and 2001 in the rest of the world, with additional bonus tracks.  On the 2001 remastered Sony edition, all the tracks blend into one another without fade-outs.

Most of the tracks originated on Hell Bent for Leather, with one from Sin After Sin.  “Rock Forever” and “Delivering the Goods” cook!  Not too dissimilar from the originals, these are nice additions that extend the album without weakening it.  “Hell Bent for Leather” was conspicuous by its absence from the album proper, so its restoration is significant.  Finally the lengthy “Starbreaker” occupies the final slot, including a Binks drum solo.  An odd positioning but a stellar version nonethless.  All said and done, the version of Unleashed with bonus tracks is just over an hour long.  By today’s standards that’s a bit short for a live album, but it certainly does feel more complete.

Though he was indeed a significant source of Judas Priest’s musical power both on stage and in the studio, Les Binks quit the band mid-tour to be replaced by ex-Trapeze drummer Dave Holland for the remainder.  Binks was never made an official member on paper and was dissatisfied.  To be sure, other Priest drummers can sympathise.  The only taint on this otherwise perfect “live” metal album is the absence of the departed drummer on the front cover.

5/5/5 stars

 

JUDAS PRIEST REVIEWS

REVIEW: Judas Priest – Hell Bent for Leather / Killing Machine (1978)

JUDAS PRIEST – Hell Bent for Leather / Killing Machine (Originally, 1978, 2001 Sony reissue)

After producing “Better By You, Better Than Me” on Judas Priest’s Stained Class LP, James Guthrie was hired to do their next album.  This coincided with another step in Judas Priest’s evolution.  In the 1980s they would streamline and simplify their sound, but their earlier albums were darker and more complex.  1978’s Hell Bent for Leather (called Killing Machine in the UK) is the dividing line between the two sides of Priest.

A stuttering riffs opens “Delivering the Goods”, one of the best known tracks from this excellent LP.  A newly upbeat Priest does indeed deliver the goods on this bright rocker.  “Feeling like we’re ready to kick tonight, no hesitating, my bodies aching, looking for some action, satisfaction all right.”*  This is a far cry from “Saints in Hell” and “Dissident Aggressor”.  Now Priest are uplifting your rock and roll souls.  It’s a heavy, headbanging party track with solid gold riffage.  The outro is a showcase for drummer Les Binks, unfortunately on his final Priest studio album.  His loss would be felt through the entire 1980s.

Another simple hard rock classic, “Rock Forever”, is second in line.  Binks’ double bass work is like an impatient kid anxious to quit school for the day.  Part way through, a multi-tracked Halford turns into a cool choir of Robs.  Further in, “Evening Star” is a bit of a surprise.  Starting as a ballad, it quickly turns into a…rock and roll singalong?  As one of Priest’s most melodic songs, it could have easily swayed new fans onto this band.  It also could have turned off fans who liked their metal heavy.

Two tracks from this album have consistently been in the Priest setlists.  One is “Hell Bent for Leather”.  It has a delightfully dry sound, with guitars cranked and Binks on overdrive.  It was obviously good enough to close Priest’s shows going forward (mostly), with Rob riding out on his Harley.  It’s not Priest’s greatest song, but it is one of their most legendary.

Closing side one is “Take On the World”, sort of a prequel to “United” from British Steel.  With double tracked drums, it has a “We Will Rock You” quality, but done Priest style.  It’s clearly meant to be sung from the stage, to a screaming audience.  “Put yourself in our hands so our voices can be heard, and together we will take on all the world!”  Repeat, rinse, dry.

Side two’s opener is one of Rob’s naughty numbers:  “Burnin’ Up”.  The sexy groove on this one will nail you to your seat.  It’s an album highlight though it might leave you feeling funny, like that time you climbed the rope in gym class.  “You dish the hot stuff up but you keep me waiting, so I’ll play it dirty until your body is breaking.”

At this point, the US version of the album breaks into what I will call the greatest song Judas Priest have ever done.  It’s the second one that has remained in setlists.  And it’s not even one of theirs.  It’s Fleetwood Mac’s “The Green Manalishi (With the Two-Pronged Crown)”.  Rarely does a band make a cover song their own like Priest did with “Green Manalishi”.  Everything on this is perfect, from the impeccable tempo, to the immaculately composed solos, to the flawless riff.  Les Binks is right in the pocket, and it’s very telling that live versions with Dave Holland on drums were stiffer.  If you only ever get to hear one Judas Priest song in your whole life, make sure that it’s “The Green Manalishi (With the Two-Pronged Crown)”.

You could put a fork in the album at this point and call it “done”, but there’s still plenty of awesome to go.

A funky Priest groove goes down on “Killing Machine”.  A menacing Halford warns, “I got a contract on you,”  backed by trademark Priest riff.  The middle section with the solo is a whole different beast.  A faster song,  “Running Wild”, pumps the adrenaline with chugging guitars.  “I take on all comers, they back up or they fall,” sings Rob with a challenge in his voice.  At this point I’m convinced that this guy could take on the world for real.  “I rebel but I worked hard, and I demand respect,” he sings with earnest.

There’s a respite here before the end, with a ballad:  “Before the Dawn”, which reminds of softer moments from Sad Wings of Destiny.  The guitar solo is legendary, but Rob Halford is the star on this melancholy masterpiece.  Finally, Priest go dirty again with “Evil Fantasies”.  Lock up your kinks, or just go with it!  It’s another sexy groove.  Rob knew how to write lyrics appropriate to the music.  “You pout, I snarl, you whimper.”  It’s like a Romulan having sex with a Klingon.  It shouldn’t be, but it is, and it’s cool!

Sony tacked on two completely unrelated bonus tracks, but review them we must.

“Fight For Your Life” is a demo of “Rock Hard, Ride Free” from Defenders of the Faith, almost identical except for some of the lyrics, and solo section.  Great bonus material for that album, but not this one.  Also unrelated is a live version of “Riding on the Wind” originally from Screaming for Vengeance.  This blitzkrieg is from the legendary US festival.

Bonus tracks quibbles aside, Hell Bent for Leather (with “Green Manalishi”) is essential metal.  Period.

5/5 stars

* The lyrics on the Japanese version were poorly translated:  “Feeling rock queers, ready to kick tonight.”

JUDAS PRIEST REVIEWS

REVIEW: Judas Priest – Stained Class (1978, Remastered)

JUDAS PRIEST – Stained Class (Orignally 1978, 2001 Sony reissue)

I always considered Stained Class to be the “lost” Judas Priest album.  I rarely saw its name in a print magazine, and never saw a copy in a store.  Not until 1989.  As it turns out, I only needed one Priest tape to complete my collection.  There it sat, at Zellers at the mall.  My dad got out his wallet and bought it for me.  I could tell that he was not as impressed as I was that I had finally completed my Priest cassette library.

A year later after I bought it, Stained Class became world famous.  In 1990, Priest were taken to court over “Better By You, Better Than Me”, a song from the album.  Lawyers in Nevada argued that Priest had embedded backwards “do it!” messages within the song, prompting James Vance and Raymond Belknap to attempt suicide by shotgun.  Belknap succeeded, but Vance survived, horrifically disfigured.  In the summer of 1990, everybody knew the name Judas Priest.  But there were no backwards “do its!” embedded in the music.  Even if there were, what does “do it” even mean?  And why would a rock band want to kill off their source of income?

In short, I’m telling you that it’s perfectly safe to listen to Stained Class.  As one of the finer Priest albums, your life will be better for it, not worse.

Nine tracks.  New drummer.  The smouldering odor of quenched steel.  Stained Class.

Fall to your knees and repent if you please, and be sure to stand back for “Exciter”!  Though the production of the 1970s robs it of its potential thunder, “Exciter” does not fail.  Judas Priest had mastered the art of the speedy riff, and Halford coloured them with vibrant wordy imagery.  “When he leaps amidst us, with combustive dance, all shall bear the branding of his thermal lance.”  While it could have come from a comic book, it’s certainly a more challenging lyric than “Rock hard, ride free, all day, all night.”

Fire imagery continues on “White Heat, Red Hot”, a Glenn Tipton number with one of those mid-tempo guitar grooves that Priest specialize in.  The new kid, Les Binks, lends it a relentless heavy beat.  Yet it’s a cover tune, the aforementioned “Better By You, Better Than Me” (Spooky Tooth) that knocks me out.  That groove!  The record company suggested the tune, to balance an otherwise pretty heavy album.  It was a good idea.  While it’s not as notable as “Diamonds and Rust” or “Green Manalishi”, Priest put their own spin on it.  Headbangingly so!  Rob Halford’s vocal performance is top notch.

Side one ends with the closing duo “Stained Class” and “Invader”.  Halford duets with himself on the title track, a pretty cool effect for a metallic midtempo stomper.  Enjoy some nice guitar harmonies from the duo of Tipton and Downing.  Its gleaming chorus upholds a great song.  “Invader” has a similarly burnished chorus hook and a victorious tone.

The album’s second side is more challenging to the uninitiated.  A tantalizing riff leads in to the doomy “Saints In Hell”.  Shrieking, Rob agonizes over going “down into the fire”, but the real heat is coming from churning guitars.  Next, “Savage” is just that.  Time changes with tricky drum work, dualing solos, and screamin’ Rob is what you will get.  “What have we done to deserve such injustice?” pleads Halford, giving 110%.

It is Les Binks that is credited with writing the guitar part to the album’s epic.  Says KK:  “Our drummer at the time, Les Binks, was left handed.  One day he walked into the studio and picked up one of the guitars.  It must have been mine, because Glenn would guard his with his life!  Anyway Les picked it up, turned it upside down, and played that riff.”  They built “Beyond the Realms of Death” around the guitar part.  Downing adds that he’d never seen Binks play anything on guitar before or since!  Like “Victim of Changes” before, it has distinct sections and builds up on itself.  “It’s a bit like our ‘Stairway to Heaven’!” said Rob; or perhaps to hell?  The centerpiece of the album.

Closing on “Heroes End”, Priest go out with a serious rocker and a couple more cool riffs for your collection.  An extended outro solo is one of its main features.

But that’s not all folks, because Sony added two bonus tracks on this 2001 CD edition!  And hey, I have nothing against “Fire Burns Below”, but this Turbo / Ram It Down outtake should have been added to a different album, not Stained Class.  The synth and programmed drums are jarring.  The back cover states it was recorded during “the earlier years of our career”.  This is obviously not true.  Too bad, as it’s a cool track although Priest probably didn’t need any more ballads at that point.  They already had “Out in the Cold” and “Blood Red Skies”, not to mention “Red, White and Blue”.  Decent ballad, but on the wrong CD altogether.  A live take of “Better By You, Better Than Me” has more relevance.  This is from the Painkiller tour in 1990, when the song was resurrected in their set after a long absence.  A middle finger to the lawsuit.  For that reason, this live version is important for the collector.

It’s a real shame this album was so rare when I was a kid.  Stained Class is Priest at one of their many peaks.  This was them at peak curiosity: willing to take chances, play with tempo and riff changes, and to challenge themselves.  By the next album they were starting to hone in on a commercially viable sound.  Cover tune aside, that’s not a consideration on Stained Class.

4.5/5 stars

 

JUDAS PRIEST REVIEWS

Sunday Chuckle: I think this duck used to be one of my customers at the Record Store

I just heard about this kids’ song that is popular in certain age groups. It’s catchy, but I can’t say that I like the lead character too much. He’s a duck that keeps pestering the clerk at a lemonade stand with the same question day after day and not buying anything. I swear to God I used to see him at the Record Store.

#866.5: Right Now, I Am Happy

A spontaneous mini-chapter as I navigate a November weekend.

 

 

GETTING MORE TALE #866.5: Right Now, I Am Happy

As of right now, 10:39 AM on a beautiful Saturday morning in early November, I am happy.

It might not last.  It might be a moment as fleeting as the breeze.  But as I remove my mask in the open air, and breath it deep, I feel good.

We’ve had a hell of a week.  A Wednesday kitchen accident left us without a functioning stove and a hell of a mess.  We are working hard and cleaning up.  Just one more thing, right?  But not the end of the world and nobody hurt.  Well, not too badly; I’m sporting a cut hand from some broken glass in a kitchen corner.  It just makes me look tougher!  Hah.

I am learning that it is OK that I can’t do all these home projects on my own.  Somebody is coming to haul the old stove away in about an hour.  On Monday somebody else will be delivering the new one.

I am enjoying my beloved music collection.  This week I have delved back into Judas Priest.  I currently have five Judas Priest reviews ready to post, just awaiting final revisions.  I intend to finish all the Judas Priest reviews before the end of 2020.  It’s going to happen.  It feels good to achieve a goal, trivial to others as it may be.  I am learning not to judge myself too harshly and to recognize my worth.

Priest were a really important band to me in my younger years.  Listening now, even to their more recent music, I still get a huge kick.  “Revelations” from Nostradamus might not sound like the Priest I knew back in 1987, but it gets my head a-bangin’.  My air guitar is tuned and ready to rock when I hear it.  My old bones still creek, but my young heart still pumps molten blood when I have the mighty Priest in my ageing ears.

Well, I’d better split, the junk lady will be here soon to pick up this old stove.  If it’s nice and sunny where you are then I recommend you go outside for some nice air.  It’s a beautiful day and right now, I am happy.

Storytime with Frank Loffredo on The LeBrain Train

He came; he talked; he rocked!  Frank Loffredo of Thunder Bay’s legendary Crocks N Rolls joined the LeBrain Train to tell story, after story, after story.  Drawing from a broad palette of musical love, Frank talks punk, reggae, jazz, Canadian music, and everything in between.  How do you nurture a music scene in an isolated town like Thunder Bay?  Listen and find out.

As I often do, I began the show with a special unboxing.  If you want to see that, you can start the stream from the beginning.  If you just want to watch the interview with Frank, then start the stream at the 0:07:00 mark.

Thanks everyone for watching and asking your questions, and thanks to Frank for giving us two hours of your time!

Crocks N Rolls Friday with Frank Loffredo on the LeBrain Train

The LeBrain Train:  2000 Words or More with Mike Ladano

Episode 36

 

We have a special show lined up for you tonight — one I have been waiting six months to do!  Please join Deke, Mars, and myself tonight as we host the legendary Frank Loffredo, from Thunder Bay’s fine establishment Crocks N Rolls.

Last month, for a limited time, a documentary film by Kirsten Kosloski called Five Bucks at the Door: The Story of Crocks N Rolls was available to stream for free.  We were blown away by the musical history at Crocks, and also the guy at the centre of it all:  Frank.  This is a guy who put every band he could get on the bill, from Quiet Riot and King’s X to Sloan and Deke’s own Current River.  You don’t want to miss the stories that he has to tell.

Join us at 7:00 PM E.S.T.  

Facebook:  MikeLeBrain  YouTube:  Mike LeBrain

 

REVIEW: The Cult – Dreamtime / Live at the Lyceum (Japanese import)

THE CULT – Dreamtime (Originally 1984) / Live at the Lyceum (Originally 1986) (2006 2 CD Beggars Banquet Japanese set)

This was a bit of a surprise to me. Once I got this Japanese pressing in my hot little hands and opened it up, out popped two CDs! This was not advertized on the case. (Well, maybe it was in Japanese, but I can’t read Japanese!) The second CD is the legendary and extremely hard to find live album, Live At The Lyceum. For that live album alone, this Japanese import is worth the price of admission.

The debut album by The Cult is surprisingly solid, a fully-formed vision of the band with complete and catchy songs. For a long time this album was hard to get and all but unknown to “new” fans of the band who thought that it started with Love. This was rectified in the 90’s with numerous reissues, plus many of these songs found their way onto the Pure Cult compilations.

Dreamtime has a punk-like energy.  The drums (by Nigel Preston) hit hard.  “Horse Nation” and “Spiritwalker” open Dreamtime with a powerful one-two punch.  “Gimmick” has soaring vocals with stabbing guitars, coupled with a fast beat that gets the heart racing.  The title track has a similar accelerated pace.  The Cult are also known for their slower, darker, macabre side.  “83rd Dream”, “Bad Medicine Waltz” and “Butterflies” certainly cover that.  Dreamtime sounds like an angry young band unwilling to compromise.

Yet tracks like “Go West” had tremendous commercial potential.  Memorable, punchy melodies and Ian Astbury singing with all the panache he can muster.  “A Flower in the Desert” could be called a ballad if you like.  A dour, dusky one.  An impactful “Rider in the Snow” has some excellent guitar shimmer.

Gladly, I have found that there is not one weak track on this album. The songs are more challenging and not as instantaneous as Love, but when Astbury’s one-of-a-kind vocals mix with Duffy’s angular guitars, it sounds like the Cult. Period. From aggressive rock songs to mournful dirges like “Bad Medicine Waltz”, this album has a bit of everything that the Cult would later become, in embryonic form.  This set contains just the album, the original 10 songs, and none of the B-sides. Don’t fret however as those songs can be found on the Rare Cult set.

Although I got Live at The Lyceum (the original abbreviated cassette which only had eight of the 15 songs) in my teens, I was a stranger to early Cult.  This raw live disc (which opens with a bit of Wendy Carlos’ score from The Shining) includes all the songs from the 1983 Death Cult EP:  “Christians”, “Horse Nation”, “Ghost Dance” and “Brothers Grimm”.  It also includes the blistering Death Cult single “God’s Zoo” live, and the B-side “Bone Bag”.  Going even further back, “Moya” predates Billy Duffy, being an early single by Ian’s band Southern Death Cult.  It slams with vital energy.  As good as this whole live album is, “God’s Zoo” has to be the highlight.

Astbury is as combative as ever, and the crowd eats it up. The energy of this live album is astounding. I strongly encourage you to look for a Japanese copy of this CD for the live album — it is totally worth your time and money to do so. Lyceum was the second Cult album I ever owned (shame it was just a cassette) and I have very fond memories of learning about the Cult’s history by playing  that tape over and over.

This Japanese CD release has the original, superior cover art.  With the full 15 song version of Live at the Lyceum included, it’s the standout version to own.  What an album, and what a live disc to boot.  Dig into the Cult.

4/5 stars