THREE-VIEW: KISS – Best of Solo Albums (Japanese CD)

  Best of Solo Albums (Originally 1979, 2020 Universal Japan CD)

Third review for this Kiss compilation here, but why?  A couple reasons.  For one, it’s the first-ever official CD release of this album!  It took 41 years for them to finally put out a CD, and yet only in Japan.  More remarkably, there is one track here that I’ve never heard before in this particular version.

That song is the incredible Paul Stanley epic “Take Me Away (Together As One)”.  On Paul’s solo disc, it fades away at the end of side one at 5:35 in length.  Here, it goes to 5:48, no fade, right to the end of the track.  It’s an ending I’ve never heard before.  This song isn’t even on the more common European version of Best of Solo Albums, just the Japanese.  And apparently the CD has an unreleased version without the fade.

“Oh boy!” you exclaim.  “I have to buy this import just to get 13 seconds of music I never heard before?”

No.  You don’t have to buy it.  I did, because I wanted a copy of this album on CD.  When I discovered the longer version of the track, I was ecstatic to unexpectedly get something extra for my money.

There’s no need to review this album track by track again.  I’ve done it twice, and I’ve also reviewed all four solos albums twice each.  There’s really no need to run through all the songs again, although this tracklist is quite different.  Unlike the European version, these songs are not arranged in three-track blocks for each member.  Additionally, seven of the European tracks were substituted with others.  That’s more than half the album!

Gene Simmons:  Instead of “Mr. Make Believe” and “See You In Your Dreams”, Japan used “See You Tonite” and “Living In Sin”

Paul Stanley:  “Move On” was replaced by the unreleased version of “Take Me Away (Together As One)”.

Ace Frehley:  “Speedin’ Back to my Baby” was removed in favour of the instrumental “Fractured Mirror”

Peter Criss:  All three of the Cat’s songs – “You Matter To Me”, “Tossin’ and Turnin’”, and “Hooked on Rock and Roll” were replaced!  I guess Japan didn’t care for those as much as they did “Don’t You Let Me Down”, “Rock Me Baby” and “I Can’t Stop the Rain”.

For me, I prefer the running order that Europe used, with each member of the band getting three songs in a chunk.  However, there are plenty of songs that I prefer on the Japanese version, such as “See You Tonite”, “Take Me Away (Together As One), “I Can’t Stop the Rain” and “Don’t You Let Me Down”.

It’s interesting that the solo albums are by and large panned by the masses, but nobody can agree on the “Best Of“.  Maybe those albums weren’t so bad after all, at least when you distil them down to the essential tracks.  The Japanese CD will become my preferred listening experience for two main reasons:  it sounds better than the vinyl, and I like more of the songs.  It would sound even better if I had an MQA decoder, a new-ish hi-resolution CD format from Japan, which will unlock an even better sounding version of the album, if you have a few grand to spend on upgrading your system.  If not, enjoy the disc and stellar packaging, with not one but two different covers to display.

4/5 stars

 

#872: “Tattoo”

GETTING MORE TALE #872: “Tattoo”

On January 10, 2012, Van Halen released their first new single with David Lee Roth on vocals since 1996:  “Tattoo”, from the forthcoming album A Different Kind of Truth.  An exciting day to be sure.

I had not yet started this site, but if I had, on that day nine years ago I would have written this story.

In 2012, radio station 107.5 Dave FM (now Dave Rocks) was still running the contest that put me on the map locally speaking:  The Four O’Clock Four-Play.  Afternoon host Craig Fee would play four songs in a row, and listeners had to guess what the common thread between the four songs was.  I won more often than anyone else and became a local celebrity named “LeBrain”, and that’s why you’re reading this today.  But on January 10, Craig stumped me.

The Four-Play that day was, of course, Van Halen’s “Tattoo”, played four times in a row!  Craig, who has since left the radio business, was a massive Van Halen fan.  He was the kind of guy who would see “Love Walks In” on that day’s play list, and remove it in favour of “Hear About It Later”.  He was unafraid and that combined with a diehard love of Roth-era Van Halen must have been all it took to play “Tattoo” four times in a row on the Four-Play.

Truly it was a glorious time to be listening to the radio.  You never knew what Craig was going to play on any given show.  He had a penchant for “Rainbow in the Dark” by Dio, and of course Roth-era Van Halen deeper cuts.  He played half of Fair Warning on his show once.  I don’t know what the real-world consequences were for these musical shenanigans, but Craig’s bravado was inspiring.  After the Four-Play contest was discontinued in April of that year, the show’s format became more of a listener call-in program, and the glory days came to an end.

But what was the “common thread” for the purposes of the contest that day?  “Tattoo” played four times?  Arbitrarily, it was the Elvis tattoo in the lyrics.  “I got Elvis, on my elbow…”  Of course it could have been anything, but Craig just needed an excuse to play the song over and over and over again and still give away that day’s prize.

This post is dedicated to Craig, who I hope is doing well out there in his post-radio life.  I feel very fortunate to have had his show to listen to at work, playing all this stuff that no other radio station would have dared.  We Van Halen fans were in our glory that day, getting our fill of the new tune and enjoying every moment.  Of course, people who hated the song were in agony for that show.  Oh well!  So sad, too bad.

Hard to believe David Lee Roth was back and an album was really coming — and now we had the proof in our ears!  Almost as hard to believe Craig got away with playing “Tattoo” four times in the space of a 30-minute contest.

A story for the rock n’ roll history books; a memory for the ages.

Sunday Screening: Loudness interview…in English! (2015)

This week I’ve realized that regular readers here are not as familiar as they should be with the legendary Japanese metal band Loudness!  I’ve done my best to educate with my Loudness reviews, but there is nothing better than hearing the story directly from the source.  This brief 2015 interview with the affable Loudness is from the Tuska Open Air Festival in Helsinki, and conducted in English!

The surviving original members Masayoshi Yamashita, Minoru Niihara, and Akira Takasaki are questioned by interviewer Kati Rausch about their history.  Subjects covered:

  • Their first gig (sold out) in 1981 (when Masayoshi was only 19 years old)
  • Switching to English in 1984
  • Their recent album The Sun Will Rise Again
  • Devil horns

A great little 5 minute interview with three guys you can’t help but like.  Check out some Loudness today.

 

LOUDNESS REVIEWS

Tres Hombres talk ZZ Top Deep Cuts on the LeBrain Train

Tons of fun, both on and off topic tonight, on the LeBrain Train.  Aaron from the KMA and Kevin from Buried On Mars were on board with some killer lists of ZZ Top’s best deep cuts.  A lil’ bit of overlap but not too much!  We also read off some guest lists:  San Diego guitarist Mike Slayen, and a local Kitchener singer named Mike Mahler.  Check out their lists as well as ours!

Show time index:

Watch from the start to see the latest CD unboxing from Encore Records.

To check out the new music video by Current River called “Hodder To Hell”, skip to 0:16:45 of the stream.

The ZZ Top talk commences at 0:22:20.

At the end of the show I spun the Loudness video for “Black Widow”.  Find that at 2:32:36.  (No copyright strike, yay!)

I hope you enjoy this week’s show as much as I did!  The 2021 season is off to a great start.

 

Gimme All Your Deep Cuts: It’s ZZ Top lists on the LeBrain Train!

The LeBrain Train:  2000 Words or More with Mike Ladano

Episode 45 – “Season Two” Premier

 

It’s 2021, and that makes it an even 50 years since ZZ Top released their First Album.  There is such a rich catalogue of rock, blues and jams far beyond what you hear on the radio.  Join LeBrain, Aaron from the KMA and Kevin from Buried On Mars, as we explore ZZ Top’s deeper cuts.  Songs you may have missed if you didn’t buy the albums.  We’ll be running down multiple Nigel Tufnel Top Ten lists tonight, so you’d better be taking notes!

For those who like to show up early, I will be doing an unboxing.  There are five CDs in this box from Encore Records, from two different artists.  Trying to complete some collections.  Curious?  Then you’ll wanna be there early, before the official 7:00 PM show start.

I’ll also be playing a new music video on the show — a brand new version of “Hodder To Hell” by Current River!

 

After a few weeks of fun seasonal shows, I’m eager to get back to some rock and roll!  50 years of ZZ Top is the perfect excuse to do an episode dedicated to the best lil’ band from Texas.  Best of all, it’s free!  It doesn’t matter if you Just Got Paid today, or if you’re Lowdown in the Street.  This is a show for everyone so come on board the LeBrain tonight for some ZZ Top.

 

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

REVIEW: Loudness – Buddha Rock 1997-1999 Music Clips DVD

Part Four of Four – Buddha Rock 1997-1999

LOUDNESS – Buddha Rock 1997-1999 Music Clips (1999 Rooms DVD, from the box set Buddha Rock 1997-1999)

The complete Buddha Rock 1997-1999 set comes with the three Loudness albums from that brief era, and also a bonus DVD with the accompanying music videos.  On the back some are listed as “full size” and others “short size” — let’s find out what that means and what Loudness videos looked like in the late 90s.

“Ghetto Machine” opens, with Loudness including a shaven-headed Akira Takasaki performing in a darkened room.  The added static interferance reminds us we are in the 90s when bands like Loudness didn’t have much budget and covered it up with tricks like this.  Masaki appears cold with his big fur hat, but it’s fun to see this version of Loudness on video.  “Evil Ecstasy” has cleaner production, but this is one of the “short size” videos — it’s only about 90 seconds of a pretty cool song.  Too bad because this video is much more watchable.  The funkier “San Francisco” is also one of these short versions, as is “Creatures”.  All of these videos appear to be taped at the same time.  The section of “Creatures” used focuses on the guitar solo.  That’s cool at least.  “Katmandu Fly” is the “full size”, but it’s also only a minute-long instrumental so to call it “full size” is kinda cheatin’.

Moving on from the Ghetto Machine album, all the rest of the videos are “full size”.  From Dragon, it’s two of the best tracks:  “Dogshit” and “Crazy Go Go”.  This time Loudness are playing in a huge, uber-clean garage.  As “Dogshit” demonstrates, Akira was now into his “fly sunglasses” phase.  It looks like the band are having fun here, which makes it an enjoyable watch.  Great song too.  “Crazy Go Go” is more straight ahead, with lights and struttin’ stage moves instead of goofing around.

Apparently they only did one video for the final Masaki album, Engine.  “Black Biohazard” is that song; not a tune that impressed on prior listens.  (Also strange how “Black Biohazard” is the only song not in capital letters on the cover.)  This video is made from grainy outdoor concert festival footage.  From this we can ascertain that live, Masaki was a capable frontman with a cool rock star stage persona.

At 25 minutes, this DVD can not be considered more than a bonus for buying the Buddha Rock box set.  It is not the main draw.  The fundamental reason to get Buddha Rock is to acquire the three albums Ghetto Machine, Dragon and Engine in one place with ease.  As a bonus feature, the Music Clips disc does what it does.  “Dogshit” is the best video by a wide margin, and it remains unclear why “short size” videos were included, unless that’s all that was ever made for those particular songs?

The Buddha Rock box set also comes with photos, complete lyrics (in English) and liner notes (in Japanese).  It’s the obvious way to go to cover those years, an era which ended with the Engine album in 1999.  At Masaki’s urging, Akira Takasaki reunited the original Loudness lineup and released Spiritual Canoe with Minoru Niihara at the microphone.  That put an end to the Masaki Yamada era, which started with member turnover before solidifying on these three albums with Naoto Shibata and Hirotsugo Homma on bass and drums respectively.  Great musicians both who helped Loudness explore new and weird directions at the end of the 90s.

Music Clips DVD:  3/5 stars

Buddha Rock 1997-1999 box set:  3.5/5 stars  (the sum of the whole is greater than its parts)

REVIEW: Loudness – Engine (1999)

Part Three of Four – Buddha Rock 1997-1999

 

LOUDNESS – Engine (1999 Rooms, from the box set Buddha Rock 1997-1999)

The Masaki Yamada era of Loudness ended with the 1990s.  Masaki felt (correctly) that Loudness would be best off reuniting with its original lineup in the year 2000, and so Engine is the last album to feature Yamada, drummer Hirotsugo Homma and bassist Naoto Shibata.

As with the previous two Loudness albums (also included in Buddha Rock), Akira Takasaki’s penchant for experimentation is at the forefront.  “Soul Tone”, the opening instrumental, makes that much clear with its atypical exotic guitar drones in place of a song.  Then Akira cranks up the string harmonics on the bizarrely rocking “Bug Killer”, a 90s song if there ever was one.  He must have been listening to Rage Against the Machine.  The track descends into guitar mayhem by the end.  It’s incredible to think how Akira transitioned from an 80s guitar hero compared to Eddie and Yngwie, to a 90s master borrowing from Morello and the Middle East.

“Black Biohazard” chugs unremarkably just like much of the 90s did.  Leaning on a groove, “Twist of Chain” has certain 80s delicious metal elements hidden under the distortion.  It’s the kind of song that makes these lost albums really worth hunting down.  Similarly, “Bad Date/Nothing I Can Do” buries its hooks under vocal distortion.  Unfortunate that they didn’t just let it loose.  “Apocalypse” fails to build on this with a forgettable alterna-dirge.  “Ace in the Hole” has more going on, with a menacing far East vibe.  The guitars are like razor blades.

 

A sudden left turn on the partly acoustic “Sweet Dreams” almost sounds like a great lost Stone Temple Pilots song from some unknown era.  “Asylum” focuses on the bass, as a lot of the album does, choosing a heavy psychedelic feel.  A long guitar solo section is the track’s highlight.

Without warning, the oddly titled “Burning Eye Balls” goes to acoustic exotic Zeppelin territory.  This refreshing change is followed by “Junk His Head”, a pretty straightforward headbanger that does away with the distorted vocals.  Hirotsugo Homma lays down a killer beat on this one.   The penultimate instrumental track “2008 (Candra 月天)” doesn’t have any particular hooks to relay which is unfortunate since previous Loudness instrumentals have at least been interesting.  This leaves it to the closing track “Coming Home” to make final impressions, of which it makes few.  It has echoes of the old Loudness track “So Lonely” but without much of the feeling or structure.

These three final Masaki-era Loudness albums all have some cool tracks; enough at least to assemble a good single-disc compilation.  Owning all three is for fans only.  It is fun to sit and listen to a band evolve, and watch them try on all kinds of different hats.  If that’s your obsession too, pick up Engine and check out the complete Buddha Rock box set while you’re at it.

2.5/5 stars

REVIEW: Loudness – Dragon (1998)

Part Two of Four – Buddha Rock 1997-1999

 

LOUDNESS – Dragon (1998 Rooms, from the box set Buddha Rock 1997-1999)

Lucky 13th album for Loudness?  Maybe not, but it is an uptick from the prior release Ghetto Machine.  The band just kept on going, with only Akira Takasaki remaining from the original lineup.  Their third singer Masaki Yamada was on his fourth album with Loudness, and by now they had established a heavy alterna-metal 90s sound.  It is the strongest of the three albums of the Buddha Rock era.

Loudness had become fearless, blending thrash and funk together on “9 Mile High”.  Those who don’t enjoy Masaki’s growling style won’t be turned around here.  Those who like it fast enough to make the Kessel Run in less than 12 parsecs will not have a problem.  It skips between thrash and funk without warning.

The appetizingly titled “Dogshit” could only have come from the 1990s.  Harmonic drones are substituted for a main riff, and Masaki’s vocal is closer to rap metal.  Yet there’s something irresistible about it.  “Dog shit on my bike boots!” sings Masaki with a heavy guitar backing him.  And that’s why Loudness could get away with doing this kind of music.  It’s the guitar.  Akira Takasaki is one of the best in the world, but he’s more fearless than Yngwie and can play just about anything.  With a virtuoso like that, it’s unlikely you’re going to sound like dog shit.

“Wicked Witches” is heavy, detuned, and it grooves to the max while drilling into your brain.  There’s even a little bit of early Van Halen in the riff.  That leads into “Crazy Go-Go”, a single and album highlight.  Foregoing the nu-metal, this one is wah-wah heavy and just plain rocks!  Flat out, kick ass, rock and roll.  “Backstage go-go babe, like a circus after school, playin’ my guitar like a country horse.”  (Country horse?)  You get the picture!  It’s about groupies!  (Akira makes his guitar whinny like a horse!)

Drummer Hirotsugo Homma gets to have some rhythmic fun on “Voodoo Voices” which is one of the most bizarre tracks Loudness have ever done.  Voodoo voices indeed, as the vocals are buried, ethereal in the mix.  It’s trippy and trip-hoppy.  The instrumental “回想” (“Kaisō”) is made up of backwards guitars playing quietly and hypnotic.  Then suddenly it’s a metal riff on “Babylon”.  Masaki eschews the growl and goes for psychedelic singing.  “Crawl” features a chugging Akira riff, and then some pulsing synth?  This album goes everywhere.

“Forbidden Love” is pretty cool, coming closer to the spirit of 80s Loudness.  Then go for some more 90s funk metal on “Mirror Ball”, which is as hot as Anthony Kiedis’ arm pit.  Another stunning instrumental emerges in “Taj Mahal”, which is not about the shredding but entirely about atmosphere.  A variety of unique sounding guitars are accompanied by exotic percussion and bass.  Unfortunately that leads into a little bit of a dud for an album closer.  “Nightcreepers” doesn’t make an impression.

While this Dragon is an experimental one, not afraid to mess with expectations or traditions, it is still rooted in that 90s nu-metal dungeon.  That is something that dates the disc to certain period in time.  When it rises above that, as it does on “回想”, “Crazy Go Go” and “Voodoo Voices”, it transcends genre and goes somewhere unique.  There are just enough of those moments to make this album a keeper.

3.25/5 stars

 

REVIEW: Loudness – Ghetto Machine (1997)

Part One of Four – Buddha Rock 1997-1999

LOUDNESS – Ghetto Machine (1997 Rooms, from the box set Buddha Rock 1997-1999)

1997:  Masaki Yamada, the third Loudness singer, was now on his third Loudness album.  Besides founding guitarist Akira Takasaki, the rest of the band was new.  Ghetto Machine is the first with bassist Naoto Shibata, and second with drummer Hirotsugu Homma.  The 90s were chaotic even for Loudness, just like it was for bands in North America.  In Loudness’ case, they now had more original E-Z-O members (in Masaki and Homma) than original Loudness members.  Like most Loudness albums from the 90s onwards, Ghetto Machine was released only in Japan.

The album was self-produced by Takasaki, recently converted to Buddhism, and he fearlessly dove into the 1990s.  Opening with the title “Ghetto Machine”, the riff is low and grinding.  Masaki takes on a growly lower tone, and in place of hooks there is only groove and the drone of guitar.  This is far removed from the regal metal of the earliest days, but seems sincere given the freedom for Loudness to do whatever they wanted.

Track two, “Slave” features an unusual droning riff, with the thrash metal tempos of early Loudness.  At least 90s Loudness didn’t forego guitar solos like some bands.  Akira’s here is as interesting as any he’s done.  “Evil Ecstasy” opts for a nice groove right in the pocket.  Although the riffs are simpler, Akira always does something interesting, either with tone or technique.  Though 90s Loudness seems to be less focused on songwriting hooks, sonics are treated with care.

“San Fransisco” isn’t outstanding, though the guitars always are.  Nice wah-wah on the solo.  Zeppelin seems to be one of many influences on “Love and Hate”, but at this point of the album it is clear that Masaki Yamada will not be delivering much in terms of melody.   “Creatures” has a stinging little whiplash of a riff and biting vocals but little that you can sing along to.  A cool funky groove called “Hypnotized” is preceded by “Katmandu Fly”, a short atmospheric instrumental.  I almost get the feeling that the chorus riff to “Hypnotized” is a twisted variation of “Smoke on the Water”, though it could be my imagination striving to find any kind of hook.

Some crooning during a slow psychedelic jammy break in “Dead Man Walking” is the only melody in that song.  The albums takes a turn back towards melodic at the end.  Second-to-last track “Jasmine Sky” starts the change up.  It’s slow and sparse, and sounds like lead vocals by Akira.  It’s one of the only tracks with an actual vocal melody from start to finish, and sets up “Wonder Man” as a final blowout.  This monolithic riff is accompanied by exotic guitar soloing and a Masaki vocal you can sing along to.  It crawls to a vaguely Zeppelin-y ending.

Ghetto Machine brings me back to that unhappy time in the 90s, when classic bands did what they had to do to adapt, and while the new albums had merit, they were clearly missing…something.  The ’92 Loudness album with Masaki was awesome and represented everything good that the 90s could do to a rock band.  Ghetto Machine is the slide afterwards.

2.75/5 stars

Sunday Screening: TENET remade by Cracked for only $20

Tenet was my favourite movie of 2020. Slim pickin’s for certain but a movie I thoroughly enjoy for its entire 150 minutes.  But you don’t have 150 minutes today, the last day of Christmas holiday before we go back to the grind!  All you need is 3 minutes to see how Cracked remade Tenet for only $20.  You need not have seen the film to enjoy this — just the trailer.