The Meat Challenge: Listen to an album we’ve never heard before, and write about it while listening for the first time on headphones. I was given Drama by Yes.
YES – Drama (1980 Atlantic)
Because context is always important, a quick glance at Wikipedia tells us that Drama the first Yes album “to feature Trevor Horn as lead vocalist, as well as keyboardist Geoff Downes. This followed the departures of Jon Anderson and Rick Wakeman after numerous attempts to record a new album…Drama was recorded hurriedly, because a tour had already been booked before the change in personnel.”
Heavy-footed “Machine Messiah” begins like a metal epic, with a dense, galvanizing guitar riff, and then goes through multiple lighter sections of acoustics and keyboards. Regal and bouncy, “Machine Messiah” is uplifting despite (and because of) its complexity. Clouds form about halfway through the song, darkening the landscape, but that guitar returns for second round. Tricky bits are three-dimensional, snakelike and winding, but satisfying. An enticing start!
After a 10 minute opener, you’re fairly warmed up for anything, but “White Car” is surprising nonetheless for its lushness and brevity. It sounds like there should be more, but then Chris Squire brings the bass of “Does it Really Happen”, reminding me that he’s truly one of the all time greatest four-stringers in history. His fingers gallop. What a crisp, tight bass sound. Hard to describe this track — it moves, and it’s full, but not immediate. Builds nicely up with organ, vocal layers and guitar chords though. I dig the bass licks right after the false ending. Chris Squire was the man!
Drama‘s second side starts with “Into the Lens”, and another bass pulse by Chris Squire. Bouncing from section to section, it’s hard to pin this song down to one style. It’s easy to say it’s great though. It’s a big song, always interesting and going someplace. From the camera lens, we “Run Through the Light”, opening with gentle acoustic picking and elegant singing. Then the electric guitar and keyboards lay down the hooks. This is my favourite song so far. Trevor Horn’s vocals are enticingly catchy with a Police-like chorus, but then there’s a squirrely and cool Steve Howe guitar solo.
We end the set on “Tempus Fugit”, the only track I was previously familiar with. Like a space race with time, this song goes into hyperspace with engines powered by Chris Squire. In a flurry, the album is over. Drama.
The Meat Challenge: Listen to an album we’ve never heard before, and write about it while listening for the first time on headphones. Meat was given Roky Erikson by LeBrain.
ROKY ERICKSON & THE ALIENS – The Evil One (1981)
How did we get to where we are now? Let’s have a very quick nutshell synopsis of a pretty incredible story (a story which is captured in much more detail in a very good 2005 documentary titled You’re Gonna Miss Me. Have you seen it? It’s a beauty.)
Roky Erickson was born in 1947 in Dallas, Texas. He co-founded an influential psychedelic rock band called The 13th Floor Elevators, who had some chart success in the late 60s. In 1969, Roky Erickson got arrested for smoking a joint and to avoid jail, pled guilty and was sent to the nuthouse until his release in 1974. Roky Erickson & the Aliens were born and released their debut album in 1980.
Now that we have that out of the way, I have not heard the debut album. Nor have I heard any other Roky Erickson album going into this. I was not sure what to expect and what I got was different and frankly more than I expected. The Evil One was produced by ex-CCR bassist Stu Cook, and together he and Roky definitely came out with a great sounding record…that talks about Lucifer a lot…and the devil …and ghosts…. Basically, you could look at this album a collection of crazy stories. More specifically, I now look at The Evil One as a collection of 15 short B-movies expressed through exceptional Pop-Rock songwriting. Imagine if Hall and Oates got a bit of Rock balls and started worshipping Satan. Here are some thoughts I had while listening to each song/movie on The Evil One.
“Two Headed Dog (Red Temple Prayer)” – The first track is the only song I had actually heard before on this album. LeBrain picked this for a tribute back in the days when Sausagefest was doing them. Hearing this again, I enjoy it like I did when I first heard it. Great rock song with guitar licks that kinda surprised me. Roky Erickson possesses a great voice with a naturally high register, which allows him to belt out the hearty Rock.
“I Think of Demons” – Another solid rock song bringing to mind everything from the Ramones to Thin Lizzy to “insert 70s melodic rock band here”. A lot of poppy goodness here. Perhaps the happiest song ever with “Demons” in the title? You’d be right if you guessed there is more of this kinda thing to come.
“Creature With The Atom Brain” – Nicholas Cage would have been the star of this movie. I really like the twin guitar parts in this track. Bit of a hillbilly rock song. Some conspiracy-minded strange banter in the middle which leads to even stranger banter at the end.
“The Wind and More” – This is probably my favorite track on the album. I really got a Max Webster meets Wishbone Ash vibe from this song. Erickson seems to have a great way of finding his way melodically through rock and roll riffs. Of course Lucifer is mentioned again. Speaking of…could this be what Pye Dubois would have sounded like if he made music? Hmmmm.
“Don’t Shake Me Lucifer” – Yes, this time the one of the Prince of Darkness’ given names makes the title. Roky really channels his inner Mick Jagger in this track. Very Rolling Stones-esque all around really. A bit more of an aggressive punk thing going on here. Perhaps Teenage Head would be a better comparison. Not one of my favorite tracks on the album to be honest.
“Bloody Hammer” – This is another stand out track on the album. Bit of a cock-out rock song that probably just cooks live. Some epic ranting in this too. For some reason I was thinking about Budgie during this song. As for lyrically? I am really not sure if I really wanna know what the actual bloody hammer was that inspired this song.
“Stand For the Fire Demon” – I don’t know what to make of this one. While I admire the passion poured out in this track, there is a bit of a drag to it. Another Nicholas Cager here. You know…the crazed, bug-eyed Cage where he makes no sense but is really adamant about it? I think this might be a prayer to Satan.
“Click Your Fingers Applauding the Play” – Fun Thin Lizzy twin-guitar licks in this. Other than that nothing especially stands out about this track.
“If You Have Ghosts” – …You have everything. This is a hell of a song. The middle musical part in this song starting with the solo is a fun piece of music. Very good slightly-off-road rock song.
“I Walked With a Zombie” – Imagine if you were watching an episode of Happy Days, and instead of a jukebox they had a really fucking high Tom Petty playing music for the acid-tripping kids at Arnold’s. I think Ralph Malph lost his virginity to this song. Just another sock-hop with the devil.
“Night of the Vampire” – This song is very Alice Cooper. This would be the Rob Zombie directed movie set in the 70s. By the way, I’ve given up trying to analyse these lyrics.
“It’s a Cold Night for Alligators” – An average silly mid tempo rock song. Actually it’s better than that. I’m getting a Max Webster vibe again, and some fun twin leads once more.
“Mine Mine Mind” – Starting off with a tribal Alex Harvey rock feel, this is pretty much everything I like about 70s pop-rock. This is basically what Trooper and Streetheart were doing around this time, but in this case, instead of singing about cars and girls, Roky Erickson chooses to sing about the Devil. To each his/her own I guess.
“Sputnik” – The second this song started, I was thinking about Ace Frehley. Even the lyrics seem cosmos and NASA inspired. This is the KISS song of the album. I really like this track, and it could right now be one of those songs everyone is sick of hearing on FM radio. Why isn’t it? Well… the science fiction lyrics. Oh…and Satan.
“White Faces” – The album ends with more driving rock and roll. The first verse of this song is:
Friends with a beast, Because of sharp teeth, The devil so red, The fiery evil blieb.
WHAT!?!?!?!?!??!
Once again we have melodic and poppy mid tempo rock referring to Satan. This man is just too happy about demons.
Overall I would call this a better than average rock record. Perhaps with multiple listens some of the melodic hooks would sink into me deeper, but as of now better than average is pretty much what I feel about this record. Anyone who loves 70s rock would really love this album. The devil is in the details. No…I’m serious…The devil is truly within the details of this album. I think the title speaks for itself. This is an album about The Evil One.
I’ve never been much of a winter guy. I get that from my dad. The winter of ’92 was long with a number of serious snow days. I had just learned how to drive and it was certainly a challenge. Details are not important. You don’t need an accounting of times my little Plymouth Sundance got stuck or struggled to make it home from school. All you really need to know was what was in my tape deck.
I was still digesting a lot of the music that I received for Christmas at the end of ’91. The live Poison and Queensryche sets got a lot of car play once I dubbed them onto cassette. At this point my attention to detail was becoming overwhelming. I painstakingly faded in and faded out the sides of the live albums onto cassette. This had to be done manually as you were recording. If I missed the cue I’d do it over again until I got it right to my satisfaction. I should have known there was something wrong with me!
We had one serious snow day that year, and although class wasn’t cancelled I stayed home. My school friend Rob V made a tape for me of David Lee Roth live in Toronto on the Eat ‘Em and Smile tour. I know that I played that tape on that day because the memory is so clear. It was a great concert. Roth and Steve Vai had a fun interplay, where Steve imitated Roth’s vocal intonations with his guitar. Vai followed his voice as Roth told the crowd, “Toronto kicks ass, because the girls are soooo fiiiine!”
Time flies, and 1992 didn’t take long to kick into gear with new releases.
I had just discovered Queen. Suddenly here comes this new movie Wayne’s World which made Queen a worldwide phenomenon for a second time. More important to me though was the fact that the soundtrack CD included the first new Black Sabbath track with Ronnie James Dio in a decade: “Time Machine”! My buddy Peter didn’t care — he was strictly an Ozzy Sabbath fan. No Dio! (And certainly no Tony Martin!) But I was excited. I wanted to get that soundtrack as soon as possible.
There was a new music store that had just opened at the mall about six months prior. The very first tape I would ever buy there was the debut album by Mr. Bungle in late ’91. It would be the very Record Store that I would later dedicate years of my life to…but not yet. When it opened, I recall my sister and I being glad that there was finally a music store at the mall again, but disappointed in the prices. $14.99 for a tape was a lot of cash. CDs were unfortunately out of our price range. New cassette releases like Wayne’s World were cheaper at $10.99, so I went to the mall before class one morning to get a copy. And this is a funny memory as you’ll see.
When I worked at the store, the boss would give me shit if he thought I was talking to someone too much. I think he would have preferred good old fashioned silent labour, but I don’t know that. He also drilled into us to pay attention to every customer and don’t ignore anybody. So it’s quite ironic that he lost a sale that day by ignoring me and talking it up with some hot girl visiting him!
I was standing there in front of his new release rack looking for Wayne’s World. I knew it was out, but didn’t see it anywhere. I checked his soundtracks and it was missing in action. I wanted to ask him if he had it, but he was chatting it up with this girl. Eventually I caught his attention, but only because as I stood there waiting, I thought he did ask me a question. So I said, “Pardon me?” But he wasn’t actually talking to me, he was still talking to the girl. Once he noticed me, he informed me that Wayne’s World was sold out but he could hold a copy for me as soon as the next shipment arrived. I was ticked off so I said no thanks, and picked it up at the Zellers store down the hall instead.
Wayne’s World in the deck, I happily rocked to Queen, Sabbath, Cinderella, and hell even Gary Wright. Peter and I saw the movie one Saturday night at a theater in Guelph, and liked it so much that we went back to see it again the following afternoon. I saw Wayne’s World four times that winter!
I got my fill of Queen with the recent Classic Queen CD, released later that March. I got the CD for a good price at the local Costco! This enabled me to get a good chunk of Queen hits all at once in glorious CD quality.
The next big release to hit my car deck was a big one. A really big one. An album five years in the making through triumph and tragedy.
On March 31 I went back to the Record Store on my way to class, and the new release I was waiting for had arrived. I left gripping Adrenalize in my hands. An album I had been waiting for since highschool and even had actual dreams about! It was finally real. Into the tape deck it went as I drove to school. Less riffy…more reliant on vocal melody…not bad? I’ll let them have it though. After what they’ve been through? Yeah, I’ll cut them some slack.
Two weeks later, I was digesting another massive chunk of music.
I didn’t get Pandora’s Box in 1991 when it was released. There was so much going on. But my parents bought it for me as an Easter gift in April ’92. That Easter I was “Back in the Saddle” with three CDs of Aerosmith!
It was a bittersweet gift. Traditionally the family spent Easter at the cottage. I have lots of happy memories of playing GI Joe in the fresh Easter afternoons up there. This time I had to study for final exams and stayed home with my gift. I must have played that box set two times through while studying that weekend.
Exams were over by the end of April and suddenly…it was summer holidays. In April! It was…incredible! I stubbornly refused to get a summer job. I have to say I don’t regret that. I had savings from my previous job at the grocery store and I was getting Chrysler dividends cheques (yeah, baby). Between that, Christmas & birthday gifts, I got most of the music I wanted. And I got to spend that summer just enjoying it all. It felt really good after such a long and frankly lonely winter.
Pandora’s Box tided me over. After all, it was a lot to absorb having heard very little “old” Aerosmith up til that point. My favourite track was “Sharpshooter” by Whitford – St. Holmes. I liked that they included a sampling of solo material by various members. These were new worlds to discover, but what about the next big release? Who would be the one to spend my valuable savings on?
Iron Maiden were back on May 11 after a very short absence with Fear of the Dark, their second of the Janick Gers era. But I needed to save my money, and wait one more week for something even more important to me. It was Revenge time.
Speaking of triumph and tragedy, it was time for some overdue spoils for Kiss. Having lost drummer Eric Carr to cancer in late ’91, Kiss deserved to catch a break. Fortunately Revenge turned out to be a far better album than the previous few. I recall getting over a really bad cold, and my lungs were still congested on that spring day. The outdoor air felt amazing. I walked over to the mall on release day and bought my CD copy at the Record Store. I probably ran all the way home to play it, lungs be damned.
To say I was happy was an understatement. In 1992 you had to come out with something strong or you would sink. It was a more vicious musical world than just a year ago. Fortunately Kiss did not wimp out and came out with an album just heavy enough, without following trends. It would be my favourite album of the year, though a few strong contenders were still lined up.
My birthday was coming and I would have to wait a little while to get some more essential tunes. Fear of the Dark was on the list. So was Faith No More’s Angel Dust, which was a must. And, of course, rock’s ultimate royalty returned in 1992. A band that rock history cannot ignore, though it arguably should. A band that defined the term “odorous”. A band with a colourful and tragic backstory. A band making its long feared return with its first album since 1984’s Smell the Glove. And with their new album Break Like the Wind, they proudly proclaimed, yes indeed, this is Spinal Tap.
Once again, quite a bit of music to absorb. I had been anticipating the Iron Maiden. I heard the first single “Be Quick or Be Dead” on Q107 late one night, and didn’t think much of it at first. I was concerned that Bruce Dickinson’s voice was becoming more growly and less melodic. The album helped assuage these concerns with a number of melodic numbers including “Wasting Love”, “Afraid to Shoot Strangers” and “Fear of the Dark”. But the album was infected with lots of filler. “Weekend Warrior”, “Fear is the Key”, “Chains of Misery”…lots of songs that were just not memorable. Fear of the Dark sounded better than its predecessor but could you say it was better than Seventh Son? Somewhere in Time? Powerslave? No.
Though it was murky and dense, the Faith No More album blew me away. The M.E.A.T Magazine review by Drew Masters gave it 2/5 M’s. I gave it 5/5. I wanted something heavy and weird from Faith No More. I got what I wanted. Peter was a big Faith No More fan too, but I don’t think he dug Angel Dust as much as I did. We both appreciated the comedic aspects but I really got into the samples, nuances and rhythms. It was, and is, a masterpiece. I believe I can say that I was of that opinion from the very beginning.
And Spinal Tap, dear Spinal Tap. The Majesties of Rock took a little longer for me to fully understand. And no wonder, for Spinal Tap are playing musical 4-dimensional chess inside your ear canals. I simply had to accept that several years had passed since Spinal Tap last recorded, and they had grown in their own stunted way. I’ve always thought that the title track was sincerely brilliant. But I never liked that Nigel Tufnel had so few lead vocals. I have long appreciated bands that had multiple lead singers. While this time even bassist Derek Smalls stepped up to the microphone, it was David St. Hubbins who sang lead on 11 of the 14 tracks. Now, this is certainly not to criticise the enviable lead pipes of St. Hubbins, but merely to state that there wasn’t enough Nigel. Having said that, Nigel did branch out by employing a new guitar playing technique — doubling his solos with vocals, like Gillan used to do with Blackmore. He also got to unleash his new amps that went up to infinity, which debuted live at the Freddie Mercury tribute concert in April.
Like all things, summer eventually came to an end and it was back to school once again. That fall and into Christmas I got some of the last new releases that were on my radar. I missed Black Sabbath when Dehumanizer came out in June. That one took a long time to really like. While the production was incredibly crisp, the songs didn’t seem up to snuff to me. At least at first. In time, it became a personal favourite album.
That Christmas came the new Bon Jovi album Keep the Faith, Queen’s new Greatest Hits, and of course AC/DC Live. It was also the Christmas that I first realized there was something wrong inside my head, and I realized it because of those albums. It was partly the obsessive-compulsive disorder, but also a massive hangup about being ignored. I wanted the AC/DC double Live, but was given the single. I wanted Keep the Faith and Queen on CD but got cassette. As I grew older and learned more about myself, I realized that I became very upset if I felt like someone was not listening to me or understanding me. Nobody seemed to get why I wanted specific versions (because of my OCD actually), and I couldn’t explain it, so that set me off even further. I became extremely grumpy that Christmas over these gifts, and it was ugly. I isolated myself to stew in my own negativity. It’s not something I’m proud of, and you can call me a spoiled brat if you want to (you wouldn’t be wrong). At least I’ve worked at trying to figure out my defects.
It’s not like any of it mattered in the long term. I have re-bought all of those albums twice since, each!
1992 went out much like it came in, cold and snowy. Canadian winters are hard. Some people have the DNA for it, but I don’t. I’m half Italian. I wasn’t designed for snowy, damp winters. That’s why music is so important to me in the winter months. Music can be a completely indoor activity and I had a continually fresh supply. 1992 was a big year for heavy metal even though the grunge revolution had already started. Of course, things were not to stay as they are. Iron Maiden and Faith No More were about to hit some major speedbumps, and Black Sabbath had already split in two by the end of the year! 1992 was the last time we could pretend heavy metal was still in good health. Hard rock was about to endure further challenges and hardships. At least we had ’92.
There has been this shady guy driving a silver Mercedes up and down our street. He’s definitely up to something. He always parks in the cul-de-sac at the end where he is out of sight. We used to assume he was dealing drugs but we found some evidence last week that suggests he’s up to something else.
Someone last week requested that I cover my favourite vinyl on the next live stream. At the same time, I received some feedback that going back to a discussion format like the early streams might be fun. I’ve decided to do a bit of both.
For today’s live stream, starting at 6:00 PM E.S.T., I’ll be talking about some of my favourite records. Why are they some of my favourites? We’ll get into that and more. But we’ll start with some free discussion about whatever you want. How are you holding up now, two months into this crisis?
I read an interesting comment about new music during the crisis. “I’d prefer not to get any new albums at this time,” went one comment, “because I don’t want to always associate that music with this time.”
Let’s talk about this and more tonight at 6:00 PM Eastern Standard Time. Facebook: Michael Ladano
I have a long history with collecting singles. Record Store Tales Part 4: A Word About B-Sides was all about the discovery of exclusive songs, at the Zellers store in Stanley Park Mall. The whole point in buying singles, to me, has always been acquiring rare tracks or rare versions of tracks. Still, if you bought a single and the B-side ended up being on the album anyway, as long as it’s a good song, I don’t complain too much.
Back in 1989 we were all eagerly awaiting the release of Motley Crue’s forthcoming opus, Dr. Feelgood, their first “sober” album and first under the guidance of Bob Rock. The first single was the title track, and on the little speakers of my radio, it crushed. In Getting More Tale #656: The One They Call Dr. Feelgood, I had this to say:
“I tried to catch ‘Feelgood’ on the radio and record it, but failed. Instead I bought the cassette single at thelocal Zellers store. Considering how many tracks the band worked up for Dr. Feelgood, I hoped they would be releasing non-album B-sides. They did not. Instead, ‘Feelgood’ was backed by “Sticky Sweet”, probably the weakest album track.”
This single, bought at the very same Zellers store in the very same mall, is still fun to hit ‘play’ on. The old familiar cassette test tone precedes the song, a fun nostalgic reminder of the old days. Then the riff caves in your skull, with no “Terror ‘n Tinseltown” intro. I suppose if you were a stickler, you could say this version of “Feelgood” without “T.n.T.” was exclusive to the single. It was pretty easy to separate the two on CD though.
Although certainly overplayed today, I can remember what we all liked about “Feelgood”. The heavy groove was refreshing and quite unlike other bands getting airplay that summer: Bon Jovi, Def Leppard, and Aerosmith. Then there’s Mick Mars’ solo and talkbox bit, still enjoyable. I’ve probably heard it 1000 times, but “Dr. Feelgood” still plays good on air guitar.
Flipping the tape, the B-side “Sticky Sweet” perpetually sucks. Motley Crue had a couple unreleased tracks to choose from that would have been better than “Sticky Sweet”, such as “Rodeo”. But as revealed in an old issue of Hit Parader, some of those tracks were initially earmarked for a followup album called Motley Crue: The Ballads. Regardless of the rationale, “Sticky Sweet” stinks like a poo stuck to the bottom of your shoe after you’ve already tracked it into the house. In its favour, it does have a neat funky instrumental section in the middle, but that can’t save a shitty song. And the thing is, even if an unreleased B-side was never in consideration, why couldn’t they have just picked a better album track, like “Slice of Your Pie” or “She Goes Down”? Maybe they knew they were sitting on an album with five singles so they started by rolling out the shittiest B-sides?
Whatever! The A-side may be timeless but the score must account for the atrocious B-side.
What a title for your first “greatest hits” compilation, eh? Diamonds Diamonds emerged the year after Max Webster broke up, with no songs from the final album Universal Juveniles, the only one without Terry Watkinson. Even though these kinds of posthumous records are usually not very good, Diamonds Diamonds is an exception. It’s also one of the hardest Max Webster albums to find on CD, but a generous slice of vinyl at 13 tracks and 47 minutes.
“What do I know?” asks Kim Mitchell in the opening line of “Gravity”, the debut number. Kim knew quite a bit actually, including how to write catchy music without it being overtly commercial. He knew how to challenge listeners while delivering the hooks they craved. “Gravity” is one such slice of brilliance. It’s complex pop.
“High Class in Borrowed Shoes” is a classic rocker from their second album in ’77. As much as it kicks, the lyrics and keyboard arrangement are not typical. The title track “Diamonds Diamonds” followed “High Class” on the original album and it does again here. Like a lullaby, “Diamonds Diamonds” floats on the wings of the backing vocal arrangement. Next is “Summer’s Up” from the incredible debut Max platter. Jangling guitars and dreamy keyboards make for a summer scene by the pool side, with drinks. “Blowing the Blues Away” has a more traditional feel, country and blues and pop rolled into one, with a side order of quirky tones. But it’ll make you feel good. Continuing the feel-good celebration, it’s “A Million Vacations”, one of the greatest Canadian party songs of all time. Kim Mitchell’s guitar work is sublime and baffling at once.
Side A ends with one of Max Webster’s most significant songs, “Let Go the Line” with lead vocals by Terry Watkinson who wrote the song, music and lyrics. In Max Webster, lyrics were usually handled by the poet Pye Dubois. In fact he wrote all but two of the lyrics on Diamonds Diamonds. The two he didn’t (“Blowing the Blues Away” being the other) were written by Watkinson. “Let Go the Line” could not be improved upon if you tried. Kim’s regal guitar line, Dave Myles bass pulse, and the thrift of Gary McCracken’s drums are all flawlessly and perfectly fit to Terry’s ballad. If Max Webster only had one “perfect” song, it’s “Let Go the Line”.
Fearlessly opening side two with furvor, it’s “The Party”! It’s the off-kilter musicianship on tracks like this that had fans often comparing Max Webster to Frank Zappa. Frank liked to have fun, too. Well Max really liked to have fun! “We’re all here for a celebration, the madcap scene and the Max Machine!” That says it all.
Every decent “greatest hits” album needs unreleased songs. Diamonds Diamonds has two decent ones, good songs that might be a bit too mainstream for a Max studio album. “Hot Spots” is the first, a rip-roaring boogie of a good time. By comparison, Kim could have recorded it on one of his early solo albums if Max didn’t release it on this. It is chased by the outstanding “Paradise Skies”, another summery Max hit that keeps Canadian radio stations in business. Melody and musicianship — that should be Max’s calling card. The second of the new unreleased tunes is “Overnight Sensation”, the most ordinary (or forgettable) of the tracks. The bassline really hops, and there’s even some cowbell, but the song isn’t comparable to something like “The Party” or “High Class”.
Although it’s better as an album opener, “Lip Service” (from Mutiny Up My Sleeve) is a bouncer. “Socialutions, written down in our teens. I mailed them to Kennedy, I typed them for Tito.” Brilliance in a pen by Pye Dubois, barely contained by the bopping bass and upbeat keys. Then before it’s all over it goes into a brief jazzy jam! Finally it’s “Hangover”, also traditionally an opening song. It’s the hardest rocker of the bunch, quirky as all hell and actually a good closer too!
Diamonds Diamonds still an important record today because “Overnight Sensation” and the outstanding “Hot Spots” haven’t been reissued on anything else. You can’t say that about any of the songs on The Best of Max Webster (1989). This is the one to get. If you find one on CD, you’ve got yourself a good one.
GETTING MORE TALE #829: Freestylin’ 6 – A Wasted Candy Script for Chaos
Buy local! That’s the mantra these days. The last time we went “Freestylin’“, I explained that I was going to try and buy as much of my music from Encore Records. Having consumed the four albums I ordered last time, I decided to order four more! Like before, I tried to (mostly) focus on albums I’ve never heard before. At the same time I also wanted to pick up some music that people have been recommending to me.
First into the shopping cart: Love/Hate – Wasted in America. Your Heavy Metal Overlord was pleased that I enjoyed their debut album, Blackout in the Red Room, and so commanded me to acquire their second, Wasted in America. Encore had in stock the Rock Candy reissue with two bonus tracks: “Castles From Sand” and “Soul House Tales”. I trust HMO with my dollars — he has rarely, if ever, steered me wrong.
My second purchase was Nita Strauss’ debut CD Controlled Chaos. If you didn’t know, Nita plays lead guitar with Alice Cooper. This one came highly praised by John over at 2loud2oldmusic. “Nothing short of spectacular,” he said. Funny enough, the last time he inspired me to purchase an album, it was another guitar instrumental: Joe Satriani’s Shapeshifting. I am looking forward to hearing a guitarist that, aside from live performances playing someone else’s songs, I’ve never really had a chance to listen to. If Nita is as much of a beast in the studio as she is live, this oughta be a good album.
Uncle Meat has been telling me to buy some Cars studio albums for ages. All I owned to this point was a Cars anthology called Just What I Needed. Meat specifically recommended Panorama, but Encore had the expanded edition of Candy-O for just $16.99. Maybe I’ll get Panorama next. There is no point in getting the versions without the bonus tracks. This one has a number of alternate versions, one B-side, and one previously unreleased song called “They Won’t See You”.
Because I ordered four CDs the first time I ordered from Encore, I randomly decided that I had to get four again this time. My fourth was a re-buy, but a pretty mega re-buy. The nice thing about this one is that it doesn’t replace the version I already own. Rather, it complements the earlier version. EMI already did a pretty excellent job when they reissued the Marillion catalogue in the 1990s. Each of the first eight albums was stuffed with bonus discs packed with rarities and unreleased material. My new copy of their debut, Script for a Jester’s Tear (4 CDs + 1 Blu-ray) duplicates only one track from the EMI original!
For the 2020 box set version of Script, the entire album is remixed, meaning I will need to hang onto my original. The Market Square Heroes EP is also remixed. The only song duplicated over both versions is “Charting the Single”, but here it is in a fresh 2020 remastering. Discs three and four are an unreleased concert, Live at the Marquee Club. “But I have that already!” you protest. Do you? No. The concert on the Early Stages box set was recorded December 30, 1982. This one was recorded the day before, December 29th! While the setlist is identical, the concert is a completely unreleased one.
Finally the Blu-ray disc has the usual music videos and hi-def audio tracks, but most importantly it also has Script remixed in 5.1 surround. It even includes the entire Recital of the Script live video (81 minutes)! In other words, this version of Script is packed to the gills, yet amazingly without rendering your old copy obsolete.
Guitarist Steph Honde told me that the official Marillion website is sold out and he hasn’t been able to find a copy anywhere. Fortunately the Marillion store says they will have more this week.
Thanks to Mark at Encore Records for keeping the rock rollin’. This has been so important to my mental health. I have always ordered new music to give myself something to look forward to in the mail. The only difference in this new reality is that I sanitize the parcels thoroughly. After too many weeks of no new music, ordering from Encore has been awesome.
Wonder what I’ll order next time? Recommend four CDs to me. If Encore carries them, there’s a possibility I might end up buying your favourite album next.
YES – Drama (1980 Atlantic)
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