REVIEW: Devilsradio – The EP (2019)

DEVILSRADIO – The EP (2019)

Here’s a new Canadian three-piece with some hard rock for your ears!  Their new three track EP has potential.  They’ve kept the songwriting short and to the point.  There’s a distinct 90s groove to the EP, without resorting to direct references or ripoffs.  When we say “90s groove” we’re referring to rhythm front-and-center, and a singer who does it from the guts.

Opener “Fear the Monster” has a pretty immediate chug, perhaps from the Stone Temple Playbook.  This track is the clear winner of the three.  As soon as it hit, my right hand started doing the air guitar motion.  Chug chug — the riff is the key.  Good song, and probably really good live.

“Lost in the Dark” and “Great Day” make up the rest of the EP, good songs both.  The edge is on the dark side, these are not party songs but good ones for those angsty days.  They could use some guitar embellishment, but the grooves crush.  Get your headbangin’ on.

The EP sounds like a good first outing for DevilsRadio.  There’s room to grow but they have a solid foundation from which to build.  I’d like to hear them write more songs and add more to their sound, be it backing vocals or instrumental flourishes.  There is good material here and “Fear the Monster” should get you movin’.

3.25/5 stars

1. “Fear the Monster”  2:57
2. “Lost in the Dark”  4:43
3. “Great Day”  3:37

 

Check out the EP here!

#734: The Spaceman’s Wife and the Demon Sex Addict

GETTING MORE TALE #734: The Spaceman’s Wife and the Demon Sex Addict
“Guitars, Makeup and Murder”

Today, another in a long string of sad days in KISStory, we will dissect Ace Frehley’s incendiary statement to his ex-bandmate Gene Simmons.  (If it was written by Ace at all.  The statement appeared on Ace’s wife’s Facebook 22 minutes before it appeared on his.)  He was responding to a recent Gene Simmons quote:

Gene – “They [Peter Criss and Ace Frehley] were in and out of the band — fired — three times. For drugs, alcohol, bad behavior, being unprofessional…they weren’t carrying their load.  So the short answer to your question is we’d love to have Ace and Peter join us here and there. And if they don’t, it’s not going to be because of us. But they’re never going to be in Kiss again.”

Ace has been quite clear in recent months – he wants to be back in Kiss for their End of the Road tour.  The fans would be on board for that.  Kiss, meanwhile, continually shoot down these hopes, while proclaiming their show to be the best live performance ever.  They have questioned Ace’s ability to do a gruelling tour like this.  It seems Frehley has had enough of Gene’s trash talk.  Perhaps on his next covers album, Ace should tackle “We’re Not Gonna Take It”, because it sure sounds like he ain’t gonna take it anymore!

Let’s look at Ace’s statement piece by piece.

 

“Gene, your memory is really incorrect!”

 

Gene forgets the words to his own songs, and often inflates his own history.  At this point I think Gene simply “remembers” what he wants to.

 

“…I was NEVER FIRED from KISS, I quit twice (not 3-times) of my own free will, because you and Paul are control freaks, untrustworthy and were too difficult to work with!”

 

Gene was clearly talking about both Ace and Peter in that sentence about being fired “three times”.  Peter was indeed in and out three times.  But Ace is right, he was never fired from Kiss.  He quit both times.  The reasons he quit are not as clear as he’s making it sound.  He had severe substance abuse problems at the time and probably wasn’t thinking clearly or even functioning normally.  Yes, Paul and Gene are control freaks when it comes to their brand, but I’m sure they have a different perspective on who was difficult to work with.  Ace’s statement could very well be the pot calling the demon-kettle black.

 

“…Your slanderous remarks about my bad habits over the years has cost me millions of dollars and now that I’m over 12-years sober you’re still saying I can’t be trusted to play a whole nights show! Well that’s exactly what I’ve been doing for the last 12-years with different configurations of ‘The Ace Frehley Band’ to you and Paul’s dismay!”

 

Slander is only slander when it’s not true.  Ace’s “bad habits” are well documented.  Being sober for 12 years is an achievement to be proud of, but I don’t think that is what Gene and Paul are talking about.  Once bitten, twice shy.  They’re very wary of working with Ace under those high-pressure situations.  A tour that like can cause a relapse in anyone.  It is not going to be an easy tour for those guys at that age.  It really helps to have younger guys like Tommy Thayer and Eric Singer behind them on tour.

 

“…I’m also the most successful solo artist to come out of the original KISS lineup, and proud of it!…You and Paul have tried to derail my solo career multiple times over the years unsuccessfully.”

 

True, Ace has had the most successful solo career, but there’s not much competition.  Saying that Paul and Gene have tried to derail it?  Multiple times?  That could indeed be slander.  Where’s your proof, Ace?  Did Gene go to Megaforce and say “Don’t promote Ace’s records”?  Of course he didn’t.  Innuendo like this just comes across as someone making excuses for their own perceived lack of success.  Gene was probably not all that helpful in the 80s, but shouldn’t that be water under the bridge this many years later?  Gene wrote songs for your new album, Ace!  Frehley was invited to be the opening act for Gene’s solo tour.  It went so well that Ace hired Gene’s solo band.  The point is, Gene’s been doing a lot lately that should have benefited both of you.  That’s not derailing anything.  Anything else should be ancient history now.

Of course, maybe by “derailing”, Ace’s wife refers to the time in the 70’s that Gene and Paul “tried to have Ace killed“.

 

“…I’ve tried to be nice and friendly by inviting you and Paul to perform on my past albums for eOne Music, give each of you guys one of my prized Gibson Les Paul 59’ models, but today’s comments have made me realize you’re just an asshole and a sex addict who’s being sued by multiple Women, and you’re just trying to sweep it all under the carpet!

“…The icing on the cake was when you groped my wife and propositioned her in Los Angeles at the Capitol Records building behind my back, when I was trying to help you out at one of your ‘Vault Experiences’ which I only found out about several weeks later…she was planning on pursuing a suit against you, but I told her to call it off!!!”

 

Woah!  Heavy shots fired!

Having Paul and Gene performing on Ace’s solo albums was a dream come true for the fans.  This is the kind of thing they have always wanted.  Kiss heroes working together!  United front!  The cooperation between members over the last few years has been an unexpected treat.  Now suddenly Ace is bringing up Gene’s womanizing.  Whether the event Ace’s wife is alleging ever happened as stated, we don’t know.  Gene is a flirt and may have been making inappropriate jokes.  But if it did happen, airing it in public isn’t helping anyone.  Deal with this stuff privately!  If Ace wants back in Kiss, how the hell does he expect that to happen now?

 

“…Well now the gloves are off after your terrible comments today and I’m thinking that this really may be ‘The End Of The Road Tour’ for you guys!!!”

 

Hopefully it’s the end of the road for real, because listening to Paul singing is painful.  He was one of the true greats.  Now he’s the worst singer in Kiss, but I digress.  “Gloves are off”?  What does that even mean?  Are we about to witness a geriatric street brawl?  That outta be amusing.

Now, here’s the real kicker below:

 

“….Without a complete and heartfelt apology, an offer to give me my old job back, and removing Tommy from the Throne that I created… THE SHIT WILL HIT THE FAN AND THEY’LL BE NO STOPPING IT – IT’S ON!!!”

 

(Oooft, grammar.  “THERE’ll be no stopping it”.)

Hahah!  Hah.  You’re joking, right Ace?  When does Gene Simmons offer complete and heartfelt apologies?  Very rarely, and not after being attacked by ex-bandmates.  To demand his old job back in this way is not only ridiculous, but a flight of pure fancy.  This will only put Kiss’ backs up to the wall.

If Ace had any chance of joining Kiss on tour this year, I’d say he has blown it completely.  I will say it:  Ace Frehley will never be on the same stage as Kiss on the End of the Road tour.  That door has closed.

Let me put what Ace is asking in my own words.  Tell me how it sounds to you.

“Gene, you better stop talking shit about me, and you better apologise to me and my wife for what I’m alleging without proof!  After that, I want you to fire Tommy Thayer regardless of whatever contracts you have in place or what your relationship is.  Even though I haven’t played stadiums in almost two decades, your only option now is to welcome me back with open arms!  If you don’t…empty threat!  Empty threat!  Empty threat!”

I am in no way defending Gene Simmons or Kiss.  Gene could have spoken far more kindly of both Ace and Peter over the years.  Kind words are free to offer, and solidarity does a lot for a band’s image.  Ace’s statement simply escalates this in a childish, juvenile way.

We are now in the Twilight Zone with a group of bickering children.  Rock and roll, baby?

 

#733: Joy In Blue

GETTING MORE TALE #733: Joy In Blue

I was never going to be a rock star.  I knew that.  I couldn’t play a song all the way through.  A fella could dream, though.  I carefully plotted out my super-stardom.

First I needed a name for a band.  In highschool, my best friend Bob wanted to call our band Paragon.  “Not Paradox,” he stressed, “but Paragon.  It means we’re among the best.”  We used Paragon as the name for our non-extistant band until Bob graduated highschool, at which time a real band used the name.  When Bob and I went our separate ways (he sold his guitar), I settled on the name Godspeed.  I wasn’t interested in doing anything “wimpy” and I wanted a name that got that across.

However, once again a real band took the name I wanted for my fake band.  I needed to get more original, instead of just picking a word I liked.  I came up with Joy in Blue.  I liked the name because it summed up what I wanted to do with music.  Listening to music is a joyful experience, but you can still get dark when expressing those inner emotions.  Hence, Joy in Blue.  I still like it.

I drew up some logos.  Not the best ones ever, but I wanted something a kid could easily draw in a binder.  Like Kiss.  I even wrote some music!  In 1994 I poured everything I had into a song called “Midnight”.  It was roughly 20 minutes long.  I had some parts recorded.  The rest of it, I was unable to play — all I could do was hum it!  It was meant as a Rush-like epic in eight parts.  The truth is, it was easier to mash my ideas together into an eight part song than to try and write eight complete songs.

The problem with Joy in Blue was that there was nobody capable of playing the music I was hearing, a minor inconvenience.  I had bigger things to plan.  Album titles, projected year of releases — I plotted out the next 30 years of Joy in Blue.  It was going to start with our demo tape, which would get a commercial CD release.  Then three studio albums and a live record.  Finally after the live record, I laid it all on the line:  a double concept album!  To appease the “old” fans, a few records later we’d go back to basics.  I called that LP Back to the Garage, and it was to be done with the same spirit as the first demo.  I knew when I wanted our box set to come out, and my solo album Sweat.

Jesus Christ…a solo album….

Think that’s all crazy?  I even wrote out who I wanted to produce each album.  For our early material, I wanted David Bendeth.  I really liked the heavy groove he got on the Sven Gali album.  I wanted to see if we could get Bob Ezrin for the concept album, and self-produce the Garage album ourselves.  As we got into the tail end of our career, I realized Wolfgang Van Halen would be old enough to produce records.  Therefore I pencilled in Wolfie for our last three or four albums.  I also knew that I wanted us to do a proper farewell, not drag things out forever.  Final albums, box sets and live recordings were planned.

All of this without being able to play more than two minutes of a song.  It would have been glorious though, had I been able to figure out the music part!

 

Early Joy in Blue circa 1991 – absolutely awful.

 

 

 

REVIEW: Max the Axe – Trillion Dollar Threats (2010)

MAX THE AXE – Trillion Dollar Threats (2010 Mutant Music)

Max the Axe’s stellar new album Status Electric didn’t pop out of thin air.  Before he nailed it with that CD, Max had five prior releases.  Status Electric included a couple songs from the previous album Trillion Dollar Threats.  “River Grand” was vastly improved with Eric “Uncle Meat” Litwiller’s vocals.  Though it’s no Status Electric, Trillion Dollar Threats is still an entertaining slab of rock.

Trillion Dollar Threats features a variety of players.  There are several singers:  Geoff Dyke, Ted Moore, John Kelly, Mickey Straight, Ted Guirey, and Eric Litwiller.  That’s almost enough singers to staff the entire career of Black Sabbath!  Over the 16 tracks, there’s not a lot of cohesiveness, but there is a lot of rock.

“Overload” is a heavy-as-fuck opener, 80s thrash metal through and through.  It’s all about that chug, but the vocals seem like an afterthought.  “Guns to Iran” takes a spoken word approach, over a heavy riff, but when the singer (Geoff Dyke) attempts to sing…it ain’t good.  Mickey Straight improves things immediately on “Daddy Was a Murderin’ Man”.  There’s some punk rock in Max the Axe and this is where it comes out (guitar solo notwithstanding).  Maybe a little Faster Pussycat or LA Guns too.

Max is the master of the chugging heavy metal guitar.  “Labyrinth” has that, before meandering around a few different bits.  It’s a good groove that could use some editing.  “I Don’t Advocate Drugs” has a good riff coupled with entertaining lyrics.  For more amusement, there’s “Belljar Party”, the story of stuff going missing after a party.  “Whoever it was, they took my Walkman too.”  Other cool tracks include the spacey “Mutant Mind”, “Livin’ the Country”, and “Mexican Standoff”.

According to Litwiller, “Uptite Friday Night” is the exact same version as the one on Status Electric.  That’s OK because the sloppy drunk vibe is perfect.  The original “River Grand”  has Terry Guirey singing, but although this is the blueprint the Litwiller version is clearly better.  He took it in a more grungy Alice in Chains direction.

Look at Trillion Dollar Threats as a stepping stone to Status Electric.  All the band members (Max, Eric, Dave Haslam and Mike Mitchell) are there on one track or another.  Status Electric couldn’t be as great as it is without Trillion Dollar Threats laying the groundwork.  It needed to be cut down from 16 tracks (way too much for most albums), and some of the tracks need some tightening, but there is some decent rock on Trillion Dollar Threats.  If you like metal in the retro style, there will be plenty of riffs here for you to digest.

3/5 stars

Just Listening to…David Lee Roth – Skyscraper

Just Listening to…David Lee Roth – Skyscraper

This is the first Just Listening post for an album I’ve already reviewed in full.  I tackled David Lee Roth’s Skyscraper back in 2013, rating it 4/5 stars.  However a recent conversation with singer/songwriter Derek Kortepeter led me to try to listen with new ears.

It started with Derek’s message to me.  “Unpopular opinion:  Skyscraper is better than Eat ‘Em and Smile,” he said.  “Better songs, better guitar, tons of awesome synth…when you have tracks like ‘Perfect Timing’ and ‘Knucklebones’ how can you go wrong?”  Derek says “Perfect Timing” might be his favourite song on the album.

Derek definitely has some good points.  It’s easily arguable that Skyscraper has better guitars.  Steve Vai was in the co-producer’s chair, and he layered his guitar parts as if he was building one of his own solo albums.  They’re very dense, yet melodically intertwined.  As for the synth, he has a valid observation with some songs like “Skyscraper”.  That song verges on progressive rock; it’s got so much going on, including synth and layered Roth vocals.  However I think the synth was overdone on tracks like “Stand Up“, which doesn’t even have Billy Sheehan on bass.

Skyscraper is an almost absurd album in some respects, with Dave pouring on that “charasma” to the nth degree.  There are so many “woo’s” “wow’s” and “oh’s” that you could make an entire song of just that.  Steve Vai was the star on Skyscraper, and as I said in my original review, how much you like Skyscraper will depend on how much you like Steve Vai.  I like Steve; I think his music and playing is fascinating.  Rock fans often don’t want “fascinating”, they just want the riffs and the choruses.  Eat ‘Em and Smile was much more about the big guitars and choruses, but it’s also just a fabulous record.  Skyscraper is colder sounding by comparison, and often drifts into experimental pop rock excursions.  It also suffers for the lack of Billy Sheehan, who wasn’t given a lot of creative freedom.  Where there should be bass, often you will hear synth.

Sorry Derek, you have made some really great points, and Skyscraper really is a great album.  It’s brave and fun and experimental, but it’s also cold with little bit of filler (“Stand Up”).   I’ll always rate it high…but not as high as Eat ‘Em and Smile.

Sunday Chuckle: Tom’s Frozen Beater

Here’s a Sausagefest telling of what would later become Record Store Tales Part 289:  Tom’s Frozen Beater.  This was recorded for the 2013 ‘Fest.

REVIEW: Whitesnake – 1987 (30th Anniversary Edition box set)

WHITESNAKE – 1987 (30th Anniversary Edition Rhino box set)

Back when I reviewed the original “Deluxe” edition of Whitesnake’s 1987, I said, “Great album, but this reissue could have been so much better.”  And so here we are.

Let’s get right down to it.  You already know the story of Whitesnake 1987 or you wouldn’t be here.

The main feature is the 2017 remaster of 1987, which actually sounds pretty great.  In this day and age, if you’re seeking the warmth of a vintage vinyl experience, you can go and have that experience for far less money than this box set costs.  For a compact disc, this might be as good as we’ve gotten so far.  If you look at the Audacity waveforms below, you can see the 2017 remaster (top) has roughly the same levels as a previous one from Whitesnake Gold.

I’m still hanging on to my original UK version of 1987, but for compact disc, this is probably it.

David Coverdale wanted to adapt Whitesnake to the 1980s with this album, and this lineup with John Sykes, Neil Murray, and new drummer Aynsley Dunbar was certainly able to deliver.  The album was always loud, especially compared to their 70s output.  Sykes provided the squeals that the kids wanted.  David was back in top voice.  The album they delivered is legendary for how it changed Whitesnake’s fortunes.

The running order on this box set is not the original UK or US, but the combined running order as used on the previous 20th anniversary edition.

“Still of the Night” blows the doors in, a tornado in the night, mighty and sexy too.  Whitesnake had never been this aggressive before, but “Give Me All Your Love” lulls the listener back to something easier to digest on first listen.  “Give Me All Your Love” was a successful single because it’s melodic pop rock with guitars.  But then the band scorch again with “Bad Boys”, top speed right into your daughter’s headphones!  Whether it was Aynsley Dunbar or just the songs that they wrote, the pace is high gear.

“Is This Love”, a song that David was writing with Tina Turner in mind, was another massive hit.   John Kolodner (John Kolodner) insisted that they keep it for themselves, and he was right as he often was.  For a big 80s ballad, “Is This Love” really was perfect.  It tends to work better in a stripped back arrangement, since the original is so specifically tailored to that era.  Still, Sykes’ solo on it has to be one of his best.

Speaking of hits, “Here I Go Again” is the one that Sykes didn’t want to do, and look what happened.  That humble pie probably tasted no good to Sykes when he found himself fired by Coverdale after the album was completed.  His replacement, Adrian Vandenberg (Vandenberg) actually played the guitar solo, so dissatisfied was Coverdale with the one Sykes produced.  “Here I Go Again” was of course a minor hit from Saints & Sinners, but deserving of a second shot in America with production more suited to their tastes.  Don Airey on keyboards; though Whitesnake did without an official keyboardist this time.

“Straight For the Heart” is a great also-ran that perhaps could have been another single if they kept trottin’ them out instead of stopping at four.  High speed but with incredible hooks, it’s impossible not to like.  “Looking For Love” is the second ballad, but actually originally unreleased in the US.  It’s toned down from the style of “Is This Love”, and Neil Murray’s bass is pronounced.  He was a huge part of the groove on this album, if you really settle in and listen to the rhythm section.  His bass has a certain “bop” to it.  “Children of the Night” returns the tempo to allegro and the lyrics to dirty.  I can’t imagine too many fathers of the 80s wanted their daughters to go to the Whitesnake concert if they heard David cooing, “Don’t run for cover, I’m gonna show you what I’ve learned, just come a little closer, come on an’ get your fingers burned.” Another UK exclusive, “You’re Gonna Break My Heart Again” cools it down slightly, but that Sykes riff is hot like a torch!

“Crying in the Rain” is held back to second-last in this running order, even though it opened the US album.  Another re-recording, “Crying in the Rain” was suggested by Kolodner because he knew Sykes could give it that massive blues rock sound that it had in the live setting.  Again, he was right.  “Crying in the Rain” is massive — perhaps the most sheerly heavy piece of rock that Whitesnake ever dug up.  Finally the CD closes with the last ballad, “Don’t Turn Away”, which closed the US version.  It’s a fine song indeed, and a really good vibe on which to end Whitesnake 1987.

The second CD in this set is called Snakeskin Boots:  Live on Tour 1987-1988.  Presumably, these are recordings from throughout the tour, assembled into a CD-length running order.  The “boots” in the title implies bootleg quality, but it certainly sounds better than that.  Soundboards maybe?

The studio lineup of Whitesnake dissolved and David got Vandenberg in, followed by Vivian Campbell (Dio) and the rhythm section of Rudy Sarzo and Tommy Aldridge (Ozzy Osbourne).  This new lineup was not based in the whiskey blues of the old band(s), but in the flashy stylings of the 1980s.  Vivian and Vandenberg were both capable of shredding your brain.  That’s generally how they do it on these recordings.  Opening with “Bad Boys”, the manic tempo is maintained while the guitars reach for the stratosphere.

Sounds like it was a hell of a show, rolling into the groove of “Slide it In” and “Slow An’ Easy”, and the good news is the 1987 band can play the 1984 songs too.  David Coverdale is the ringmaster, the veteran, confident and in prime voice.  All the songs are from either 1987 or Slide it In, with only one exception:  the slow blues “Ain’t No Love in the Heart of the City” from the original 1978 Snakebite EP.  Sounds like Vivian Campbell accompanying David on this slow, classy blues.  No Deep Purple in the set; but my old pal Rob Vuckovich once said he went to the Toronto show on this tour bearing a flag that said “PLAY PURPLE”.  He also claimed David acknowledged it by saying, “We’re not playing any of that!”

“Here I Go Again” comes early on the CD, fourth in line, and it’s excellent.  “Guilty of Love” is a nice surprise, and “Love Ain’t No Stranger” is more than welcome at the party.  “Is This Love” is well received, and works well in the live setting without too much extra production.  Adrian can’t top the Sykes solo, though he gets within very close range.  Vivian and Adrian get a feature solo with a keyboard backdrop, and it’s quite good — more like an instrumental than just a solo.  It leads into a brutally heavy “Crying in the Rain”; Tommy Aldridge literally beats the shit out of it!  The CD closes on “Give Me All Your Love” with David substituting the word “baby” in the opening line with “Tawny”!

There’s little question.  For most fans, the major draw of this box set will be this live CD.  If that is you, you will not be disappointed by Snakeskin Boots.

Disc three in this monolith of a box set is the 87 Evolutions.  This is an interesting concept but not one that you will be craving to have a listen regularly.  This disc is intended for deeper study.  These tracks are the album’s songs in various stage of demoing.  “Still of the Night” for example starts as a living room demo, with David slapping his knees for drums, and only the most basic of lyrics.  Then this demo fades seamlessly into a more advanced full band arrangement, with the lyrics still unfinished.  There’s a funky middle solo section here that is more jam than song, but a blast to hear.

That is the kind of thing you can expect to hear on 87 Evolutions.  No need to spoil what you should enjoy discovering yourself.  This is for the hardcore of hardcore fans, those that want every squeal that ever came from Sykes’ axe.  You are gonna get it.  Incidentally, I think I prefer David’s original, rough slow bluesy version of “Give Me All Your Love” to the glossy pop song it became.

This disc ends with a “Ruff Mix” of the completed “Crying in the Rain” from Little Mountain studios.  All the parts are in place, the mix just needed that modern bombast that David was aiming for.

The fourth and final CD, 87 Versions, is a collection of alternate remixes released on various singles, and brand new remixes as well.  These are really cool bonuses.  The 2017 mix of “Still of the Night” has a really dry sound, allowing you to really hear the spaces between the instruments.  A lot of these remixes have a different balance of instruments, so you will hear different things yourself.  There are two remixes of “Give Me All Your Love” on this CD:  the 2017 with the original Sykes solo, and the highly coveted alternate with “new” solo by Vivian Campbell.  There are also two remixes of “Here I Go Again”, including the old “Radio Mix” with a completely different group of musicians and a much more pop arrangement.

Among these remixes is something called the 1987 Versions:  Japan Mini-Album, proving that Japan always get the best stuff.  This apparent EP contains the B-sides and bonus tracks that you couldn’t get on the album.  “Standing in the Shadows” was another song re-recorded for 1987, though left as a B-side.  “Looking For Love” and “You’re Gonna Break My Heart Again” are also included, since back then you could only get them in the UK.  “Need Your Love So Bad” was a previous Whitesnake B-side, remixed in 1987 for a new B-side!  It’s an absolutely stunning ballad, quiet with only keyboard accompaniment.

With all these tracks included, pretty much every track associated with the 1987 album and singles is covered.

Whitesnake: The Videos is the fifth disc, a DVD.  It’s really just an add-on, nothing substantial (like a 5.1 mix).  First on the menu:  “More Fourplay”, the classic MTV videos that set the world on fire in 1987.  Some behind the scenes footage too.  MTV was a huge part of this band’s success (hopefully Tawny gets paid a royalty from this reissue?).  These glossy videos are…well, they didn’t age as well as the album did.  Why does Rudy always lick his bass?  You just gotta laugh at “Here I Go Again”; the pretentious image of the three guys (Viv, Adrian, Rudy) playing keyboards passionately side by side…utterly silly.  But yet iconic.  “Is This Love” has the band playing on evening rooftops, Rudy wielding a double-neck bass.  Why?  Doesn’t matter; in 1987 we thought it was awesome.  “Give Me All Your Love” is a notable video, being a “live on stage” type, but also with the brand new guitar solo cut by Vivian.  For his solo, Viv chose to play on the wang bar a bit too much, but at least David let him do one.  It remains Vivian’s only studio appearance with Whitesnake, ever.  Unannounced but cool just the same, “Love Ain’t No Stranger” (from Slide It In) is used in whole as the end credit song for the “More Fourplay” segment.

Next up is a 28 minute documentary about the making of the album.  David has clear recollections and is always a delight to listen to. (Some vintage Coverdale interview footage is actually from a MuchMusic piece with Denise Donlon.) Interestingly, he claims that the “Still of the Night” riff is one that he found in his mother’s attic, that he wrote back in the tail of Deep Purple.  “Still of the Night” could have been a Purple song, but it took John Sykes to make it what it became.  We then move on to the assembly of the touring lineup, dubbed the “United Nations of Rock”.  Tommy and Rudy are also interviewed in vintage clips, with Tommy proudly proclaiming that they want to bring musicality back to rock and roll.

The “Purplesnake Video Jam” (whut?) video of “Here I Go Again” is basically a brand new music video using alternate footage from the time.  The mix is similar to the old single mix, but spruced up.  Finally there is the “’87 Tour Bootleg”, and woah!  It’s pro-shot multi-camera footage.  You only get half of “Crying in the Rain”, and all of “Still of the Night”.  Why not more?  Is this a tease for some kind of upcoming DVD?  The footage reveals a band of their time, but a good band.  Not the best Whitesnake lineup ever (Sykes gets that), but a good lineup with something special together.  They were tight, they could all play their nuts off, and present a high energy 80s stageshow, especially Rudy.  By the end of “Still of the Night”, David is actually dodging panties being thrown at his head.  I kid you not.

As per usual, any box set worth its own respect is packed with added stuff usually made of paper.  In this case, a nice hard cover booklet, a smaller softcover lyric book, and a poster.  Posters have to be the biggest waste of money in a set like this.  Who’s going to hang it?  I’m probably never even to unfold mine once.

Now that you have all the details, you should be able to decide if this box set needs to be in your collection.  It needed to be in mine.  And guess what — Slide it In is next!

5/5 stars

REVIEW: Joe Satriani, Eric Johnson, Steve Vai – G3 Live in Concert (1997)

JOE SATRIANI, ERIC JOHNSON, STEVE VAI – G3 Live in Concert (1997 Epic)

It took me 21 years to finally buy this CD.  Why?  It was hard to get excited about three live Satch songs, three live Vai songs, and so on.  But a collector needs to catch ’em all, and it’s actually a pretty fabulous listen throughout.

Joe Satriani opens the set with “Cool No. 9” from his self-titled blues album.  Blues to Joe Satriani is a different kind of animal.  It’s trick-laden and thick with notes, although this doesn’t mean light on feel.  His landmark classic “Flying in a Blue Dream” is more what people expect from Joe.  I like to describe his albums as regular vocal rock records, just with the lead guitar singing the melody instead of a person.  I think I stole that description from Joe himself.  You can’t really call “Flying” a ballad but it sure is epic.  Finally it’s “Summer Song”, Joe’s big 1992 hit from The Extemist.  It doesn’t get more accessible for instrumental guitar rock.  Joe’s actually the perfect artist to open this CD for that reason.  His music, more than most instrumentalists, is door-opening for listeners.

The sublime Eric Johnson is in the middle position.  “Zap” is a tour-de-force of instrumental prowess, built into the framework of a nice shuffle.  Though you can certainly bop along if you like, the musicianship here is not for the timid.  “Camel’s Night Out” is a busy groover.  One of Johnson’s best tunes ever has to be “Manhattan”, which goes down unbelievably smooth live.  The playing is lyrical and warm.

Steve Vai’s threesome includes “Answers” and “For the Love of God” from Passion & Warfare.  “Answers” is one of Vai’s more challenging songs, fast and funky with weird tones and melodies.  This is probably the most blistering song on the whole disc, including a solo that isn’t in the studio version.  For all that, “For the Love of God” is the most awe-inspiring.  This ballad puts the passion in Passion and Warfare.  This is the one with Steve’s soul in it, every bend and every beat.  “The Attitude Song” is an oldie from the first Vai album Flex-able, just a solid rocker with some shredding.  Live it is much heavier than the tinny studio cut.

Finally, there is a trio of tunes with the three maestros playing together, as is the G3 tradition.  The blues standard “Going Down” is a typical jam, with Joe on vocals.  Then a tribute to Steve’s mentor, Frank Zappa, on “My Guitar Wants to Kill Your Mama” with everyone singing…and shredding.  Finally, Jimi Hendrix’s “Red House” finishes the CD with Eric Johnson on lead vocals.  Of these three tracks, “My Guitar Wants to Kill Your Mama” smokes the other two.

May as well pick up the original G3 CD if you find it in the wild.  It’s good stuff.

3.5/5 stars

#732: Where the Hell Am I?

GETTING MORE TALE #732: Where the Hell Am I?

What is the most important information to possess when you’re shopping?  Is it your shopping list?  Is it money?

No friends, that is not what matters most.  What you need to know most of all is where the hell you actually are.

I was working at the Record Store in the late 90s.  We had big red gift certificates in different denominations.  They had our logo printed on them.  You could use them at any of our locations.  They were pretty standard gift certificates, like any other store might have.  Today virtually everybody has switched to magnetic gift cards instead, which undoubtedly saves on paper.

A family came in one afternoon looking to spend.  They had over a hundred dollars in gift certificates.  Enough for the whole family to enjoy.  Collectively they had numerous questions, but were courteous and friendly.  I spent roughly an hour with them, helping them find songs and retrieving CDs for them to listen to.  They narrowed down their pile of CDs to the discs they wanted most.  Then we got to the checkout counter.

I made sure each case had the right CD inside, and I made sure each one was clean.  I rang them up and told them the total, when the man handed me a little blue HMV gift certificate.

My heart sank.

“This isn’t us, this is for HMV,” I informed the man.

“This isn’t HMV?”  He was stunned!

No!  This isn’t HMV!  Didn’t you notice all our massive signage?  Also, all our CDs are used!  When was the last time you saw a used CD at an HMV store?  My mind was screaming all of these things silently as the man.

What bugged me the most wasn’t all the wasted time on these people, it was that he was actually angry!  Angry at who?  If it were me, I’d be super embarrassed but I sure as hell wouldn’t be angry.  I would also be sure to buy something — anything — to make up for all the time the store spent on me.  This guy escorted his family out, leaving all the discs with me at the counter.

I’m sure the boss man was thrilled when I told him this story, and how effective all our store signage was!

Now a story of my own, but without the temper tantrum.

As many of you know, my friend Jason and I collect Transformers.  There are not really any decent toy stores in Kitchener.  We have a Toys R Us and an EB Games.  Up in Waterloo, there’s a good store called J&J’s, but they don’t carry Transformers.  (I did, however, buy up their GI Joes.)  Cambridge is the place to be for toy shopping.

I took a day off work to go toy shopping with Jay.  First we hit a place called The Toy Society, which is an excellent store for vintage action figures.  A little bit of every genre.  It’s hard to leave without spending money.  But Jay and I had a specific goal that day, which was to check out our friend Dan’s new store.

Dan owns B&K Collectables, which if you collect Pops, is now the place to go to get ’em.  He also carries vintage G1 and new Masterpiece Transformers.  His prices are high but when I buy a vintage figure from him, I know it’s complete and in working condition.  He’s never let me down, and I have scored several rare boxed G1 figures from him over the years.  He used to sell by mail, but in 2016 he opened an actual storefront, in a shared space with a computer store.

Jay and I hadn’t been there yet, and so partially planned this day to check out Dan’s store.  We knew roughly where it was, on Queen Street down by Len’s Mill Store.  We parked and started looking.

“This must be it,” said Jay as we entered a toy store.

We looked and took it all in.  There was a guy working near the back.

“BIG DAN!” shouted Jay.

The guy turned around.  He was big but he was not Dan.

“Did Dan hire someone?” I whispered to Jay.

“Sorry, is Dan around?” said Jay to the started toy store guy.

“No,” he answered simply, but probably confused.

“OK, thanks,” we said as we looked around for a bit.  The store was cool but he didn’t have any Transformers.  We had to be in the wrong place.  Turns out, it was a store called Playin’ Around.  B&K Collectables was still a few more doors down!

Once we found Dan, we had a laugh at our embarrassment.  As usual, his assortment of vintage figures was impressive.  I had my eyes on a complete G2 Megatron, but Jay was more excited about G1 Blitzwing.

“Holy shit you have Blitzwing!” said an excited Jay.  A customer over in the computer half of the store was amused by his excitement.  “I can’t believe you have a G1 Blitzwing, is he complete?”

The computer customer walked over.  “OK, I have to see what a G1 Blitzwing is, if it’s this exciting.”

Jay explained to him, “He’s a triple changer!  He changes into a plane AND a tank.”

“Ahh,” said the guy.

You have to have fun with shit.  Here I am with Jay, two guys in their 40s buying toys in the hundreds of dollars.  The computer guy thinks we’re nuts.  We also walked into a store and accidentally scared a guy by yelling “BIG DAN!”  It’s funny.  The guy with the HMV gift certificate could have made that experience so much better for everybody if he just saw the humour in it (and bought something for all my efforts).

Don’t be angry.  If you’re a dumb shit, just own it and laugh it off.  Ponoby’s nerfect, nam.

 

 

 

Just Listening to…Styx – The Serpent is Rising

Just Listening to…Styx – The Serpent is Rising

For Christmas this year, my beautiful wife bought me not one, not two, not three, but four Styx albums!  This was easier than it sounds, because 1) I have an Amazon wishlist, and 2) the first four Styx albums were handily reissued together in a 2CD set called The Complete Wooden Nickel Recordings.  I hadn’t heard any of these albums in full before Christmas.  All four albums were quite good, but the third, The Serpent is Rising, was especially intriguing to me.

I played the four albums in order, recognising a few songs and absorbing others for the first time.  After two full albums and over an hour of progressive rock, I was struck by a song so odd that I had to remove my headphones and check my computer to see what was going on.  Did a Youtube video somehow start playing in the background?  What I was hearing…did not sound like what I had heard!

Would you believe that way back in 1973, Styx were playing around with hidden tracks on albums?  On CD, the track came up with the name “As Bad as This”, written and sung by guitarist John Curulewski.  It is a low, bluesy lament, contrasting some of other more complex songs like “The Grove of Eglantine”.  When “As Bad as This” comes to a close, the last thing you’d expect to follow is a song about plexiglas toilets.

“Don’t sit down on de plexiglas toilet, said the mama to her son.  Wipe the butt clean with the paper, make it nice for everyone.”  All done acoustically in a really bad Caribbean accent.  I am not joking.  The hidden track “Plexiglas Toilet” is over two minutes of pure silliness.  I admit that I love it; it fits my sense of humour.  But this never, ever, ever should been on a progressive rock album!  How?  Why?  And it’s right smack in the middle!  It sits at the very end of side two of The Serpent is Rising!

Toilets aside, The Serpent is Rising is otherwise a pretty strong Styx album.   They were getting more diverse record by record, and their chops kept getting better.  Depending on the kind of Styx you like, the best song could be “Winner Take All” for its pop choruses, or the prowlin’ “Witch Wolf”.  But they really didn’t have a direction yet.  There’s rock, pop, blues, weird spoken bits, plexiglas toilets, and Handel’s Messiah.

The album is not cohesive at all, but a lovely gift it is!

Side one
1. “Witch Wolf” 3:57
2. “The Grove of Eglantine” 5:00
3. “Young Man” 4:45
4. “As Bad as This”
a. “As Bad as This” – 3:45
b. “Plexiglas Toilet” (Hidden Track) – 2:22

Side two
1. “Winner Take All” 3:10
2. “22 Years” 3:39
3. “Jonas Psalter” 4:41
4. “The Serpent Is Rising” 4:55
5. “Krakatoa” 1:36
6. “Hallelujah Chorus” 2:14