Sunday Chuckle: Eat the Rich

A show of hands:  who loves the Motörhead song “Eat the Rich”?  Granted, it is not one of their most recognised tunes.  It is however fun and hilarious.

I wanted to post the lyrics on Facebook recently, so I Googled them.  I think Google is a little mixed up.

Google confused Motorhead’s song with the completely different Aerosmith single.  At least they got the words mostly right…mostly!  Below, you’ll find the correct lyrics and credits, thanks to your buddy LeBrain.

 

 

They say music is the food of love,
Let’s see if you’re hungry enough,
Take a bite, take another, just like a good boy would.
Get a sweet thing on the side,
Home cooking, homicide,
Side order, could be your daughter,
Finger licking good.

Come on baby, eat the rich,
Put the bite on the son of a bitch,
Don’t mess up, don’t you give me no switch,
C’mon baby and eat the rich.
C’mon baby and eat the rich.

Sittin’ down in a restaurant,
Tell the waiter just what you want,
Is that the meat, you wanted to eat,
How would you ever know?
Hash browns and bacon strips,
I love the way that you lick your lips,
No fooling I can see you drooling,
Feel the hunger grow.

Come on baby, eat the rich,
Put the bite on the son of a bitch,
Don’t mess up, don’t you give me no switch,
C’mon baby and eat the rich.
C’mon baby and eat the rich.
C’mon honey, here’s your supper,
C’mon baby, bite that sucker!

I’ll eat you baby you eat me,
Eat two, maybe get one free,
Shetland pony extra pepperoni,
Just pick up the phone.
Eat Greek, or eat Chinese,
Eat salad, or scarf up grease,
You’re on the shelf, you eat yourself,
Come on and bite my bone.

Come on baby, eat the rich,
Bite down on the son of a bitch,
Don’t mess around, don’t you give me no switch,
C’mon baby and eat the rich.
C’mon baby and eat the rich.
Sittin’ here in a hired tuxedo,
You wanna see my bacon torpedo?

Eat it baby, eat the rich.
Eat it baby, eat the rich.
Eat it baby, eat the rich.

 

Songwriters: Kilmister, Burston, Campbell, Taylor.

REVIEW: Styx – Styxworld Live 2001

STYX – Styxworld Live 2001 (2001 Sanctuary)

There are plenty of live Styx albums, the majority with current singer Lawrence Gowan.  2001’s Styxworld is as entertaining as the title implies.  It really does represent the world of Styx:  oldies, solo hits, and obscure tracks too.  Because the Styx lineup in 2001 included guitarist/singer Glen Burtnik, there are a couple songs he wrote that Styx don’t play anymore.

Styx have had a credible career, post-Dennis DeYoung.  Adding Gowan, a solo star in Canada, was a brilliant move.   Though Gowan and DeYoung don’t sound alike, Lawrence is capable of performing Dennis’ more dramatic hits like “Come Sail Away”.   You wouldn’t want that song dropped from the set!  But Gowan also adds his own solo material:  “A Criminal Mind” (from 1985’s Strange Animal) is more than welcome.  A great song is a great song, and “A Criminal Mind” has since become a part of Styx.

Credit should be heaped for including lesser-heard classics like “Boat on a River” in the set, just as good as any of the missing songs.  You’ll also hear “Rocking the Paradise”, “Miss America”, “Sing for the Day”, “Crystal Ball”, “Half-Penny, Two-Penny” and “Lorelei” (James “JY” on lead vocals).  Essentially the setlist was whittled down to songs co-written by Tommy Shaw or James Young, with “Come Sail Away” being the only solo DeYoung-written song.

You could fill a whole other album with missing songs like “The Grand Illusion” or “Renegade” but what makes Styxworld strong are the songs included in their place.  Like it or not “Love is the Ritual” was a minor hit for Burtnik-era Styx, and an effort seems to have been made to include everybody’s material.  A big hit (though not by Styx!) is “Sometimes Love Just Ain’t Enough” by Patty Smyth and Don Henley…written by Smyth and Burtnik.  It’s cool to have a Styx version though it’s shortened for the stage.  Of course there’s “Criminal Mind” by Gowan, and even the ballad “High Enough” by Tommy Shaw’s Damn Yankees.  Though it seems like a ballad-heavy set, there is plenty of rock and roll.

Check out Styxworld for a taste of this period of Styx history.  If you like Gowan, it’s a win.

4/5 stars

 

RE-REVIEW: KISS My Ass – Classic Kiss Regrooved (1994)

The KISS RE-REVIEW SERIES Part 45: 

 My Ass – Classic Kiss Regrooved (1994 Polygram)

When reports surfaced that Kiss were in the studio working on a song with country star Garth Brooks, some assumed this was to be a bonus track for the forthcoming Kiss Alive III.  Little did we realize that Kiss were actually working on their own tribute album.

In the early 1990s, tribute albums were all the rage.  Common Thread: the Songs of the Eagles.  Stone Free: a Tribute to Jimi Hendrix.  Out of the Blue and Borrowed Tunes:  tributes to Neil Young.  There were many more, and Kiss were not on the trailing edge of this trend.  They beat Black Sabbath and Led Zeppelin to the market.

Kiss My Ass was the clever title, but it was not the first.  1990’s Hard to Believe: A Kiss Covers Compilation featured soon-to-be-famous bands like Melvins and Nirvana.  The ever-enterprising Kiss decided to corner the market with their own official tribute to themselves.

To toot their own horn, Kiss included a list of not only the musicians who appeared on Kiss My Ass, but even the ones that didn’t.  Nirvana is on the list.  According to the Melvins though, the truth is that they only dropped Kurt’s name as a guest on their track, because Gene didn’t seem too interested otherwise.  Nine Inch Nails were going to do “Love Gun”.  Both Ugly Kid Joe and Megadeth wanted to tackle “Detroit Rock City”.  It’s hard to imagine what songs Run D.M.C. and Bell Biv Devoe were supposed to record, or Tears for Fears for that matter.  Take this list with a grain of salt!

Kiss My Ass (or A** if you bought it from Walmart) is a weird album.  It’s scattershot and not immediately likeable.  It collected 11 (12 if you include the bonus track) covers by a diverse assortment of 90s artists.  The cover art sucks and lacks the Kiss logo and Ace’s real makeup (which Kiss did not have the rights to in 1994).  The only cool gimmick the cover had was the background flag was unique to the country of release.  A Kiss album with a Canadian flag is neat to own.

The album hits the ground running with some 70s cred, as Lenny Kravitz and Stevie Wonder do “Deuce”.  Lenny funks it up while Stevie brings the harmonica.  This is an example of a simply terrific cover.  The artists put their own spin on it, changing its style but not its drive.

“Hard Luck Woman” was already up Garth Brooks’ alley.  His version doesn’t stray from the Kiss original, and even features Kiss (uncredited) as his backing band!  That makes it an official Kiss recording, just with a guest singer of sorts.  Arguably the biggest country singer of all time, and a closet Kiss fan.  The Garth Brooks track threw a lot of people for a loop, though it’s an easy song to digest.

Kiss only participated in two songs:  the Garth track, and Anthrax’s “She”.  Anthrax insisted that Paul and Gene produce it, and they did a great job of it.  Anthrax are brilliant at doing covers anyway.  John Bush-era Anthrax was truly something special, and “She” slams hard.  Heavy Kiss songs made heavier are such a delight.

The Gin Blossoms turned in a very mainstream, very mid-90s version of “Christine Sixteen”.  It kicks about as hard as the original, but something about it is very tame.  After all, singer Robin Wilson is not Gene Simmons (which is probably a good thing), and guitarist Scotty Johnson is not Ace Frehley.  Far worse through is Toad the Wet Sprocket’s soggy “Rock and Roll all Nite”, a buzzkilling country fart.  “Calling Dr. Love” by Shandi’s Addiction (a collection of assorted big names) is also a hard pill to swallow.  This quartet consists of (are you ready for it?):  Maynard James Keenan – lead vocals.  Tom Morello & Brad Wilk – guitar and drums.  Billy Gould – bass.  So, it’s Rage Against the Machine with the singer from Tool and a bass rumble right out of Faith No More.  And the track is just as schizophrenic as you’d expect.  It’s both brilliant and annoying as fuck.

J. Mascis of Dinosaur Jr. used his unique vision on “Goin’ Blind”, turning Gene’s murky song into something even darker.  Then bright shimmers of a string section break through the clouds, shadowing everything dramatically.  It’s a brilliant track.  Much like Kravitz, J. Mascis took the song and changed the style but not direction.  You could say the same for Extreme who do a brilliant spin on “Strutter”.  Though by 1994 Extreme were well over in the public eye, they continued to push their own boundaries.  “Strutter” became something slower and funkier, with Nuno Bettencourt slipping all over the fretboard and Gary Cherone pouring it all on.  This is primo Punchline-era Extreme (Paul Geary still on drums).  And listen for a segue into “Shout it Out Loud”!

The Lemonheads chose “Plaster Caster” from Love Gun, a sloppy garage rock version, and score a passing grade.  It’s an admirable effort, but they are quickly overshadowed by their fellow Bostonians, the Mighty Mighty Bosstones.  The Bosstones had the balls to open their track with a phone message from Gene Simmons advising them to pick another song.  “Dicky, about Detroit Rock City…”  Ugly Kid Joe had dibs.  Any other song would be fine…and then WHAM!  The opening chords to “Detroit Rock City”.  Gene was gracious enough to appear in the video.  Their disciplined ska-punk horn ensemble lays waste to the town.  Dicky Barrett’s gravelly throat is like a sniper taking out anyone left standing.  The Bosstones win the whole CD, hands down.  There is little doubt that Dicky Barrett would have shaken unfortunate Kiss fans unfamiliar with the Bosstones.  Today it’s clear that they stole the show with their mighty, mighty cover.

The closest match to the Bosstones in terms of excellence, is a polar opposite.  It’s Yoshiki (from X-Japan) and his orchestra version of “Black Diamond”.  This is performed instrumentally with piano in the starring role.  In this form, “Black Diamond” would make a brilliant movie theme.  Yoshiki closes the album in style, unless you choose to go further and get the LP.  Proceed with caution.

The vinyl bonus track by Die Ärzte is the only non-makeup Kiss track included: “Unholy”. This is a garbage version (in German no less) that you don’t need to spend your money finding. It’s only interesting when it briefly transitions into “I Was Made For Loving You”.  Want a good version of “Unholy”? Check out the 2013 tribute A World With Heroes.

By 1994, Kiss needed a boost.  Grunge was omnipresent and Kiss looked silly and outdated, even with their beards and scruffier appearance.  Kiss My Ass was clearly a transparent attempt to try and latch onto some fans of the newer breed.  Maybe some Lenny Kravitz fans would like it.   If a few Garth Brooks followers bought a copy too, then bonus!  But Garth Brooks fans didn’t buy the album, turned off by the cover art and tracklist.  Likewise, fans of Lenny Kravitz, Tool and Rage Against the Machine didn’t run out en-masse either.

Fortunately Kiss had plenty of cards left in their deck.  There was a Kiss My Ass spinoff video, a tour, and a coffee table book all in the works.  This seemed to distract from the oft-rumoured next Kiss studio album.  More next time.

Today’s rating:

3.75/5 stars

 

Original mikeladano.com review:  2012/08/13

 

REVIEW: Solo – A Star Wars Story soundtrack (2018)

SOLO: A Star Wars Story original motion picture soundtrack (2018 Lucasfilm/Disney)

The second Star Wars spinoff movie, based on that ol’ scoundrel Han Solo, is also the second Star Wars movie with a soundtrack by someone other than John Williams.  He still helms the main “Saga” films, but this time out John Powell had the difficult task of writing new Star Wars music.  Powell’s career has mostly centred on kids’ movies like Antz and Shrek.  He had an Oscar nomination for How to Train Your Dragon.  He’s also known for action scores, like the Bourne movies and and X-Men: The Last Stand.  Though Solo has plenty of action, Powell doesn’t go for tired action cliches in his score.  And of course, there are plenty of callbacks and reprises of old Williams themes that you’ll never forget.

The opening cue “The Adventures of Han” begins sounding like an old film reel, before settling into something Marvel-like and heroic.  This track was actually composed and conducted by Williams himself, providing the essence of a new theme for Han.

Solo is a different kind of Star Wars movie, even from Rogue One (conducted by Michael Giacchino).  Likewise, its score is different too though still living in the same universe.  Modern percussion and instrumentation can be found alongside the traditional.  Han comes from a dark corner of the galaxy, and the score is fraught with tension over oceans of calm (“Flying with Chewbacca”).  The characters of Han Solo and Lando Calrissian are loaded with panache, and so are parts of the score.  Some of the best tracks are the dark “Spaceport”, which is contrasted by the rhythmic action of “Train Heist”.

“Marauders Arrive” features a children’s choir and a clue.  At this point in the film, the masked pirate Enfys Nest enter the scene to pilfer the score that Solo’s crew was in the process of stealing.  Later on, [SPOILER] we discover that Enfys Nest is actually a young girl.  A Rebel, in fact.  Some of her crew were first seen with Saw Gerrera’s rebels in Rogue One.  The quite awesome sound of the children’s choir in this scene is a clue to Enfys’ true nature — a child herself.  [END SPOILER]

Much of this score just sounds like a heist film.  “Is This Seat Taken?” has that kind of quiet tension (with some peaks of themes in the background).  It’s all very appropriate for sneaking around and trying to steal stuff like a scoundrel.  There there are some more familiar sounds, like when the Falcon shows up.  When it does, expect more hi-jinks, excitement and drama from this soundtrack.  It rarely gets dull, but strap yourself in for “Reminiscence Therapy”.  It’s a virtual greatest hits of themes, including the ones from Solo.

To be charitable, two tracks don’t work as well as others.  Star Wars movies tend to have a lounge or bar scene with a band.  “Chicken in the Pot” has annoyingly modern R&B beats, just not right for Star Wars, weird languages aside.  “Dice & Roll” is also a bit too close to home for a galaxy far, far away.

Solo turns out to be one of the pleasant surprises of 2018.  It’s a soundtrack far better than expected.

4/5 stars

GUEST REVIEW: Kix – Hot Wire (1991)

Guest review by Holen MaGroin – part 5 in his KIX series

KIX – Hot Wire (1991 Atlantic)

It took the almighty Kix three years to follow up their commercial breakthrough Blow My Fuse. When they did, they had a new record contract, and an assload of debt from their first three albums. Being that this was 1991, the clock was ticking before that putz from Seattle would change the face of rock music forever by replacing talented musicianship and fun with glorified punk songs about deodorant. The resulting album Hot Wire was the band’s heaviest album to date, with their hard rock influences taking over their sound completely. While Hot Wire is still an entertaining listen, it’s not as consistent as the albums that preceded it, and is a little derivative at times.

Hot Wire is jumpstarted by the title track, which starts off with a riff that sounds like Ted Nugent’s “Just What the Doctor Ordered”, and ends with a loving homage to “Have a Drink on Me”. The sonic annihilation in between is a whole hell of a lot of fun, and has Kix playing some of the most aggressive music of their career. Steve Whiteman in particular is taking no prisoners with an absolutely electrifying vocal performance that commands attention and respect. The song juggles the head banging verses with a trademark melodic Kix chorus that will blow your mind. Maybe Kurt Cobain was listening to this when his Kurt Cobrains hit the floor in April of 1994. It’s a great choice to open the album with, as it dispels any notion that Kix has become less hungry as a result of their platinum success.

Kix follows it up with what could only be described as a tribute to AC/DC’s “Big Balls”, complete with a Bon Scott impression. In lead single “Girl Money”, Whiteman channels Scott while talking about a woman of low moral fibre across the bar. The chorus is an absolute explosion of melody, literally. If you listen carefully, you can hear cannons going from the left to the right speaker after the lyrics “bang boom party”. The attention to detail is not only amusing, but it reflects the sonic identity of the record. The production on this album serves to polish the rough edges while retaining all the sonic power that Kix have to offer. It sounds good, but there are no frills to be found. This is a rock and roll record, and the band is going to treat it as such. No more Cool Kids new wave pandering, the group is out to rock your world.

 The fourth slot on the album is left to “Tear Down the Walls”, a weak ballad that was probably recorded to capitalize on the success of “Don’t Close Your Eyes”. It’s pleasant enough, but one can’t help but compare it to superior ballads on past Kix records. While it’s not nearly as iconic or enjoyable as “For Shame”, “Walkin’ Away”, or “Don’t Close Your Eyes”, it’s still a much better decision to listen to it than to marry Courtney Love, in my opinion only of course.

Kix only has one ballad again, and gets away with it by preceding it with the hook laden “Luv-A-Holic”, which has a similar structure to “Get It While It’s Hot” from the previous record, done in a heavier style that is more representative of the Hot Wire sound.  It’s one of the best songs on the album, and the deal only gets sweeter when “Rock & Roll Overdose”, (a song title I believe Kurt took too literally) greets the listener after the lacklustre ballad. One of the heaviest tunes Kix have ever done, it’s a nice ode to rock and roll itself with Whiteman bringing back his powerful raspy vocals from the title track. Guitarists Ronnie “10/10” Younkins and Brian Forsythe really get to shine on this track with each getting a chance to show off their solo chops. It’s much more enjoyable than listening to nursery rhyme melodies over three chord punk songs and pretending like you hate any band that has reached any kind of success, including your contemporaries that praise you.

What sinks the album is a sense of monotony. Some of the lesser tunes begin to sound the same, and some of them are lyrically lacking. “Hee Bee Jee Bee Crush”, “Bump the La La”, and “Same Jane” were in desperate need of penmanship reform. There’s also not as much variety as you would normally expect from a Kix album, as they seem to be firmly rooted in a hard rock sound. Choruses lack some of the staying power that they had on earlier albums, and the songs begin to run together.

While by no means a bad album, Hot Wire comes as a bit of a disappointment after the quality of the two previous outings. Unfortunately, due to shifting (shitty) tastes, Kix would only release one more album on their major label (1993’s appropriately titled Contractual Obligation Live!) before being pushed to the indie world. The mighty titans would regroup for one more studio album with the original lineup.  They disappeared for the better part of twenty years before reemerging with a new bassist as strong as ever.  As for Hot Wire…

3.5/5 stars

Authors note: I don’t really hate Nirvana, but they’re just so easy to poke fun at. I would take Badmotorfinger, Ten, & Ritual de lo Habitual over Nevermind any day of the week though.

Sunday Chuckle: Smalls Change

Derek Smalls (Harry Shearer) of Spinal Tap has finally released his new solo album Smalls Change.  (This is a followup to the fictional 1970s album It’s a Smalls World).  It features such guests such as Joe Satriani and Phil X.  The subject matter on the album includes butt-dialing and gummer-giving.

I know a certain Sausagefester who has dentures so I thought he’d dig the lyrics about gummers (“Gumming the Gash”).  I tried to tell him.  It didn’t go well.

 

#696: Confession

TRIGGER WARNING:  Emotional material ahead.

 

 

GETTING MORE TALE #696:  Confession

Music is the most wonderful of hobbies.  Scratch that — it’s not a hobby when you love music.  It is your lifestyle.  It’s healthy, it’s fun, and it can open up feelings you didn’t know you had.  I’m glad that music is my life.

As much as I cherish music, and try to spend some time with it every single day, there is one huge hole in my life:  The concert experience.

You could argue that music is best enjoyed at a good concert.  There is magic in a live performance; a kind of telepathy that occurs between the players on stage.  Then their collective sound and vision is pumped at 120 decibels to the hungry audience.  The crowd is like a single entity with one voice.  There is no substitute for the live concert experience.  No Blu-ray could ever hope to match it, not even at 1080p with 5.1 surround sound.

Yet, I’ve seen only a few dozen concerts over the years.  I can’t even remember my last one.

I would love to have new concert reviews for you every single week.  The most popular post on this site in its six years of operation is a concert review.

It’s true that I don’t get out as often as others might.  Some of this is because my beautiful wife has been battling with uncontrolled epilepsy for the last decade.  Her health struggles have turned me into a bit of a homebody.  I’m not complaining.  Being her support is a privilege.  I’ve always been a bit of a homebody, but it’s certainly gotten worse as her health got worse.  The good news is that not only has Mrs. LeBrain beaten cancer, but she has also managed to reduce her seizures to one or two a week.  A regular week, anyway.  A week with stress or lots of travel can cause more.

How has she managed to handle her epilepsy so well?  Lots of self care.  Plenty of pre-planning for every outing, a few taxi cab rides, lots of caution, and a little bit of Canada’s best prescription marijuana.  I’ve seen it work.

She can’t go to movies and she can’t go to concerts, and we’ve accepted that.  It hasn’t been easy.  When Jen worked at Research in Motion, their free company concert was U2 in Toronto.  She wanted to go so badly.  She was willing to go blindfolded if she had to.  Every U2 Blackberry ad on TV was a bitter reminder that Jen could not do what other people take for granted.

But that’s no excuse for me missing out on shows.  Maybe I lost my concert wing(wo)man, but I’m a grown up.  Right?

So we get to the crux of it:  my confession.

I’ve never really gotten into any of this in public before.  A few friends know.  I’ve lived with it long enough.  I used to care what friends, random strangers, or potential future employers would think of me.  I was ashamed of myself.

Over the years I’ve developed a severe fear of crowds.  It’s always been there, but it got a lot worse in my 20s.  If I was with people I knew and trusted, I could control it.  I first confessed my fear of crowds to T-Rev back when we were roommates in 1998.  He used to like to go clubbing at the Flying Dog up in Waterloo.  I went with him twice, and it was OK.  I had a good enough time.  But I needed my wingman.  T-Rev was wise.  “The best way to beat your fear of crowds is just to face it.  Try to have fun.”  He’s right to a certain degree.  The Flying Dog just wasn’t the best place to try and beat a fear of crowds.  Packed with douchebags and girls that I thought were way too hot for me, anxiety piled up on top of more anxiety.

I did better at small concerts.  There was a joint in town called The Banke.  A lot of our friends played there.  The more often I went, the more comfortable I was.  You start to recognise other faces, and familiar faces and places are soothing for anxiety.  It was good while it lasted.  T-Rev’s life path took him to a lovely wife and two kids, three hours away in Sarnia, Ontario.  He was a good wingman, because he understood me.

Having a wingman is really important.  A few weeks ago I went to TF Con in Toronto.  My buddy Jay asked me, “So how does this make you feel with your fear of crowds?”  I told him it didn’t bother me at all because he was my wingman.  (Also it’s not a very intimidating crowd.  I could bowl them over with a sneeze.)  I’ve had a panic attack at a farmer’s market, but not a TF Con.

There have been a couple incidents that happened at concerts.  Jen had a fall at Rush — that one was upsetting.  She had a seizure at Trailer Park Boys, which was the last time she went to any kind of show.  The association of these events with concerts just made me…more sour.

When Jen got sicker and sicker, so did I.  I became a tense, nervous mess, and it was almost all the time.  Something had to give, so when I couldn’t take it anymore I sought help.  Family and friends made sure that I did.  It took some pushing, because I am stubborn by nature.  Help is available, but you have to work at it.  Medication doesn’t fix everything, and it has its own costs on both your body and your wallet.  You have to unlearn what you have learned.  Then, you have to practice better ways of dealing with situations.  It’s hard work.  It’s also life long work.  You will stumble and there will be pain.

In spring 2016 I was in Ottawa visiting family.  By coincidence, both the Killer Dwarfs and rock journalist Mitch Lafon happened to be in town that weekend.  The Dwarfs were playing the Brass Monkey, and Mitch was going to check them out.  Knowing I was in town, Mitch asked me if I wanted to come and meet him at the show.

It’s painful remembering this.

Of course I wanted to go see the Dwarfs.  Of course I wanted to meet Mitch!  I have been a fan of both for a long, long time!  Mitch is the premiere go-to guy in hard rock today.  Not only would it be a personal thrill, but meeting Mitch and taking a selfie with him would have been a fantastic bonus to top off a Killer Dwarfs concert review.

I turned him down.

Out of respect for the man, I told him the truth.  I wasn’t prepared to handle a crowd that night.

Mitch promised to keep my secret, and he’s been really supportive to me.

It might be frustrating for some, but it helps me a lot to deal with anxious situations if I know in advance, and I can prepare myself mentally for it.  I admit I can be very frustrating sometimes.  I’m lucky that Jen gets me.  She’s one of the only people in the world who truly gets me.  Jen and my grandmother really know how my brain works.

It barely works, but it works!

I have my ups and my downs, and it’s largely dictated by how I respond to daily challenges.  I confess that I have not tried to challenge myself in a long time.  When was my last concert?  I used to love going out to see stand up comedy, too.

I’ve been itching to see live music again.  I think I can handle it.  I’ll go slow.  I won’t start by going to see Bryan Adams at the Arena.

Something smaller and more local would be good.

Hey!  Would you look at that?

It looks like I have to be ready by February.  Sasquatch is coming to town!  Sasquatch: The Opera that is, composed by Roddy Bottum of the band Faith No More.  Four shows, February 14th through to the 17th, 2019 at the Registry Theatre in Waterloo.  And I happen to know the promoter.  I’ve been promised an interview with Roddy about the musical, and ideally I would like to see all four shows.  I’m not worried about the interview, but I do need to beat my anxiety to go to the shows.

This is called having a “S.M.A.R.T.” goal.

  • Specific
  • Measurable
  • Achievable
  • Relevant
  • Time-based

Is my goal specific?  Yes.  I want to see the Roddy Bottum show.  Measurable?  Yes.  It’s as simple as go/don’t go. Achievable?  I believe a realistic goal would be to make it to, at minimum, one of the four shows.  Bonus points for anything more.  Is my goal relevant to my situation?  Absolutely.  It is a big part of it.  And is it time-based?  You bet.  Can’t procrastinate on this one, February is gonna come one way or the other!

I’m hoping to have Dr. Dave or Uncle Meat as wingmen for a show.  Dr. Dave is, in fact, a believer in the real Sasquatch!

I believe in baby steps so I think a good plan would be to try and see a small show in advance of the Bottum musical.  It’s exactly like building up a tolerance.  My tolerance has slipped a lot over the years so I have to build it back up again.  I’m trying to be proactive.

That’s my confession, and I have to admit, it really does feel good to get it out!  Did I have to do it publicly?  No, but I’m sick and tired of lying to people every time the subject of concerts comes up.  Here’s the truth.  Think whatever you want to.  All I really want to come out of this is somebody out there to read it and say, “Hey, I get it too.”  There are bullies in the world who would pick on me if they read this.  I don’t care.  They can pick on me for a lot of things already.

I accept that crowds and I might never be good friends.  I just want us to get along.

#695: Don’t Forget to Lock It!

GETTING MORE TALE #695: Don’t Forget to Lock It!

The most important part about closing the Record Store was also the easiest. It wasn’t balancing the cash, or leaving the store in good shape for the morning shift. It wasn’t setting the alarm. It was simply remembering to lock the door on your way out.

When it comes to locking up, I had the best life experiences to remember by. After all, it was my dad who used to make locking up a long, drawn out exercise.

When we used to go to the cottage for the weekend, my dad would make 200% sure that we locked up the house. My mom, sister and I would be waiting in the car, in the driveway, for him to finish checking. He’d exit the house by the front door, check it a few times, and then go out back to check the back doors and windows. Then he’d come back out front and check the front door again. If he was being extra careful, he might run back to check the back door one more time. Then, we could leave.

Leaving the cottage was the same routine. Exit by the front door, lock it, and make sure. Run out back. Check the back doors and windows. Check the front once more before leaving.  Repeat as necessary.

We teased teased my dad about it.   Once, after he got into the car, I jumped out and said “I have to check something!” I then checked the front door and ran out back to check there too before returning to the car. It was pretty funny, I thought.  Not sure he got the joke….

When it came time to be an adult with grown-up responsibilities, locking up the house, or car, or store was never an issue with me.  (It’s an issue with Mrs. LeBrain, but that’s a whole other story or two.  There’s a reason I made a sign that said “LOCK ALL DOORS AND WINDOWS BEFORE YOU LEAVE”.)

I would always be doubly careful. There were times, more than one occasion, when I could not distinctly remember locking the door at the Record Store. Rather than worry all night, I’d jump back in the car and make sure. I never did actually leave the door open, but taking the 30-40 minutes to drive back and confirm was worth while.  Much better safer than sorry.

I was absolutely furious one morning when I came in to work and the door was unlocked. As discussed in #489: I Forgot to Remember to Forget, it only happened once. Thankfully no thieves tried the door. If they had, they would have had free entrance. I can’t remember who left the door open…but I wanna say it was a night shift with Dave Quon and The Boy Who Killed Pink Floyd. Clearly, they didn’t have dads like mine.  If memory serves, each of them thought the other guy had locked up.

Locking car doors was also something drilled into us, before the era of remote door locks. I was stopping at a convenience store with one of the guys from work. As we got out of the car I reminded him, “Don’t forget to lock it.” Some dirtbag hanging out in front of the store yelled mockingly, “Yeah better sure you lock up that Ferrari there.”

Not the point!

As much as it annoyed us as kids, I’m glad our dad drilled “don’t forget to lock it” into our heads. It helped a lot when it came to adult life. Nothing was ever left unlocked at the Record Store by me, and I think indirectly they need to be thankful to my dad. He personally trained their employee (me) on locking the doors.  I think my dad deserves a bonus! Or a free CD, or a T-shirt!

GUEST REVIEW: Kix – Blow My Fuse (1988)

Guest review by Holen MaGroin – part 4 in his KIX series

KIX – Blow My Fuse (1988 Atlantic)

When Kix released their fourth album on Atlantic, the band would finally receive the recognition and popularity that they deserved. Blow My Fuse is one of the most fun hard rocking albums of the late ‘80s without the guilty feeling that you get listening to the other “hair bands” that were dominating MTV. You could blast this record in a way that you couldn’t with say, Warrant, and not care who heard you, because Kix aren’t a hair band. They’re a hard rock band. These glorious Maryland hicks with a collective explosion fetish crafted a glorious hard rock album in the mold of AC/DC, with the pop hooks necessary to get proper attention on the radio, without ever watering down the rock. Produced by Tom Werman (with help from Duane Baron and John Purdell), Kix finally teamed up with a production team that knew how to turn their material into charting hits without diluting it.

Album opener “Red Lite, Green Lite, TNT” displays Jimmy “Chocolate” Chalfant reclaiming his territory after an Anton Fig substitution due to a broken arm on the end of the last album. Pounding away with a simple but effective beat, he sets the stage for the duo of Brian Forsythe and Ronnie “10/10” Younkins to blanket the track with midrange guitar goodness. The production on this album is really outstanding. The power of Kix clearly shines through, but with a new sheen to polish some of the rough edges. Steve Whiteman builds anticipation with restraint in his singing at the beginning of the song. Kix are masters of both tension and dynamics. They know just how long to string the listener along before delivering the heavy payoff. The twin guitar duo comes in with the song’s main riff, and Steve Whiteman pumps on the gas taking his vocals full throttle with rasp and power. Note the background vocals before the chanted chorus, which add some killer harmonic melody to the blistering hard rock. A call and response section between the harmonica and the guitar build off each other to end the song leaving the listener with his ass bruised and sore from being kixed for four euphoric minutes.

After taking a minute to ice the destroyed rectum, “Get It While It’s Hot” starts with a synthesizer run and some backwards vocals that recall their new wave roots. However, this is a clever ruse. Soon the guitars come in and betray the intro. This is another full on rock tune with the drums really in the driver’s seat during the verses. The guitarists play a few chords, rest, and then play a few chords, then rest; each phrase expanding upon the last to complete the picture at the end of five measures. It’s a tension building technique Kix would use again. The chorus drastically changes things up, but the energy level doesn’t dip at all. At this point we’re greeted by the song’s hook. With some era appropriate multi-tracked backing vocals, it drives the point across well.

Even with all the fantastic tunes, the reason that this album went platinum was because of the ballad “Don’t Close Your Eyes”. A number eleven hit in America, the song put the band on map, and on MTV. However, it wasn’t originally released as a single. When Kix were on tour with Great White, their manager Alan Niven asked the band why the song hadn’t been released as a single. Niven, despite being the manager for Great White, called up Doug Morris (president of Atlantic Records at the time) and told him they were sitting on a massive hit. They released it, and the rest is history. As for the song, it’s not a typical fluffy power ballad of the late ‘80s. It has more in common with “Dream On” than it does “Home Sweet Home”. The song is an anti-suicide PSA, a reassuring topic that proved Kix had more on their mind than just sex and explosions. It’s a great song, haunting and emotional. The lyrics and the conviction with which Whiteman sings them makes the hairs on your arm stand up. “Don’t Close Your Eyes” is a powerful song that has probably saved more than one or two lives as well, and is one of the most respectable power ballads of the 1980s.

But who cares when they’re singing about sex when the music backing it is of such high caliber? “Cold Blood” was the first single, and it sold much better after “Don’t Close Your Eyes” became huge. This song deserved to be a huge hit. It’s a stone cold classic. Starting out with a riff sounding like Electric-era The Cult, and progressing to total pop harmony payoff, this one is definitely one of the band’s best tunes. It also received moderate MTV airplay, and became the band’s second most popular song, a place only challenged by the album’s title track. A very fun and electrifying number about singer Steve Whiteman getting his fuse blown, his tower shook, his wires crossed, his hair lit up, his senses overloaded, and his juice felt. The lyrics speak for themselves; this one is another genre classic.

The album is rounded out with several other dynamic hard rock tunes, and a supernatural ability to insert pop melodies into them without diminishing the power one iota. There is no filler on this album, every song is a keeper. A 30th anniversary edition remixed by Beau Hill was announced earlier this year. Start off with the original that has been serving the public well for three decades now. If you were only to buy one Kix album, this is the one.

5/5 stars