Glenn Hughes has been consistently prolific since a mid-90s comeback. Lean, clean n’ mean, Glenn Hughes has reclaimed his title as The Voice of Rock. His latest solo album Resonate made numerous top albums of 2016 lists. The only reason he didn’t make ours is that we were holding out to get the Japanese version with the exclusive track. In Japan they call him “The God of Voice” and this CD easily demonstrates why.
It is pointless to break this CD down song by song. They are all incredible. They represent the kind of hard rock that Deep Purple made famous: riffs, heavy organ, and incredible lead vocals. In the Deep Purple days, it seemed Glenn’s soulful croon didn’t always fit in with heavy rock, which made them that more unique. Today, Glenn sounds at home. Resonate is consistently heavy, and impressive at every turn. There are no big star names in his band, but Glenn’s old buddy Chad Smith from Red Hot Chili Peppers has two guest shots: “Heavy” and “Long Time Gone”, the opener and closer on the standard tracklist. Smith is always a joy to listen to, and when he works with Glenn, it’s the heaviest Chad Smith gets. Glenn on bass and Chad on drums: it seldom gets better than that.
Everyone will pick their own favourites, but one that we can’t put down is “Landmines”. The funky electric boogie is one of the album highlights; a real hard rock dance number to get down to. On “Landmines”, Glenn’s current self meets his 70s persona. That should create a time travel paradox, but it doesn’t. All it fuels is one hell of a boogie woogie oogie. Runner up: “Steady”. But any of these songs can slide in and out of the top spot on a given day.
The Japanese bonus track is an acoustic version of the ballad “When I Fall”. In some respects it’s better than the album version, but it’s all just a matter of taste. The Zeppelin-like mellotron is delightful. The only bummer is that the Japanese version doesn’t have the song “Nothing’s the Same”. That’s OK; the domestic version of Resonate has that and a bonus DVD. It’s a killer acoustic cover of a lesser known Gary Moore song, and it is worth buying the album again for. It doesn’t matter which version you go for. Resonate kills.
2017 has taken another one of our local talents. If you are a fan of Kenny Vs. Spenny, then you will remember Andre Arruda (episode: “First One to Laugh Loses”). You may have seen him in American Pie: Band Camp. Andre was born and raised right here in Kitchener Ontario. He was better known for his stand-up comedy and he worked hard to gain a cult following. At 3’ 4” tall, he had to work to stand out, and he did.
Andre passed away January 28 2017 at age 33, of Morquio’s syndrome. This is the same genetic disorder that hampered his growth. His sense of humour was to always poke fun at himself before somebody else could, and it worked. He made us look at life from his perspective, but let us laugh doing it.
We don’t need no preamble! If you have ever wanted to know how to write the most unique music reviews that this planet has ever seen, then you need to read on as we pick the mind of the one, the only, Mr. 1537himself. He is one talented music writer that deserves all the praise you can heap.
M:It is a pleasure to speak with you, Mr. 1537. I understand that anonymity is important to you. It would matter to me too, if I had any sense. How would you like us to address you in this interview?
1537:A simple ‘sir’ would normally suffice, but in order to seem a bit more user-friendly ( I gather the masses tend to like that) you can call me 15 strictly for the duration of this interview.
Actually I sort of ballsed up the whole anonymous thang by using my name as the blog domain; oops, back to spy school for me! I don’t do any social media at all beyond WordPress and I am basically a needlessly secretive dude. I admire folk who can bare their souls in their blogs but that’s not me at all, I let bits and pieces of my life seep through the cracks sometimes but not very much.
M:As opposed to me, who built a cottage industry on the minutia of working in a record store. Now…Lego. You’ve managed to incorporate Lego in your articles’ artwork, in a simple yet innovative and endlessly entertaining way. How long have you been a fan of Lego, and is that longer than you’ve been into music?
15: Well, the Lego came first, my daughter got the Lego DJ figure and on a whim I thought it would look good on the circle of the Flying Lotus LP Cosmogramma, then Sleep Dopesmoker and then I started to look at the possibilities of making relevant figures for relevant LPs. I had a Blogspot thang where I’d managed three reviews years before, but I gradually realised that if you gave people something to look at they might stop by and read my Mighty Rock Words of Power (MRWoP) too.
It took me a while to hit my stride and then when people actually started reading it … wow, it really is the best feeling.
Oh, Lego. Yup, I’ve always loved it, way before I was conscious of music – although I grew up in a very music-oriented household. I used to make elaborate Star Wars games and fantasies up through Lego, way before they had brought out space Lego. You used to have to improvise weapons in those days too, because Lego didn’t believe in promoting weapons as toys for kids.
M:That’s right, you used to have to use the “bullhorns” as guns, until Lego started introducing actual guns in 2005. You seem to have a Minifigure appropriate for every single album review you do, no matter how bizarre or obscure. Presently how many figures do you think you own?
15: I have a couple hundred Minifigures, which is not all of them by a long way, I’m not obsessive about collecting them and there are plenty of gaps in my collection. I love it when they produce a new line and one strikes me as perfect for an LP I haven’t done yet.
A lot of the fun is improvising and putting combos of different figures together. I’ve also drawn on a couple duplicates I have to make an Alice Cooper, a Scott Ian and a Ziggy Stardust; oh and I have also added cleavage to a figure or two along the way; that’s normal behaviour for a 44 year-old isn’t it?
M:I’m not one to judge. What drives your review? Do you start with the text or the visuals?
15: Always the text. I think wordaciously, not visually. I’m a slow writer because I edit it all as I go along, most reviews take me at least 3 hours, with another 40 minutes or so on top for the pictures. If you add in the demands of family life, a really demanding job, a little socialising and even, hey, listening to music sometimes, it all adds up to why I don’t produce as many as I’d like to. There are never any ‘in the can’, I tend to write them, hit publish and go straight to bed, as it’s usually 1am by then. I like waking up to everyone’s comments.
Q:Do you use any fancy-pancy camera or lighting equipment? The images are always very crisp and vibrant, much better than I’ve been getting with my BlackBerry in my home office.
15: Absolutely not. Everything I do is done on my iPhone (the model before the last one – 6 is it?), I’m not particularly good at it, I just take a lot of photos. Shiny, shiny covers are the bane of my life.
What I am pretty good at now, by trial and error, is editing the pictures, I use a Windows App called Fhotoroom and another called KVADPhoto. I have never ever published a picture I haven’t edited for contrast, colour, or cropped and altered etc. Some of my favourites have been very boring photos before I have messed them around.
M: I crop everything, but I wouldn’t know what to do as far as contrast or colour, so kudos to you sir. A two-part question next: What are your favourite reviews that you’ve done, both in terms of writing and in terms of photos?
15: In terms of the writing I rather like this comparison between Andrew Marvell, English metaphysical poet and a Rhino Bucket song about oral sex – it’s even got my voice on it:
I’m also rather fond of doing interviews, that’s been a whole lot of fun when the right person has been on the other side who is willing to engage properly with the silliness of it all. It’s also a nice way to get to chat to bands when you go see them live too. Spencer from MFC Chicken was my first and favourite:
M:Ahh yes, The Shining was a personal favourite of mine too. I find I often have to listen to an album while I write, and it can’t be the first listen either. I need a fresh listen in order to capture all my thoughts and pass them on to the weary readers. Your reviews are very different from mine, and frankly far beyond what I’m capable of writing. Do you use the “listen as you write” technique or something else?
15: I try to give it a good listen the night before, or on my way to/from work (an hour-long commute doesn’t have to be all bad) and I listen to bits of it as I write, or if I’m happy I know it enough – I might be writing about something I’ve been listening to in heavy rotation for 28 years (Christ, I’m old!), I have an ambient playlist I listen to when I write sometimes.
M:What else do you need to be able to write? I need to be in my underwear with a cold beverage. No bevvies and no skivvies means no review. I suspect you prefer warm slippers and oatmeal.
15: I need quiet, which is ironic given that most of my favourite music involves bellowing and shrieking. I write at a desktop (hate lap-tops) in the room that also has our biggest TV in and so there can be a certain amount of negotiation involved – it’s often why I write so late into the morning, it’s the only time I can.
Other than that my needs are simple, I prefer non-restrictive trouser ware and that’s it. You really write in your undies?
M:Hey, who’s conducting the interview here? I ask the questions! Is there any one band you really really hope reads your stuff?
15: Nah, although there is a fair chance of some artists tuning in because a lot of the LPs I bought in the late 80’s seem to have only sold one copy, to me – I always try to be pleasant because, you just should be. If I can’t write anything too complimentary I always add in my caveat along the lines of ‘These guys made a far better record than I ever have I’m just a loser boy sat behind a keyboard’.
Larry Miller from Uncle Sam stopping by was wonderful (I own an LP he signed and bit for me back in ’91) and we’re still in touch – I even helped get their debut LP re-released, that was a real buzz.
M: Do you have any particular influences in terms of writing? I’ve made no secret that in my early years, I was definitely trying to be Martin Popoff, Jr. Your style is unlike anyone I’ve read, but surely that didn’t happen in a vacuum?
15: I had to really think about this one. In terms of the character I write in, the tone of it, a lot of it comes from Stan Lee in those 1960’s Marvel comics – they knocked me for 6 when I first read my parent’s copies as a kid, the jokey references to himself and his fellow writers and artists in ‘the bullpen’; it was very playful and irreverent, that stuck with me.
You could maybe chuck in a bit of Harry Harrison and Douglas Adams, they were and are still, the only humorous writers I truly like and I do try to amuse.
Other than that there were all those fabulous late 80’s Kerrang! journalists, who were informative and, again, playful in the way they wrote – lots of irreverence and in-jokes, they painted their own little world and made it seem like the coolest place in the world to work. I met Phil Wilding at a gig once and was more excited about that than the band (Dangerous Toys).
Oh and I hope there’s enough self-deprecation in there to show I do write in character and I’m not really a megalomaniac with an omnipotence delusion.
M: Sure, sure. I knew that. Anyway, do you ever worry you will run out of things to say about music? Or do you see “1537” as a long-term project?
15: No, mostly because of the format I’ve set up for myself, my blog runs on rails to an extent – jokey title (usually), review of record(s), review count at the end, Lego images. I have enough of the little vinyl buggers that I don’t have to write about the same artist too often, which would fox me – the closest I ever came to a series, like you, Geoff and Aaron do so well, was spending a month writing about artists beginning with a ‘B’ – I found that really tough.
Anyway I’ve got 809 more records to review. Not sure where I’ll take it after that, because the whole point of the blog, apart from being an extended diary for myself, was to make sure I took time out to listen to everything I own properly – I have a horror of having stuff I haven’t heard, it makes me feel gluttonous and despicable.
M: Thanks for taking the time to do this interview. The agent who set this up didn’t want me to ask this last question. But the interview is going well enough so I think I’m going to ask it. You’re a Lego man — this is clear. Meanwhile I’m into things that turn into little robots. With all due respect, I think we both know that robots > bricks, but that is neither here nor there. If you could transform into something, what would it be, and why?
I know the only reason you feel safe enough to ask me that is that I am currently orbiting earth at a crucial velocity on my space station, so I shall overlook your mortal impertinence this once. I always wanted to be a farmer when I was little and was totally obsessed with tractors, it was all I ever drew apart from digital watches (they were new then). So the obvious answer is a digital watch which transforms into a big kick-ass Ford County 1164 tractor (I always loved their colour scheme).
TRACTOR-TRON 1537 Lego/Transformers crossover set coming soon
Thanks again to 1537 for the chat. We’ll leave you with a suitable music video…”Rockin’ is Ma Business”…and business is good!
There is a nice guy at work, who isn’t the best with movie titles. He’ll say to me, “I saw a movie on Netflix you will like,” but then not be able to tell me the correct name of the movie, or the name of anyone in the movie. He reminds me of my grandma, trying to remember movie titles. We took her to the theater to see “There’s Mail Waiting for You” (You’ve Got Mail), and she also really enjoyed “Brother Can You Spare a Dime?” (O Brother, Where Art Thou?).
The man at work was recently describing a movie he called “Dangerous Henry”. It took me a minute….
So take it from the man at work that I now refer to as “Dangerous Dan”: watch Dangerous Henry for some action thrills!
2017 rolls on like a mini-2016. The latest casualty is former Black Sabbath keyboardist Geoff Nicholls who was on every Sabbath album from Heaven and Hell (1980) to Forbidden (1995). He played bass and sang when need be. For that period of Sabbath’s history, he was the only stable member excluding Tony Iommi himself. Geoff passed at age 68, after a battle with lung cancer. He was rarely pictured with the four “main” Sabbath members, but he was more important than most of them. Rest in Peace.
DEEP PURPLE – Hard Road: The Mark I Studio Recordings 1968-69(2014 Parlophone)
It’s fantastic that old mono recordings are getting the CD treatment. The original mono mixes of the old Beatles albums were a revelation to those who had never heard them before. The original mono versions of Deep Purple’s Shades Of and Book of Taliesynare less surprising, but still a welcome addition for completists who want to hear it “as it was” in 1968. Comparisons are difficult, but both albums sound like they were meant to be in stereo. Unlike the Beatles pop rock compositions, Deep Purple’s featured a lot of solo work and even full-blown orchestral movements. The stereo separation makes that easier to appreciate. Only Purple’s third album, 1969’s self-titled Deep Purple, did not receive a mono mix. It is presented here in stereo only.
Now, these three Purple albums all received the deluxe edition treatment (single discs) in the year 2000. Those versions on Spitfire (links in above paragraph) are still excellent ways to get this early Deep Purple music. They are fairly common, have great liner notes and pictures, and feature the stereo versions plus 14 bonus tracks combined between them. There is also a compilation CD called The Early Years featuring more bonus tracks, including 2003 remixes and live takes. Where Hard Road fails is in replacing these previous four CDs completely. One would hope you would get all the associated bonus tracks from this period in one handy-dandy box. Sadly this box is not quite so dandy. Here is a list of tracks missing from Hard Road that were on the remastered single discs:
“Kentucky Woman” (alternate take on The Early Years)
“Hard Road” (BBC session on The Early Years and The Book of Taliesyn remaster)
“Hush” (live from US TV)
“Hey Joe” (live BBC recording from the remastered Shades Of).
“It’s All Over” and “Hey Bop-a-Rebop” (unreleased songs, live BBC sessions from The Book of Taliesyn)
The live BBC songs above can also be found on the double CD BBC Sessions…except for “Hard Road”.
Of course there is plenty of material on Hard Road that is not on those earlier discs, making things that much murkier. In addition to the original mono versions, these include:
“Kentucky Woman” remixed in 2003
“Playground” in a non-remixed version
“River Deep, Mountain High” and “The Bird Has Flown” (single edits)
A fresh 2012 stereo mix of “Emmaretta”
The isolated single B-side version of “April (Part 1)”
An early instrumental version of “Why Didn’t Rosemary”
Irritating, yes. But only to completists. For just about anyone else, Hard Road will satisfy their need for pretty much all the Deep Purple Mark I they can handle. It’s not as complete as the title would let on, what with that live “Hush” and alternate take of “Kentucky Woman” missing in action. Instead you will receive a large booklet with plenty of notes and a new 2013 interview with producer Derek Lawrence. He was on board early, before they were in Deep Purple. He describes an early version of the band called “Roundabout” (with Bobby Woodman on drums and Chris Curtis on bass) as “bland”. When Ian Paice and Nick Simper joined, they sounded better, but to Lawrence clearly Ritchie Blackmore and Ian Paice were the stars.
Each disc comes in its own LP-style sleeve. It’s a gorgeous set. It sounds fantastic, and was assembled with the usual care that goes into a Deep Purple album. A few niggling missing tracks aside, this is highly recommended to those looking add the first three Purple to their collection.
GLENN HUGHES – From Now On… (originally 1994, 1996 Explorer records reissue)
Glenn Hughes had his struggles, from being kicked out of Black Sabbath in 1986 to a long coked-out period of inactivity. He began making waves again in 1992, but it was 1994’s From Now On… solo CD that really inaugurated the lean, clean & mean Glenn Hughes that still dominates today. He has continued to release powerful soulful rock music under his own name and with supergroups such as Black Country Communion and California Breed. The critics can’t stop raving about Glenn Hughes today, but in 1994 he wasn’t getting the attention deserved.
From Now On… features a Swedish band including two members of Europe: John Levén (bass) and Mic Michaeli (keys). Comparing this album to the music that Levén and Michaeli make today, you can hear their influence. There is the soul but also big big hooks. The first opening track however is wide open and takes no prisoners. “Picking up the Pieces” probably had an autobiographical meaning for Glenn, but the track is fast-forward bluesy metal as his old band Deep Purple have been known to do. His voice is enviable, powerful and clean. John Levén is a superb musician, but one only wishes it was Glenn on bass too, since he is the original maestro. He takes it to a slower, sexier groove on “Lay My Body Down”, with big soul vocals.
Epic melodic rock diamonds begin to take shape with “The Only One”. This epic track echoes some of the big choruses Glenn did with the supergroup Phenomena. Think old tracks like “Kiss of Fire” and “Still the Night” from 1985. “The Only One” is a successor to those tracks, with a big melodic chorus and a killer performance from Glenn. “Why Don’t You Stay” is a soul ballad, but still in gear with the big 80s-style Glenn Hughes choruses. It is closest in direction to Europe (a-la Prisoners in Paradise). Hold on tight because that chorus crashes in like a tidal wave.
Back in the Deep Purple days, Glenn was the funky one. “Walkin’ on the Water” brings a little bit of that funk vibe, but the focus is Glenn’s slinky vocalizin’. A little bit of the Sabbath chug emerges on “The Liar” which acts as a natural side closer. Rainbow’s 1995 album Stranger in Us All has a song with similar hooks called “Cold Hearted Woman”, but this is probably just coincidence. Wicked guitars dart across the speakers as Glenn protests, “You’re the one they call the liar!”
There is a subtle progressive vibe to “Into the Void”. Glenn sings it soft on the verses, and with power on the choruses. You can hear the spooky keyboard influence of Mic Michaeli who co-wrote the song. An unreleased Hughes/Thrall song finally emerged on “You Were Always There”, a funky little 80s number. Re-recorded for 1994, it nonetheless sounds like period in which it was written. Unfortunately “You Were Always There” begins a sluggish patch midway through the second side. Rolling into the ballad “If You Don’t Want Me To”, nothing stands out like the previous songs. “Devil in You”, another unreleased Hughes/Thrall song, begins to get things on track. “Homeland” really delivers and it’s back to the soaring power choruses. (And no, it’s not the same song as Europe’s “Homeland” on Prisoners in Paradise. This one is co-written by Mel Galley.) It’s bright days indeed, and “Homeland” is a beacon. This builds up to the original CD closer and title track “From Now On…”. This track pulses with understated power, and the incredible “voice of rock”, as Glenn is called.
The 1996 Explorer records reiusse adds two bonus tracks: remakes of Deep Purple’s “Burn” (from Burn, 1974) and “You Keep on Moving” (from Come Taste the Band, 1975). While Deep Purple re-recordings are numerous (hello Joe Lynn Turner and David Coverdale!), these two by Glenn Hughes are among the best you will find. It is true that Whitesnake’s The Purple Album also has re-recordings of these two songs. Glenn’s versions get the edge, due to the sheer power of the man’s vocal performance. He didn’t have to downtune the songs as David did.
No album by Glenn Hughes will lead you astray, but From Now On… (with or without bonus tracks) is easy and cheap to find used. Why not make it your first solo purchase from the man that the Japanese call “The God of Voice”?
One night, we had a staff meeting for managers. The lesson that evening was that “loose lips sink ships”. This phrase dates back to World War II. The idea was to avoid speaking openly about anything to do with the war. You never know how any of that information might get back to the enemy. The same held true for the cutthroat world of CD retail.
The reason he had to reinforce that “loose lips sink ships” rule is that one franchisee had made a huge mistake, boasting openly about a great location he had just found for a future store. Wouldn’t you know it, our biggest rival swooped in and took the spot. He heard about it because Gabby McGabberson was telling everybody. The ship had sunk!
This served as a reminder to watch what we say. You never know who might be listening. I got caught a few times myself. One afternoon I was talking about an ex-employee who got himself fired. Sometimes I felt like he was making me prematurely grey, and I was venting some steam in store. Little did I know that the guy’s brother was in the store, and reported my words back to him! Whoopsie. At least I didn’t say anything that was not true. He got a new job working at HMV and I think that’s where he was happier to be. Then there’s good ol’ Spoogecakes. I can only guess but the loose lips theory is all I can come up with to explain why ex-coworker Spoogey (remember that explosion of drama?) had such a hate-on for me. It started in mid-2006, about six months after I quit the store. A third party informed me that she had this weird crush/obsession. I was oblivious to that and it was a little off-putting to find out. I think once word got back about how I reacted, the hate set in. I’ll never know for sure, but the point is: anything said can be repeated.
We were trained to answer customer inquiries about how the store was doing in vague terms only. The boss caught me once when we first opened the branch I managed. “How are you guys doing today?” asked a customer. “Pretty busy!” I answered, seemingly innocently. Afterwards the boss instructed me, “Never tell people we’re busy. Never tell them if we’re slow either. Only answer ‘business is good’. How do you know that guy won’t try to break in and rob us now that he knows we’re busy?”
Sensible advice. Never show your cards. I took that advice and only answered vaguely from that point on. That’s what I instructed my staff to say too. Loose lips sink ships: “Business is good.” If the customer pressed for more details (and you might not believe it, but some did!) I would just play stupid and say that I didn’t know the numbers. I even caught a guy trying to sneak a glimpse at my sales log book, all casual-like. Can you believe that?
Business folks would be well advised to take my old boss’ advice. Loose lips sink ships!
Canada’s mighty Sword took another swing on their second and final album Sweet Dreams. They recorded a fine debut in Metalized (1986), but as with any band, growth is expected on album #2. No problem for Sword.
Metalized was relentless, thrashy, fast, and punishing. Sweet Dreams is heavy but diverse. This is immediately obvious on the opening title track. The tempo is condensed to a slow metal Zeppelin stomp. The melodies are more focused. The sound (thanks to Gggarth and Jack Richardson) has more oomph and depth. What the band sacrificed in speed was paid back in other qualities.
Capitol records released “The Trouble Is” as the first single/video. Rick Hughes’ enviable voice makes it sound like Sword, otherwise it could have been one of Dokken’s heaviest tracks. The lyrics are surprisingly still valid in 2017: “People are lying, they keep on trying, to live where they can be free. They jam into boats with a knife at their throats…” It hasn’t changed much in 30 years. “Land of the Brave” tackles war, a popular metal topic ever since Black Sabbath wrote “War Pigs” back in 1970. The screams of Rick Hughes mimic the horrors of the battlefield. An apt comparison would be Iron Maiden, with a little bit of Metallica. For some rebellious attitude, check out “Back Off”, which hits the gas pedal during the chorus. Another popular metal topic: “Back off preacher, stay away!” Ozzy would have been proud. Guitarist Mike Plant blasts through his solos effortlessly, showing off a variety of rock styles. “Prepare to Die” (also heard on the recent Live Hammersmith CD) is the thrashiest of the bunch on side one, sounding like vintage Sword.
Cool thrashy shreddery kicks “Caught in the Act” right in the nuts to commence side two. It switches up on “Until Death Do Us Part”, focused by the stomp of the beat. If Sweet Dreams has any weakness it is that there are two Swords. The speedy metal of “Caught in the Act” and “Until Death Do Us Part” are a contrast to the more accessible rock of “The Trouble Is”. One of the most stunning tracks on the album is “The Threat”, on which all the ingredients mix perfectly. (They get bonus points for naming themselves in the lyrics: “Ride with the sword in your hand, and some day with the sword you will die.”) For a real surprise check out the slide guitar grease of the incredible “Life on the Sharp Edge”. It’s all over with “State of Shock” which will knock you senseless for all the headbangin’ going on. Seems Motorhead must have rubbed off on them a bit. “State of Shock” goes out like a champ leaving you punched out drooling on the mat.
Sword stopped after two albums and Rick Hughes moved on to the mainstream rock band Saints & Sinners. Sweet Dreams succeeded as a second album should. It pushed the sound outwards. Hughes and company should be proud of both of their records.
SAVATAGE – U.S.A. 1990 (1994 Live Storm bootleg CD)
When a bootleg live CD just has a picture of the bass player on the front, you know you’re not in for a perfect listening experience (Motorhead, Kiss and Iron Maiden bootlegs excepted). Nothing against Johnny Lee Middleton of course, but it would make more sense to put Jon or Criss Oliva on the cover. U.S.A. 1990 (released 1994) comes from Live Storm in Italy, where many bootlegs originated. It seems to consist of songs from multiple shows, due to the repeating “Of Rage and War” and “Hounds”.
Repeat aside, U.S.A. 1990 focuses on early heavy tracks with not a single ballad. Fans of early ‘Tage are going to love getting live versions of “The Dungeons are Calling” and “City Beneath the Surface” from the Dungeons are Calling EP (1984). There is also the amazing riff-tastic title track from Sirens (1983), to this day still one of their best tracks. Interestly enough, this very same version of “Sirens” was released officially (and in official sound quality) as a bonus track on the long deleted Music For Nations pressing of Sirens. You can tell when Jon screams “Danke schön! Hello Deutschland! You are metal!” It’s the same version…but wait a sec! Last I checked, Deutschland is not in the U.S.A.! Such is the charm of a bootleg release.
“Hounds” from Gutter Ballet (1990) is ominous and evil-sounding, made more so by Jon’s blood curdling screams and howls. He calls it “doom music”. Also from 1990, “She’s in Love” is just speed on top of riffs on top of screams. Gutter Ballet was an ambitious album, and part of that was a three-song suite about insanity. From that suite “Thorazine Shuffle” is lifted, a classic example of Criss Oliva’s style of snaky guitars. “Of Rage and War” brings another menacing riff, and a topical lyrical message:
Better listen to me you son of a bitch, Better disarm those missiles sleeping in the ditch, You have no goddamn right to do the things you do, The world would be a better place if we were rid of you!
“Sirens” is the centerpiece, a stormy metal drama loaded with waves of guitar crashing against the rocks, wrecking everything in their way. Jon’s shrieks warn away the meek and timid. Only the strong will survive the “Sirens”. You will find no refuge in the “Hall of the Mountain King” either. This castle of stone shall offer no protection from the riffage pouring down. Madness reigns, so just go with the groove and get your stomping boots on. The final track is the upbeat rager “Power of the Night”, the title track from their 1985 album. It’s a string of lyrical cliches backed by some serious heavy rock. Raise the fist of the metal child! Unfortunately the track is cut short.
U.S.A. 1990 is a fairly common bootleg, so if you find one in the $7-8 range, take a shot.
GLENN HUGHES – Resonate (2016 Frontiers Japan)
mikeladano.com 