REVIEW: The Black Crowes – iTunes Originals (2008)

crowes-itunes-originalsTHE BLACK CROWES – iTunes Originals (2008)

If you ever spy these iTunes Originals sets from bands you like, then have a gander at the track list.  The Black Crowes’ edition contains original hits, but also has unreleased exclusive versions.  There is also a long interview session (spread through the set) with Chris and Rich Robinson, a good and revealing chat.  In total the set runs over an hour and a half.  Chris and Rich are vivid storytellers and the interviews are good enough to want to listen to more than once.  They surprisingly reveal that punk was a strong early influence.  Rich recalls seeing Corrosion of Conformity which opened up a new world for the brothers Robinson.  The punk shows gave the band a “try anything” attitude in concert, including playing brand new songs that they didn’t have words for yet.  But their influences also stretched deep into indi rock, folk, jazz and beyond.

“Twice As Hard” from the debut album is the first hit song presented, and damn if it isn’t still as fine as the day it dropped in 1990.  That simple classic British blues rock sound gave the Crowes the springboard they needed to drive them on to greater achievements.  It was different for the time.  Yet the ballad “She Talks to Angels” was really special and that’s here too.  With the interviews in between explaining the journey, iTunes Originals plays like an audio documentary.  The story and the music get more interesting as you go.  Each album brings something new to the table.  By Your Side was a “strange place”, says Chris, but its title track still rouses the senses.

It’s a light sprinkling of hits and album cuts moving forward through the discography of the Crowes. The main thing for long time fans is the exclusive material, all acoustic versions recorded by Rich and Chris. The Otis Redding cover “You Don’t Miss Your Water” is a song they’ve been singing together for years, but never recorded until now. What a lovely song, and what harmonies.  From Three Snakes and One Charm, “Good Friday” is rendered slower and sadder.  The stripped down approach of these acoustic recordings lends “Welcome to the Good Times” from By Your Side a new appeal.

The Crowes split up for a bit in the early 2000s, but you can’t keep the Robinson brothers apart for too long.  War Paint (2008) was their reunion as the Crowes.  With new and returning members, the band felt revitalized.  “Oh Josephine”, another acoustic exclusive, is as pretty as “She Talks to Angels” 18 years earlier.  The last of the exclusives is “Goodbye Daughters of the Revolution” which also closes the set.  Upbeat gospel rock and roll works as well electric as it does acoustic.  “Goodbye Daughters of the Revolution” was one of the finer moments on War Paint and it’s perfect for ending this iTunes Originals.

4/5 stars

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#535: Drop the Microphone

GETTING MORE TALE #535: Drop the Microphone

Need to do some recording, but don’t own a microphone?  No problem.  In a pinch, any speaker can be used as a microphone.

As kids, my best friend Bob and I recorded stuff all the time.  Skits, songs, commercials, and school projects were all recorded on cassettes on a regular basis. Some of the most fun weekends we had were spent recording.  And laughing, a lot.

The problem was never lack of ideas, only lack of decent equipment.  As kids we had to make due with what we had, which wasn’t much compared to what can be bought cheaply and easily today.  We only had one microphone.  It was a Lloyds from the early 70’s, and I still have it.  But there were two of us and we both needed microphones.

I don’t know how we discovered it, but it turns out, any speaker can be used as a microphone, and that’s how we did most of our childhood recordings.

35-audioI had a ghetto blaster (dual cassette) with detachable speakers.  The speakers connected via a normal 3.5mm audio jacks.  The deck had a microphone jack of the same size.  Converting a speaker to a microphone was as simple as unplugging it, and plugging it into the microphone jack.

Every speaker has a magnet and a coil to create sound.  The signal travels through the wire to the speaker coil and magnet, causing the speaker’s membrane to vibrate and create sound.  It also works in reverse!  By plugging it into a microphone jack, the speaker membrane vibrates by picking up sound, and then converts it into a signal.

The sound quality was more than enough for two kids with a $0 budget.  It was a tad bass-heavy, but good enough for us.  Any serious recording should have proper microphones, but if you’re sitting down to record for shits n’ giggles, give it a try.

“Oral Roberts and Pals” sketch recorded January 12 1988 using the “speakers as microphone” technique.  From “Mike and Bob Vol II”.

QUIZ WINNER! Lego Album Covers 3!

We have a winner!

Congrats to Scott Peddle for cracking the Lego mosaic quiz and winning a CD of Whitesnake’s fabulous 1982 album Saints & Sinners featuring the original versions of “Here I Go Again” and “Crying in the Rain”.

Scott identified all five albums!  “That was my afternoon. Obsess much?” he asks.
1. JOE SATRIANI – Shockwave Supernova

2.  MONSTER TRUCK – Sittin’ Heavy

3. HONEYMOON SUITE – The Singles

4. HELIX – Rockin’ In My Outer Space

5. HAREM SCAREM – Mood Swings

Congrats Scott and enjoy your new Whitesnake!

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Runner-up for “most original answer” is Scott the Heavy Metal Overlord, for the below response:

 

1. THE BOABYS – Show Us Yer Boaby
2. SUMS DOG – 2 + 2 equals woof
3. IMHOTEP – s/t
4. SAMMY HAGAR – Butter on my Biscuit
5. MARILLION – Fuck Christmas and Run: Christmas CD No. 367.5

Thanks for participating you guys!

QUIZ: Lego Album Covers 3 (Win a free CD!)

WE HAVE A WINNER!

 

 

Wanna win a free CD?  This brand new copy of Whitesnake’s fantastic 1982 album Saints & Sinners (featuring the original versions of hits “Crying in the Rain” and “Here I Go Again”) can be yours if you can just solve the quiz.

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All you have to do is identify five album covers that have been converted into Lego mosaics.  It’s easy!  

Please be sure to read the rules below:

  1. Do not leave your answer in the comments.  Don’t spoil the contest!  Leave your answer by filling out the form below which will be directly emailed to my top-secret address.
  2. You may enter as many times as you like.
  3. But the first right answer and only the first answer gets the prize.
  4. You must provide the correct artist and title for all five albums.
  5. This shouldn’t be too hard, but the contest master might be cajoled into giving out a few clues if this goes sideways and takes forever.
  6. The winner will be required to provide a mailing address for the prize to be sent.
  7. An alternate prize (DVD movie(s) from a selection) will be available upon request.

Prize will be mailed after Christmas.  Fill out the below form with your answer.

← Back

Thank you for your response. ✨

Ready?  Set?  Each of these covers is a forthcoming album review at mikeladano.com (that’s a clue).  IDENTIFY and GOOD LUCK.  GO!

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4.

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5.

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REVIEW: Marillion – The Jingle Book – Christmas 2006

scan_20161213MARILLION – The Jingle Book – Christmas 2006  (2006 Racket Records WebUK membership CD)

Gather ’round the glow of your computers children, and get your hot chocolate in hand, for it is time for a look at another Marillion Christmas CD.  The Jingle Book is a doubly clever title, for Marillion’s Christmas song for 2006 was a cover of “That’s What Friends Are For” from The Jungle Book. A surprising choice, it is rather movie accurate and partly acapella.  There is also the traditional and always silly Christmas greeting from the band.  In what may also be a Marillion tradition, this short message requires multiple takes!

The bulk of the CD is a live set from Poland in 2006.  The festival setting lends this CD a different atmosphere than other live Marillion discs.  From the sonics to the feel, The Jingle Book doesn’t work like typical Marillion sets.   There are only a few long bombers, lots of singles, and no tracks earlier than Seasons End.  Decent quality audio will satisfy all but the pickiest of fans; remember this amounts to an official bootleg.

An ass-kicking “Separated Out” was chosen for opening position.  This song, among Marillion’s most energetic, would have got the crowd’s attention.  Drummer Ian Mosely is a monster on “Separated Out”, which is immediately followed by the band’s hit single “You’re Gone”.  The mosh pit vibe gives way to ethereal dance.  Floating like smoke in the air, “Fantastic Place” and “Easter” are rolled out in powerful performances.  Talking is minimal though Steve “h” does attempt some Polish.

Afraid of Sunlight is given a nod with the ballad “Beautiful”, and progressive epic “Out of this World”.  “Beautiful” is as lovely as its name, and has the feeling of celebration.  The mood darkens immediately on “Out of this World”, as there are very few positive songs about nautical disasters.  Steve Rothery’s immaculate guitar tone sings its own song, sad but hopeful.

The beat picks up with the electrifying “Accidental Man” from This Strange Engine.  As a highlight from that often overlooked album, “An Accidental Man” does not get showcased often, and this organ-heavy take is satisfying.  Boppy Beatles-y single “The Damage” (from Marbles) is sheer delight.  With genie now out of the box, “Neverland” begins a long slow climax.  As one of the most dramatic of all Marillion epics, “Neverland” haunts the air like burning incense.  Then like a halogen light, Rothery brightens it up with his un-immitatible string magic.  Consider the heart that “h” puts into his singing here, combined with Rothers’ liquid guitars, and this could be the best ever live version of “Neverland”.

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Rolling into the encores, “Between You and Me” and “Cover My Eyes” exude glee and positive vibes.  There is much common ground between the two albums those songs are taken from (Holidays in Eden and Anoraknophobia) so it is unsurprising that they work together so well in the encore position.  A brilliant pairing, crisp and refreshing like Sauvignon Blanc with a healthy avocado salad.

As with any past Marillion Christmas CD, you can’t buy this anymore and the chances of stumbling upon one in the shops are nil, even with the help of all of Santa’s elves.  However you can still download it and the others by joining the official Marillion webUK fan club.  Members receive three thick, glossy full colour magazines, the Christmas CD, and other downloadable content.  Worth thinking about, or adding to your Christmas list.

4/5 stars

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#534: Klassic Kwote – “b4-4”

GETTING MORE TALE #534: Klassic Kwote – “b4-4”

Unfortunate Canadians will recall boy band b4-4 (also known as Before Four). They were a trio, had two brothers in the group, made two albums and faded away quietly.

Courtesy of former store owner (now road manager for Steve Earle) Mike Lukacs, here’s a classic quote that shoulda been in Record Store Tales:

“Back in the record store days, some people came in the store looking for these guys’ CD. One of the dudes that worked for me asked them why they wanted such garbage. ‘They are our sons’ replied the people…”

Whoops!

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REVIEW: Talas – If We Only Knew Then What We Know Now… (1998)

scan_20161211TALAS – If We Only Knew Then What We Know Now… (1998 Metal Blade)

The Talas story did not end with the breakup of the band.  Of course not; bands both famous and obscure like to reunite for nostalgia shows.  Talas did that in 1997 with the original power trio lineup:  Billy Sheehan on bass, Paul Varga on drums, and Dave Constantino on electric guitar.  With classic material (from the first two Talas albums) and a few unreleased songs, they memorialized their reunion with a brand new live CD.  Billy even pulled his old platform boots out of the closet for this one.

As usual the set opens with “Sink Your Teeth Into That” and an enthusiastic home town crowd.  Talas only sounded better with age.  The original voices are there and just as strong as they were in 1982.  It actually sounds like everyone has improved over the years.  A speedy “High Speed on Ice” is in the second spot ensuring no loss of momentum.  Material from the first self-titled Talas album is included too (unlike the last live album Live Speed on Ice).  “Expert on Me” is very pop in construction, but clearly not as great as the songs from album #2, Sink Your Teeth Into That.  Speaking of which, the slow rumbler “Never See Me Cry” is brilliantly adapted to the stage.

“Power to Break Away” is one of the previously unrecorded songs, and it kicks it just as hot as anything from Sink Your Teeth Into That.  It’s taut with hooks and the prerequisite bass workouts.  “Tell Me True” is the second unreleased song, a slow non-descript dirge ballad that takes a while to get going.

Imagine Billy Sheehan plowing his bass right through a funky Led Zeppelin riff.  That’s “Thick Head”, an awesome track from Talas (1979).  “You” has a cool vibe, almost like an unheard Aerosmith demo from the Done With Mirrors era.  A few other tunes from the first Talas (“Most People”, “Any Other Day” and “See Saw”) are adequately entertaining.  Back to Sink Your Teeth Into That, “King of the World” is still one of the best Talas tunes, overshadowed by only a few like “Shy Boy”.  Here, “Shy Boy” is preceded by a Paul Varga drum solo.  The sheer velocity of “Shy Boy” itself makes me wonder how Varga did it.  It’s just pedal to the metal, blurring the lines and smoking the minds.

Nothing like a good cover to help draw a live album to a close.  Talas did two:  “21st Century Schizoid Man” and “Battle Scar”.  The King Crimson cover is a daring one to attempt.  They somehow manage to strip it down and pull it off with integrity.  As for “Battle Scar”?  Total surprise there!  Max Webster were just across the border from Buffalo, and Billy Sheehan nearly joined Max at one point late in their career.  Introduced by a Billy Sheehan bass solo, this Max/Rush cover is the set closer.  As a final addition, “Battle Scar” surely makes this one hell of an album for the history books.  (The Japanese version has a bonus track called “Doin’ It Right” — this shall be reviewed at a later date.  Our copy is on order but will not arrive for several weeks.)

Since this is a more recent release on a well known label (Metal Blade), it turns out that If We Knew Then What We Know Now is an easy CD to find in the shops.  Fortunately this is a good first Talas album to add to any collection.

4/5 stars

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REVIEW: Talas – Live Speed on Ice (1983)

Second in a two-part review of the 1989 compilation CD, Billy Sheehan – The Talas Years.  Part one is here:  Sink Your Teeth Into That.  More Talas tomorrow!

scan_20161210BILLY SHEEHAN – The Talas Years (Part Two of Two)  (1989 Relativity)
TALAS – Live Speed on Ice (1983 Relativity)

When we last met Talas, they were a power trio.  On their 1984 live album, they were a quartet.  Billy Sheehan was the only remaining member of the original lineup, with some hot talent behind him:  Mark Miller on drums, Mitch Perry (MSG) on guitar, and the hugely talented Phil Naro singing.  Naro has been around, including a stint with Peter Criss.  (You can hear a number of his performances on Mitch Lafon’s Kiss tribute CD A World With Heroes.)

There is little question that Naro’s voice brings the songs to another level.  “Sink Your Teeth Into That” benefits from his young rasp.  Mitch Perry throws in a more articulated guitar solo for an extended section leaving Billy to hold down the riff.  Second in line is a new song, “Crystal Clear” which has a biting Police guitar riff.  The busy bass holds down the melodic center as Naro soars on top.  Live Speed on Ice has great value, since much of its material was actually brand new and never released on anything else.  “The Farandole” is another new one, an instrumental of jaw-dropping ability.  Dueling bass and guitars dance and parry while the drums hit the heavy blows.

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More new tunes:  “Do You Feel Any Better”, “Lone Rock”, and “Inner Mounting Flame” continue the ass-kicking streak.  Each has their own groove, but “Inner Mounting Flame” truly is live speed on ice.  A few older tracks from the album are solid winners:  “King of the World”, “High Speed on Ice” and of course “Shy Boy”, the one Talas song that people know today thanks to David Lee Roth.  Billy’s signature bass solo is also performed live (and extended), but cleverly retitled.  While “NVH 3345” meant “SHEEHAN” upside down, “7718 (3A17)” means “BILL (LIVE)”.  With the freedom of the live setting, Bill took his time to showcase some unheard of chops and effects.

Any album that has Billy Sheehan on bass is bound to include a thousand notes of pure thrills, and any record with Phil Naro is going to sound awesome vocally.  Therefore, Live Speed on Ice should be a welcome addition to the discerning rock fan’s personal library.  The easiest way to get it is on CD combined with Sink Your Teeth Into That as the 1989 compilation Billy Sheehan – The Talas Years.  Either way, you win.

4/5 stars

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REVIEW: Talas – Sink Your Teeth Into That (1982)

A two-part review of the 1989 compilation CD, Billy Sheehan – The Talas Years.

scan_20161210BILLY SHEEHAN – The Talas Years (Part One of Two)  (1989 Relativity)
TALAS – Sink Your Teeth Into That (1982 Relativity)

Fans of David Lee Roth are probably already aware of Talas via their incredible bassist Billy Sheehan, an innovative genius of the four-string rumble.  His first recordings were with Talas (1979-1983), a Buffalo power trio.  With Roth, he re-recorded the Talas track “Shy Boy” on Eat ‘Em And Smile.  The Talas original can be found on their second LP Sink Your Teeth Into That, or the compilation The Talas Years.

The focus is immediately and obvious on the bass.  Billy plays it simultaneously as a lead instrument, and the rhythmic foundation.  “Sink Your Teeth Into That”, the title track boasts not only insane playing, but sounds that had never been heard before from a bass guitar.  And the song’s pretty good too.  It’s raw 80s hard rock, no more no less, except for that bass.  “Hit and Run” is just as strong.  Talas were not just a bass showcase, but a band that could actually write good songs.  These are unpolished and rough songs, with the band (Dave Constantino on guitar and Paul Varga on drums) alternating lead vocals.

The centerpiece of the album is the bass solo “NVH 3345”.  Write that down and turn it upside down:  it spells “SHEEHAN”.  It has been said before that as Eddie Van Halen’s “Eruption” was a game changer on guitar,  “NVH 3345” is the “Eruption” of the bass guitar.  It is hard to imagine more sheer technique stuffed into 2:21.  For anyone who is a serious collector of hard rock heroes, “NVH 3345” must find a way into your collection.

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“High Speed On Ice” returns to a hard rocking momentum, like “Highway Star” via Buffalo New York.  Then “Shy Boy” which needed David Lee Roth and Steve Vai to finally perfect it.  Think of this version as a prototype.  It is hard to believe that David Lee Roth did not write the line “Gotta keep things movin’ ’til my personality starts it groovin'”, but Roth made it sound like he meant it.

“King of the World” and “Outside Lookin’ In” occupy the mid-tempo range, and that would be Billy singing those high screams.  Both good songs with the memorable hooks to go with the bass hijinks.  Shadows fall on “Never See Me Cry”, a darker side of Talas but still with the hooks intact.  Second to last song “Smart Lady” is the only loser.  There isn’t room for songs that just don’t cut it.  “Hick Town” ends the album on a better note, with bass pyrotechnics and thrills to go.

Sink your teeth into Talas, and come back tomorrow for a look at Live Speed on Ice.

4/5 stars

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REVIEW: Marillion – Merry Xmas to Our Flock – Christmas 2005

scan_20161204MARILLION – Merry Xmas to Our Flock – Christmas 2005 (2005 Racket Records WebUK membership CD)

Every year, like the most reliable loyalty program in the world, Marillion reward their fanclub members with a special Christmas release.  Each one has exclusive music on it, some more Christmas-y than others.  The main exclusive on the 2005 Christmas release is a live set by “Los Trios Marillos”:  a stripped down trio version of the band.  Los Trios does acoustic versions, usually for radio sessions, and consists of singer Steve Hogarth, guitarist Steve Rothery, and bassist Pete Trewavas.  These 13 tracks were recorded in Washington DC for XM radio, featuring a wonderful cross-section of Hogarth-era favourites.

That’s not all, of course!  Marillion deliver their traditional Christmas message at the start of the CD, campy and tipsy.  Bonus points if you’re from North America but can still translate everything the band says.  It takes them a few takes to finally get it to their, err, satisfaction.  “We hope you have a really good Christmas, don’t get too drunk, and we’ll see you next year.”  Then, “That’s not written down at all!”  Usually these albums include a brand new studio Christmas track too, and this time it’s the celtic “Erin Marbles”.  It’s a hyperactive Irish jig with mandolin, tin whistle, squeezebox, fiddles and bodhran.  Calling this a Christmas track is a bit of a stretch, as it is basically the song “Marbles” from the same-titled album done up for fun, mixed with a medley of Christmas tunes.  There is no question it’s fun for the fans, but nobody except fans will “get it”, so it’s not really useful for mom’s Christmas mix CD this year.

The Los Trios set commences with the downer “Hollow Man” which is an abrupt change of moods.  The was recorded live with an audience, but they are so quiet during “Hollow Man” you could hear a pin drop, which makes the song that much more haunting.  It is performed solo by Hogarth only accompanied by piano.  “It’s a little early in the morning to be singing,” says Steve.  Fortunately things become upbeat if only for a little while on “Cover My Eyes”, a song that is brilliant acoustically.  If you have heard Marillion’s piano treatment of this single, then you will recognize this arrangement.  It might have been too early to sing that morning, but Steve manages just fine, including the high “pain and heaven” section that challenges every mere mortal.  Rothers and Pete join Hogarth at this point for the B-side “The Bell in the Sea”, which Steve mis-introduces having lost his place in the set list!  It’s live radio, folks.  This is the jazzy bass-oriented acoustic version that the band had been performing since at least 1998, very different from the nautical epic original.  They then return to the song that H was beginning to introduce, “Runaway” from Brave.  It was the song that kickstarted the whole concept of the album.  It is a dark and emotional band and fan favourite, but stripped down to a trio format, it is even more delicate.

The first of four songs from the most-recent Marbles is the dancey hit “You’re Gone”.  Acoustically  it is a different animal, but just as beautiful.  The focus isn’t on the beats but on the melody.  Another song that is completely altered is “Dry Land” from Holidays in Eden.  It is slowed down with a gentle electronic pulse as it rolls softly.  “Fantastic Place” from Marbles flows naturally from there, and Rothery’s solo is absolutely supernatural.  The set really moves at this point, with minimal talking.  “This is the 21st Century” from Anoraknophobia burns quietly but strongly.  On album it percolates with unusual electronic effects, but live it simmers with the hot tone of Steve’s guitar.

“Easter” is a bright light in the set.  This version starts very quiet, slow and understated.  It’s an inventive take, and it slowly builds to the resemble the original, though it ends early.  “Marbles 1” and “Don’t Hurt Yourself” are the last of the new songs presented, and the audience get right into it.  “Don’t Hurt Yourself” has to be one of the best songs Marillion has ever written, and the clapping crowd energizes it.  “Don’t Hurt Yourself” was one of many highlights on Marbles, but here it is head and shoulders the winning track.  A wonderful performance of an exceptional track.

Old favourites end the radio session:  “Answering Machine” (from Radiat10n) and “Man of a Thousand Faces” (from This Strange Engine).  “Answering Machine” should be very familiar, as this acoustic mandolin and guitar arrangement has been recorded many times before.  The handclapping crowd returns to finish “Man of a Thousand Faces” with class.  This song has always been acoustic, so this does not tread far from its roots, though it is shortened for the trio format.

You can’t buy this CD anymore and the chances of stumbling upon one in the shops are nil, however you can still download it by joining the official Marillion webUK fan club.  It is well worth it.  You get three thick, glossy full colour magazines, this year’s Christmas CD, and access to download all the old ones and much more.  Worth thinking about, or adding to this year’s Christmas list.

4/5 stars

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