Ah-OOOOOOO! Little Richard! Predator! OOOOO! Wop bop a loo bop! Get to the choppa!
Who doesn’t love Little Richard? If you answered that question with “me!” then click your “back” button now and go listen to some X Ambassadors or something equally un-rock and roll. Little Richard? Pure rock and roll, baby! You have your rock bands that are based on guitar, but then you have other artists that are based on piano. And let me tell you, when Little Richard (Ah-OOOOOOOO!) starts bangin’ on those keys, you can’t help but boogie woogie.
Richard has an extensive catalogue of albums and singles, and much like any of the other founding fathers of rock and roll, there is so much more to him than just the greatest hits. This album is called The Essential, and it is. There is much, much more. “Can’t Believe You Wanna Leave” isn’t on here, but so many favourites are! (OOOOO, gonna have some fun tonight!)
Commencing in 1955, every single track on this CD (single A’s and B’s) is in the two minute range. Wham bam, thank you ma’am! (No, that’s Dean Martin…) Loaded with piano, sax and Little Richard’s unmistakable voice, every song is incredible. My favourite song is “Jenny Jenny” (OOOO!), which is so damn raw and perfect, sax honkin’ and Richard letting loose with every “Woo” and “Ooo”. His throat is pushed to the limit, running off the rails from time to time, but always perfect. From Lucille to Teddy to Jenny to Miss Ann and Miss Molly, some may notice that there is a certain sameness to the material. That would be missing the point. Richard is like AC/DC. You get what you want, every time. Since the songs are so short none overstay their welcome.
Everybody should know plenty of these songs, whether from movies or TV. At least half the album should be familiar. Even if you haven’t heard Richard’s version of “By the Light of the Silvery Moon”, you probably know it from Etta James, Happy Days, Bugs Bunny, or I Love Lucy. It’s just one of those songs that everybody has heard. (Richard’s version is the best one, if you asked me! Ah-OOOOOO!)
Even though this is an older release, the audio is just fine. According to the booklet, all tracks were remastered from the original mono tapes. Old time rock and roll just sounds better in mono. In mono, it sounds saturated and harder. (WOOO!) The booklet isn’t skimpy and has plenty of old black and white photos.
So, if you have “Heebie-Jeebies” for some “Long Tall Sally”, then “I Got It” for you. You’ll be “Slippin’ and Slidin'” for the whole length of this 45 minute CD, which will be over before you know it. If you wanna “Keep-A-Knockin'”, then just play it on repeat and “Rip It Up”.
5/5 stars
Final note: I will happily give a lollypop to anyone who can tell me where I can buy Richard’s elusive version of “Itsy Bitsy Spider”.
Been a while, cats, since I chilled to Keep Your Cool. That’s what you do to this record. Loaded with laid-back latino-influenced stoner rock jams, Keep Your Cool is designed with purpose. In fact it’s all right there in the opening jam, “Hey, Monkey Boy”, loaded down with congas and one steamy groove.
“Hey, Monkey Boy! Why you unemployed?” asks one character in the song, voiced by Bjork.
“‘Cause I’m jammin’!” answers Bjork, utilizing a different voice.
Mood now set, “Johnny Called” comes right from the garage: simple, laid back, but infectious. Back in the Record Store, one of our store managers Joe “Big Nose” used to phone me up and sing it to me: “Johnny called me up on the telephone, just to tell me I’m not alone!” he melodized. “Huh?” I asked confused. So “Big Nose” gave me the record — on LP. Now we’re grooving. The amusingly-titled “Rock-N-Rol’e” keeps it coming. These are basic, sparsely adorned grooves with a nostalgic bent. “Hey there Mr. DJ, won’t you play, some Rock-N-Rol’e!” sings Brant, in an ode to being a kid with a radio and some cheap wine. In the blazing outro, you can hear Bjork begging for some ZZ Top or some AC/DC, because he wants his “chick” to hear some rock and roll! The groove then changes to a stomp on “I Miss My Chick”, closing LP side one. Brant explains what he misses about his “chick”, but this being a family site I won’t list them here! This is a smoking jam.
Commencing with the instrumental title track “Keep Your Cool”, the second side begins with a laid-back Jalamanta vibe. Then Brant’s “Gonna Make the Scene”, and he does this with another snakey, sparse but funky groove. He takes a rare falsetto vocal on the chorus, recalling early Disco. Dusky, quiet rolling bass dominates “Searchin'”, very different from prior Bjork songs. This makes it a highlight of the album and perhaps even the Brant Bjork canon. The relaxed mood maintains on the final song, “My Soul”, which is also the only long bomber on the record. It descends into another quiet jam, concluding the record on a serene but appropriate note.
Great album — short, and to the point like a punk record. Ultimately, not particular a standout given Bjork’s incredible solo discography. Keep Your Cool is still not a purchase to regret.
When Triumph split in ’87, Rik Emmett went off in a pop direction leaving his two bandmates with no singer/guitar player, and without their most recognizable member. As bassist Mike Levine said in M.E.A.T Magazine, “We couldn’t just be Duo-umph”. Since Triumph always had two lead singers in Rik Emmett and drummer Gil Moore, this time Gil simply stepped up and sang everything. Then they needed a guitar player. Gil and Mike Levine wrote and recorded most of Edge of Excess with Mladen Zarron in Toronto, before hiring ex-Frozen Ghost (current Bon Jovi) shredder Phil X. Five years after the split, the new Triumph emerged with a heavier and darker album, Edge of Excess.
Triumph boldly opened the album with a whole minute of nothing but bluesy guitar noise. If there was a stronger way to say “We don’t need Rik,” I don’t know what that would be. This guitar noise serves as an intro to the first Triumph song without Emmett, “Child of the City”, a harder edged Triumph song with the same kind of hooks. It’s hard to determine who is playing lead guitar, Mladen or Phil X, but rest assured that whoever it is has laid waste to the land. Rik Emmett wasn’t just a shredder, but a talented player who composed his solos with class and ability. Mladen and Phil have done the same, but without emulating Rik. (Phil’s going to have his work cut out for him in Bon Jovi, though.)
The rip-roaring “Troublemaker”, easily the fastest and heaviest Triumph track to date, was featured on the soundtrack to Hellraiser III, and it’s easy to see why. It’s as close to speed metal as Triumph have been, and I shouldn’t need to tell you that again the solos shred. Who’s playing? Fucked if I know, there are three guys credited on the song. The song is actually very close to high-octane Whitesnake and it would be easy to imagine Coverdale’s crew doing it.
Lest you think that ballads were a thing of Triumph’s past, “It’s Over” has a country & western feel. Unfortunately of the two singers, Moore had the less commercial voice. This is where Gil’s voice reveals its limitations. On backing vocals, some big names are on hand such as Fred Coury of Cinderella and Steve DeMarchi of Sheriff, to help beef up the big chorus. It’s not enough to make a memorable song. They cook up some groove on the title track, tapping the vein of Van Hagar. But without Rik Emmett, Triumph lost part of what made their unique sound. On Edge of Excess it’s too easy to compare them to contemporaries. “Turn My Back on Love” is better, occupying a dirty mid-tempo groove, and with Phil X handling all the guitars himself. The big chorus is the closest thing to old Triumph on the album.
That’s the side; the second one opens with “Ridin’ High Again”, a sleezy rocker that sounds like Don Dokken emigrating to Canada. Phil X really can shred though, and anyone who’s curious what he can do should check it out. I don’t think Phil will be able to play to his strengths in his new band, so give this a listen and hear the guy blaze like Vai meets Van Halen. “Black Sheep” starts as a total surprise; a blues right in the middle of the album. No drums, just claps. Sadly instead of sticking with this, it transforms into a stock hard rocker. “Boy’s Nite Out” has a grammatically incorrect title: The lyrics are clear that it is not a boy’s night out, but “the boys”, plural. It should therefore be called “Boys’ Nite Out”. Here I am bitching about the grammar and not the word “Nite”…anyway, back to the song. Standard rocker. Plenty of great shreds, but this album is far too burdened by generic rockers. Rik Emmett used to bring a variety of influences to the table, and their albums with him may have had their weaknesses, but they were more diverse than Edge of Excess. Without enough identity, Triumph forged a batch of largely forgettable bluesy hard rock songs. Lots of crunch, not enough stick-to-your-brain hooks.
Fortunately the classy power ballad “Somewhere Tonight” helps wind things up properly. Identity is still a problem, but at least this is a break in the rut the album had been in. Right back into the rut for “Love in a Minute”, the last in a batch of heavily generic rock songs that sound like about a dozen bands…none of them Triumph.
Like any fan, I was pleased that Triumph kept going despite such a huge setback as losing your main guy. Unfortunately the album they produced in ’92 was not up to par, and I guess that’s why it took me 23 years to finally buy it! A couple good songs early in the album, but not much more.
Yesterday the world lost David Bowie, to cancer, at age 69. While I own absolutely no Bowie in my collection (aside from covers of his music and guest appearances on Queen albums) I have always admired the man’s creativity. He goes to places I don’t even understand, and maybe that’s why I never “got” David Bowie. While recognizing his genius I was unable to penetrate beyond the singles. Perhaps I should try again.
In the meantime, plenty of folks far and wide have posted tributes to the man, his music and even his movies. Rather than pretend I know what I’m talking about, I’ll let these fine writers do it instead. Rest in Peace, David Bowie.
AMERICAN DAD! – “Why Can’t We Be Friends?” (Episode 5, season 9)
Seth MacFarlane’s American Dad is a very musical show. That’s why this is the second episode I’ve reviewed so far. It’s rare to find a cartoon with so much musical integrity. From an episode based on a song by Wax Fang, to another showcasing the band My Morning Jacket and their lead singer Jim James, they really stuff the show full of tunage. Not to mention they also use plenty of original music! There was one episode featuring Cee-Lo Green as a talking, singing hot tub. For real! Then there’s the original song “He’s Got a Kink”, with a dirty, dirty message!
You’ve got a kink, You’ve got a kink, Don’t be afraid to put a finger in the stink!
While the episode “My Morning Straightjacket” was probably one of the most musical episodes of any comedy show anywhere, it was “Why Can’t We Be Friends?” that earns top marks at LeBrain HQ. Why? Rush. 2112!
With Steve Smith dressed as a glammed-up Alex Lifeson, and his best friend Snot Lonstein as Geddy, the episode opens with the two best friends rocking out in the garage, playing air guitar to Rush’s immortal epic “2112”. When Steve’s dad Stan comes home, he is none too amused by the tight costumes, wigs and finger-flicking. “I-I don’t know where to start. Look at you two. Best case scenario, you’re telling me you’re gay with each other,” complains Stan.
Steve and Snot defend the air guitar, but a furious Stan smashes Snot’s tape deck and forbids Steve from seeing him again. Of course this does not work, so Stan does the obvious thing to get rid of Snot. He stages a fake mafia hit in front of the young kid, and then takes him away to be in the CIA witness protection program…forever.
Snot goes into hiding (the apartment building is #2112). While delivering Snot his weekly groceries, Stan finds that he actually likes the kid. They begin to hang out. When Steve finally figures out what his dad has done, he tracks Snot down…only to find him playing air guitar to “2112” with a wigged-out Stan!
The episode is dedicated to “BFFs everywhere”, and I admit I get the feels at the end. In an homage to Say Anything, Snot and Steve reunite, with a glorious air-guitared version of “Always With Me, Always With You” by Joe Satriani. Yes, the episode is a tribute to best friends. I think it is also a tribute to the pure joy that is air guitar. The two things go together. I played many many hours of air guitar with my best friend Bob, and nothing can erase the sheer happiness we had doing so. I identify with this episode! Not the dad breaking up the friendship part, but the friendship itself.
Highly recommended for nostalgic air guitarists everywhere.
GETTING MORE TALE #461: From Dial-Up to Light Speed
My my, how technology has changed! The last 20 years have been a blur. Let me give you some examples from the Record Store days!
Back when I first began slinging the rock in 1994, we only had one phone line (with call waiting). Our VISA/Mastercard machine ran on the same phone line. You couldn’t ring through a credit card transaction if you were on a call. If the call waiting went off while you were doing a transaction, it would be cut off and you’d have to start again! In ‘95, we got a dedicated line for the VISA machine. Customers often seemed interested in the sounds our VISA machine made when connecting. That digital “handshake” sound reminded some customers of connecting to the internet. Same basic technology!
In the late 90’s, we finally got the internet! It was dial-up. But some of the staff didn’t know how to use it. One store manager, Joe “Big Nose”, thought that the only way to disconnect from the internet was to restart your computer! On a bad day, it was so slow as to be useless. I remember I had one poor girl trying to help out a really bitchy customer. She was trying to look up some info online and it was taking forever. “I’m sorry,” she said, “But my computer is running really slow.” The customer kindly responded, “Well I’m running fast, so hurry up!” It’s that kind of customer that wore me down – wore us all down, daily. If you’re in that much of a hurry, maybe you shouldn’t be stopping to shop for music?
Technology also changed how we backed up our data. Our computers held a complete inventory of our store’s stock, which changed daily. This had to be backed up nightly in case we lost it all. As discussed in Record Store Tales Part 187: Closing Time, in the early days the technology wasn’t up to snuff. We began by backing up to 3 ¼” floppy. Our data grew quickly and that was not sufficient for long. We “upgraded” to a tape backup system. At this time, tapes could hold about 2 gig. What we gained in capacity, we lost in speed and reliability. Staff that were closing the store were supposed to wait until the backup tape had finished before they left, but as our data continued to grow, it took longer and longer. 45 minutes to an hour later, it might be finished. Obviously you can’t make a staff member stay that long unpaid, so nobody did. Thankfully we never had any critical crashes that caused us to lose everything.
This was later fixed, by backing up to another computer’s hard drive instead of a tape. This became fully automated, so staff wouldn’t have to worry about it anymore. Ultimately this was the only real long-term solution, although we did also experiment with zip discs.
Before we had our own website, some customers were dying to be able to browse our stock from home. If they could do that, we wouldn’t have to take so many phone calls, searching for long lists of CDs one by one. When we first opened the store that I managed in ‘96, one customer asked me, “ Can you print out your inventory for me? It would really help me with my shopping!” He lived out of town and wanted to take a list home and browse it.
The problem, as I tried to explain, was that any list I printed for him would be out of date too quickly to be useful. “By the time this is done printing, which will take a few hours by the way, it’ll already be out of date. Used stock goes fast, and most of the good titles, we only have one copy of at a time. A list isn’t going to help you very much I’m afraid.” Plus, it would take all day to print on an old dot matrix printer. More than that, we didn’t even have a way to print an inventory list that didn’t show our own cost on it! Can’t exactly be handing that out to every customer that walked in the door. He was really insistent and I actually had to get the Boss Man involved to explain it to him!
Am I ever pleased that technology has caught up with the needs of the on-the-go music shopper! A couple clicks on Amazon, CD Japan, or Discogs and the music you need will be delivered to your door in days. It’s actually quite amazing how quickly you can get your music in the mail. With Amazon, I typically get my order within a business day or two, and that’s with free shipping. A CD from Japan takes a week. I never even dreamed of a day when I could have virtually any Japanese release within a week. To an old timer like me, it’s unbelievable.
What’s next for technology and music sales?
A way to beam music straight into your brain?
Amazon will be able to read my mind and pre-order albums that I want as soon as they’re up. Then they’ll ship them to me by drone!
U2 will find a way to upload their next album onto every device you own, and even ones you don’t!
STOMPIN’ TOM CONNORS – “Live” at the Horseshoe (1971 EMI)
Since this is the first Stompin’ Tom review ever here at mikeladano.com, we need to step back and take a quick look at the bio of a Canadian hero that may be completely unknown to most overseas readers.
Charles Tom Connors was born in Saint John, New Brunswick in 1936. A restless young Connors frequently hitch hiked and got into trouble down the east coast, and at one point wound up in Skinner’s Pond, Prince Edward Island. This is a place that has come to be associated with Stompin’ Tom over the years. I visited there myself in 2002, and saw his childhood home. I took a photo of the street sign of what is now officially called Dr. Stompin’ Tom Road.
Tom’s break happened while drifting through Timmins Ontario. Short on change for a beer at the local watering hole, the bartender told him he’d let him have the beer for whatever coins he had in his pocket, as long as he’d get up and sing a song or two. Tom got out his guitar and that turned into a 14 month stand. Before too long he had recorded eight singles.
Stompin’ Tom sang idiosyncratic Canadian songs. He was not interested in commercialism in music whatsoever. He stubbornly wrote and played often comical songs about the things he’d seen and done hitch hiking around the country. He became known as “Stompin’ Tom” by providing his own backbeat. Like a folk country Angus Young, he would pound his booted left foot on the floor, keeping time. He eventually had to provide his own “stomping board” because bar owners were complaining about damage to their stage. He would stomp right through the board periodically and have to replace it.
In 1971, a concert film called Across This Land With Stompin’ Tom Connors spawned the album release “Live” at the Horseshoe and became a part of Canadian history. The Horseshoe Tavern in Toronto was a legendary establishment. Now with four studio albums and one Christmas record under his belt, the legendary Horseshoe set was recorded for posterity and became a television staple for years. This live album is culled from that show, though heavily edited for single-length LP time. The original set was 90 minutes and 30 songs. My dad showed me the special as a kid. I loved it.
When EMI issued the album on CD, they retained the original LP 12 song running time. Even the nicely packaged 1998 Man of the Land series edition is only 12 tracks. The album is a mix of originals and better-known covers.
Newcomers may find Stompin’ Tom’s nasal twang unpalatable, but when that left foot starts stompin’, it’s hard to resist. “Happy Rovin’ Cowboy” introduces Tom’s band to the crowd. He bills himself as from “the potato fields of Prince Edward Island”. Then it’s his hit about the “best man in Ottawa”, Mufferaw Joe. “Big Joe Mufferaw” is a Canadian folk classic and this version from the Horseshoe is definitive. According to the lyrics, Big Joe put out a raging forest fire near Smiths Falls with just five spitballs! Just stomp along!
“Come Where I’m At” is a “Newphie” phrase, and the song beckons you to come home to Newfoundland, “So don’t stay where you’re to, come where we’re at!” It’s not Yoda-speak, it’s just Canadian! Tom then covers “The Green, Green Grass of Home”. “Now it’s almost time I sung an American song,” begins Tom. “This here is a song that made so many singers famous, that I just thought if I turned my golden Prince Edward Island voice to it, I’d prob’ly become famous too!” Probably not — Tom does it with exaggerated twang and irreverent comedic flare. Then, he covers his friend “Gordie” Lightfoot, with “Spin, Spin”, another Horseshoe regular. This time his plays the song “straight” with due respect but still with the stomp. It’s a wonderful upbeat song so feel free to stomp along. “Muleskinner Blues” has one of Tom’s most legendary vocal hooks, and it goes something like “aw wha wha wha wha wha whoo”, though it varies! This is the kind of song that people loved Tom for.
The second LP side began with an ode to all the big drinkers at the Horseshoe, with “Horseshoe Hotel Song”. You can hear them hootin’ and hollerin’ and drinking along. He pokes fun at himself in the tune, claiming he can’t really sing, he’s just another getting slushed at the Horseshoe Hotel. They eat it up, loving every witty line. Another cover, “I’ve Been Everywhere”, is one that Tom could almost claim as his own, considering its hitch hiking subject matter!
The rest of the album is all original. “Sudbury Saturday Night” is a favourite that was later covered by Kim Mitchell. Sudbury is famous for its nickel mines, and Inco was the big one. So the lyrics go:
“Well the girls are out to Bingo, And the boys are gettin stinko, We’ll think no more of Inco, On a Sudbury Saturday Night.”
Once again, this version is definitive. The song is best heard with an audience hollering along. “Big Bus to Nashville” is a pleasant song that name-drops the Horseshoe, and features that boot stomping again. “Luke’s Guitar” is a story about a man who had to choose between his wife and his guitar. Again it has one of those classic Tom vocal hooks, and it goes something along the lines of “Clang-clang a-deedle dang a-deedle”. It’s hard to resist so don’t try and just go with it. Ending the album is “Bud the Spud” from the bright red mud, of Prince Edward Island. According to Tom this came by request about “150,000 times” that night. Because of the filming and recording of the live album, Tom was to stick to a strict set list and couldn’t do requests. However he went ahead and played “Bud the Spud” anyway, and it made the final album! Like several of the other tracks, this recording is definitive.
In the movie Wayne’s World, the character of Wayne Campbell, played by Canadian Mike Myers, claimed that people in the subburbs got copies of Frampton Comes Alive in the mailbox with boxes of Tide. Sadly that is not so, but in Canada, everybody should be issued a copy of this live album with their birth certificate. This album in my ears defines the country that I live in. Others may disagree and they are welcome to do that, but I believe that “Live” at the Horseshoe is a history lesson about the country that we live in as much as it is an amazing live album.
JETHRO TULL – Too Old to Rock ‘n’ Roll: Too Young to Die! (1976, 2015 Chrysalis TV Special edition 2CD/2DVD)
I foresee a future time, when every man woman and child will be able to buy deluxe multi-disc box sets of just about every album ever made. While old geezers with greying beards will sit back in a rocking chair (a hovering one, no doubt) listening to multi-track backing tapes for every single Poison CD, our children will be able to do the same with a comprehensive book-box version of the NSync debut album. It’s going to happen eventually, so we may as well get good albums like Tull’s Too Old to Rock ‘n’ Roll: Too Young to Die! in box set form while the concept still has validity.
Of course this isn’t the first Jethro Tull album to get this kind of treatment. A super deluxe Aqualung was a fairly recent release, and I received Benefit myself for Christmas last year. The bold four-colour album cover for Too Old to Rock ‘n’ Roll makes for a splendid book-form box with plastic CD trays inside. An absolutely massive (80 page) full colour booklet awaits you inside. Rare photos are the norm of course, but a features such as “From Carmen to Tullman” about the late John Glascock are valuable reads. Detailed liner notes will help you make sense of the track listing, and the multiple versions of each song included. Almost all of this material is rare, previously unreleased, or newly mixed material by studio wizard Steve Wilson.
First of all, I was not aware that all of Too Old to Rock ‘n’ Roll was re-recorded for a UK television special, included here on DVD. Anderson had a theatrical presentation in mind, so playing live wasn’t of interest to him. But, apparently due to British law, the LP Too Old to Rock ‘n’ Roll could not be used for backing music on a “live” TV special. Anderson’s vision seemed to involve the band miming to the album while pulling amusing faces and occasionally acting out the lyrics. In order to mime and do it legally, brand new recordings of every song had to be made! In fact the band painstakingly took great care in recreating the album, although there are also obvious differences. For the DVD and CD, these tracks been newly mixed and are available for the first time. CD 1 contains the standard stereo mix of the re-recorded album. DVD 1 has the special in both stereo and 5.1 surround.
The original album was also meant to be remixed top to bottom in 5.1 by Wilson. This was not possible, because the original multi-track tapes survived for only five songs, almost the whole second side: “From a Dead Beat to an Old Greaser”, “Bad Eyed and Loveless”, “Big Dipper”, “Too Old to Rock ‘n’ Roll”, and “The Chequered Flag”. Tull’s semi-acoustic nature lends itself well to a good 5.1 mix. The audio field is filled out, but not to excess. It’s a good balance and the tracks included in 5.1 shine with fresh light. Do not be surprised to hear parts you didn’t hear before.
The bonus associated tracks are a light collection of rare Tull. The two bonus tracks from the prior 2002 remaster, “One Brown Mouse” and “A Small Cigar” are included here unaltered on CD 2, or on lossless 96/24 stereo PCM on DVD 2. The unreleased tracks are excellent. “Salamander’s Rag Time” sounds like the Jethro Tull collaborating with the Beatles via “A Day in the Life”. Meanwhile, “Commercial Traveller” is a lushly arranged and recorded ode to the road with full strings and Martin Barre guitar blazes. “Strip Cartoon” also has quaint Beatles-isms though it is really just a bright Tull acoustic jaunt. An incredible instrumental take of “Salamander” is pure delight, hearing it ring in live perfection. There is also a bare acoustic version of “A Small Cigar”, and earlier versions of “Quiz Kid” and the title track. As always, these are available on both the CDs and DVDs. Four of these (“Salamander’s Rag Time”, “Commercial Traveller”, “Strip Cartoon” and the acoustic “Small Cigar”) can be heard in 5.1, again mixed by Wilson. Expect the same level of lushness and quality as the album tracks, although with the acoustic arrangements, it’s more about the spaces between.
One of the great advantages of the DVD format is the ability to re-release classic Quadrophonic mixes for modern audio systems. Like many rock bands (and especially progressive rock bands) of the early 1970’s, Jethro Tull released Too Old to Rock ‘n’ Roll in Quad. That long unavailable version is right here in 4.0, on DVD 2. It’s certainly an interesting animal. Where Steven Wilson’s 5.1 mixes envelope the listener in clouds of Tull music, the Quad mixes things hard into individual channels. It’s an interesting experience. The vocals are mostly on the right, the flute behind, and the other instruments tucked into their corners. If you want to hear it as if the music is coming from four separate corners of the room, then this Quad mix is that exactly. There is something to be said for this, because you can clearly hear each instrument isolated, and easy to study. You can easily lose yourself in a particular part of the mix, which is the benefit and weakness of the format. Regardless, the classic 1976 Quad mix has parts you won’t hear elsewhere, and it’s available again, and that is a good thing.
With all this talk of extras and remixes and surround sound, the original album is almost overlooked! Fear not. A bit like an afterthought, the original, stereo, classic Too Old to Rock ‘n’ Roll: Too Young to Die! is here, as the final 11 songs on CD 2. Even the Benefit super deluxe box set didn’t include the original album on CD. If you prefer lossless stereo, it’s there on DVD, too.
Like many Tull albums from the mid-70’s, there’s plenty of acoustics to go around accompanied by lovely flute passages and complex drum patterns. There’s also some horns and orchestration courtesy of David Palmer (not yet a full member of the band). Personal highlights:
“Salamander”, a folksy number with intricate acoustics.
The harmonica riffing of “Taxi Grab”, reminiscent of an earlier bluesier Jethro Tull. The guitar soloing (both electric and acoustic) is also divine.
“Big Dipper”, a playful yet complex number with plenty of flute and a fun chorus.
The masterpiece title track (obviously), lush with ochestration.
“Pied Piper”, one of the most obviously catchy songs on the whole album, albeit still complex with multiple parts and section.
The final track of the album, a slow but dramatic grandiose number called “The Chequered Flag (Dead or Alive)”.
Too old to rock ‘n’ roll? Never. Buy this for the grandpa on your lists.
STAR WARS: The Force Awakens original motion picture soundtrack (2015 Lucasfilm/Disney)
After seeing The Force Awakens on December 18, my radio pal Rob Daniels who had not seen it yet asked me, “How was it, seeing a Star Wars movie without the 20th Century Fox logo and fanfare at the start?”
It was strange. Not unexpected of course; we all know the reason there is an Episode VII today is because Lucasfilm sold Star Wars to Disney. The old 20th Century Fox fanfare does not commence the soundtrack, which instead begins with the main Star Wars title theme. This quiets and slows, as the covert start to the movie begins.
“The Scavenger” introduces the character of Rey. Add this to yet another intriguing piece of character music from the mind of John Williams. “The Scavenger” is unlike any of the other Star Wars cues; it’s brand new, just like the character of Rey. I get goosebumps hearing it again, such is the power and identity of the score. It also has the tone to connect this new chapter to the other instalments of the saga. This is only a brief respite. Much like the movie itself, the action resumes shortly. The title “I Can Fly Anything” suggests you should fasten your seatbelts for this cue!* Williams allows you to close your eyes and picture the flurry yourself. He always has; that’s his magic. As kids, we would drop the needle on the soundtrack to The Empire Strikes Back while navigating an asteroid field with our Kenner Millenium Falcons. Or, you would flip the pages of your Marvel Star Wars comic movie adaptations, while listening to those records. The experience still works today. Through the drama and occasional quiet moments of reflection, you will notice callbacks to cues from the classic trilogy — “The Falcon”, or “Han and Leia” for example. These pieces of music are warmly remembered.
When the soundtrack to The Phantom Menace was released in 1999, the track “Duel of the Fates” became a bit of a hit single. There is no “Duel of the Fates” here, but “Rey’s Theme” serves well as the memorable track this time out. With more subtlety (and perhaps even femininity?), “Rey’s Theme” is a new kind of Star Wars music. I have high hopes that the character and story arc will unfold in a way just as emotional and satisfying as her theme music. Star Wars deserves to have characters that you can invest your emotions in. With the prequel trilogy, I could never feel much for Anakin Skywalker. You always knew that no matter what happened in the prequels, he’s just going to end up in the black suit and blowing up Aldaraan. Rey’s future is unwritten. Having a strong theme will help her character going forward.
Vintage Star Wars fun can be had on the tension-packed tracks “The Rathtars!”, and “Kylo Ren Arrives”. Somber beauty is “The Starkiller”, ironic considering the scene in question. For deeper listening, check out the tracks “Maz’s Counsel” and “Snoke”. Perhaps there are musical clues buried in these pieces to help us identify who some of these characters may be?
The soundtrack is a wild ride like the movie from which it came, picking up suspense as it nears the end. The less said about the last few tracks on the CD the better, except to mention that Williams continues to forge new ground for Star Wars right to the finale. With passion and precision, every track is the perfect accompaniment.
My only disappointment, although not unexpected since this is only a single CD release, is that some music is naturally omitted. The one track I wish was available is the neat rasta-space-blues song playing when our heroes arrives at Maz Kanata’s tavern. It’s the “Cantina Band” or “Lapti Nek” of the movie, but it’s not on the CD. There are whispers that a 2 CD deluxe edition is forthcoming this year.
5/5 stars
* The Millenium Falcon has seatbelts, but the USS Enterprise does not. Discuss!
Unless you have been living under a pile of rock (and roll), then you know that the hype machine for a 2016 Guns N’ Roses “reunion” has already begun.
But this is not a reunion. This is not Axl, Slash, Duff, Izzy, and Steven. Matt Sorum is not involved, nor is Gilby Clarke. The new lineup is supposed to consist of: W. Axl Rose, Slash, Duff “Rose” McKagan, Richard Fortus, Frank Ferrer, Dizzy Reed, and Chris Pittman, with new member Dave Kushner (Velvet Revolver) in the third guitar slot.
Of course, many lineups labelled as “reunions” in the past were not. Van Halen’s current “reunited” lineup consists of three classic members and one new guy, Wolfgang Van Halen. Any time The Who go out there for a tour, there are only two original members. Not much can be done about that, with Keith and John both gone. Not that it matters since both bands have made millions on these tours, and both bands even managed to put out new albums, without the full original lineups. New music always trumps a tour.
Few bands seem to reunite with all the beloved members intact, either due to death or stubbornness. There are exceptions, obviously. The Eagles and Fleetwood Mac came together with their most beloved lineups, and a tremendous amount of success, but even they couldn’t make it last. Don Felder was fired from the Eagles years ago. Christine McVie only recently returned to the Mac after being gone for ages, and meanwhile the band did a new album without her. And Black Sabbath? Their farewell tour only has ¾ of the original lineup! Meanwhile Bill Ward sits at home, having alienated the band and Sharon Osbourne. The chances of Ward ever playing drums again in the band he co-founded are slim to none. One does not piss off the Osbourne camp without consequences. Regardless of his reasons, justified or not, a Black Sabbath farewell tour without its still capable original drummer is a hollow thing indeed.
Even when you do get the full original lineup of a band that you wanted, that doesn’t necessarily mean the band is returning to full functionality. When Kiss reunited in 1996 with the full original band, Ace Frehley and Peter Criss were hired hands. They didn’t get a say, they didn’t get a vote. They got a contract stating their responsibilities and compensation. As if Paul and Gene would ever give up any control in their band, now! So what we saw live was Kiss, but what we got behind the scenes and on the album Psycho-Circus was just “more of the same”. Ace and Peter didn’t even appear on many of the songs, even though they were on the album cover. But that’s nothing new for Kiss!
What band has had the most successful reunion? I’m not talking in terms of numbers; then we would probably have to include Spice Girls and New Kids on the Block. Who has had the most success in terms of quality? That would have to be Iron Maiden.
Steve Harris did something very creative when he reunited with Bruce Dickinson. Instead of just bringing Bruce back into the band, he also brought in Bruce’s guitarist and former Maiden member Adrian Smith. But Adrian was not cool with coming in to replace somebody else. “What about Janick Gers?” he asked. Janick had been in Maiden for a successful decade, and Adrian didn’t want him out of a job. Steve always envisioned a three-guitar Iron Maiden, and Adrian Smith coming back gave him that opportunity. It worked out brilliantly, especially live, when it could have been a train wreck. Technically, what Iron Maiden did is the same thing Guns N’ Roses are said to be doing: a new version of the band, with both classic and current members. Maiden made it last, too. Harris was very clear with Bruce: nobody was coming back to Maiden just to hang around a while and leave again. Anybody coming back to Maiden was coming back for life, and that is exactly what happened. Five more studio albums later, Maiden rule absolutely.
What will happen with Guns N’ Roses? That is harder to predict. It is unlikely their most talented member, Izzy Stradlin, would want to return to the circus of insanity that is a GN’R tour. As for Slash, he has always preferred a stripped down band. It’s hard to imagine how he will be happy playing in a band with two keyboardists, but that’s what they say is happening. How long will it last? A few shows? Coachella and gone? Much like Ace Frehley, Slash will probably be a contracted musician.
A band of Guns’ stature all but had to reunite. The fans have been loudly demanding something like this for over a decade. The fans hoped Izzy and Steven Adler or Matt Sorum would be a part of it, but that has always seemed unlikely. Slash couldn’t even get Izzy into Velvet Revolver. What they are doing is probably the closest to a reunion that is likely. Perhaps Izzy will show up to guest as he has in the past, but fans shouldn’t get their hopes up of seeing Adler on stage.
Perhaps this, the most anticipated “reunion” since Led Zeppelin (also a new lineup with Jason Bonham), will stop the constant questions from the media and fans. “Will you ever get back together?” It must be tiring answering that question daily, when you have new music out there to play. Sometimes a band just has to give in and take a step backwards. Sometimes, as in the case of Iron Maiden, the way forward is to go backwards.
Will it work? The only way to find out is to stay tuned. You know where you are? You in the jungle, baby.
Let’s see if the bad boys of rock and roll can still survive the jungle.
LITTLE RICHARD – The Essential (1985 Specialty)
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