DEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)
There are very rare circumstances under which I will pay for a download from iTunes. I’ve made my case for physical product here over the years many, many times. When it’s a band that I obsessively collect, like Deep Purple, I make an exception. Bombay Calling is an interesting live release. It says “Official Bootleg” right there on the cover art, but I’m not really sure what constitutes an official bootleg anymore. I look at this as the soundtrack to a DVD that Deep Purple released in 2000, also called Bombay Calling. That’s essentially what this is — the audio to Bombay Calling, the DVD. In contains the entire show.
This concert was recorded on April 18 1995, which eagle-eyed fans will realize is well before thePurpendicular album. Bombay Calling was recorded not long after “the banjo player took a hike” and Purple carried on without Ritchie Blackmore. Joe Satriani stepped in for a short while, but it was Dixie Dregs guitar maestro Steve Morse that took the Man in Black’s place permanently. This concert was recorded at the very start of Morse’s tenure, and features a few songs they would drop from the set a year or two later. It also features a brand new tune they were working on called “Perpendicular Waltz”, later changed to “The Purpendicular Waltz” on the album.
There is one earlier concert available from this period, which is Purple Sunshine in Ft. Lauderdale Florida, exactly two weeks prior. That one is truly is an official bootleg, taken from audience sources and released on the 12 CD box set Collector’s Edition: The Bootleg Series 1984-2000. The setlists are slightly different. When they hit India for this concert, a new song called “Ken the Mechanic” (retitled “Ted the Mechanic”) was dropped, as was “Anyone’s Daughter”. They were replaced by long time favourites “Maybe I’m a Leo” and “Space Truckin'” from Machine Head.
Special treats for the ears on Bombay Calling include Steve Morse’s incendiary soloing on “Anya” (which would be dropped from the set in 1996). His feature solo leading into “Lazy” is also excellent, and of course very different from what Ritchie used to do. Jon Lord’s keyboard solo is among the best I’ve heard, and even features a segue into “Soldier of Fortune” from Stormbringer. The solo segments that Deep Purple did often allowed them to play snippets from songs from the David Coverdale period of the band, and this one was unexpected and brilliant.
I love a good, raw live performance captured on tape, and Deep Purple don’t muck around. This one is kind of special, coming from that transitional period when Steve Morse was just getting his feet wet. Considering how different he is from Ritchie Blackmore, this smooth switcheroo is quite remarkable. The band had changed, but into something just as good. How many other groups can make that claim?
3.5/5 stars
Since you can’t take a picture of a non-physical product, here are pictures of the 2 CD set that I burned from the iTunes download!
RECORD STORE TALES MkII: Getting More Tale #421: First It Steals Your Mind, Then It Steals Your Soul
Pop music: love it or hate it, it does exist!
I have found myself briefly flirting with popular hit songs from time to time, but I find that the rush goes away fast. You can be totally into a new song, only to be bored with it after hearing it dozens of times over a week or two. Then, on to the next thing. This is nothing new, that’s pop music for you. But why do modern-day pop songs lack longevity? Whether it’s Ke$ha, Katy Perry, Beyonce or One Direction, their songs are hook-laden and catchy. Yet there’s nothing about them that sticks with you for long. People don’t really carry around a Beyonce track for life like they do with a Led Zeppelin number. Why?
Pop songwriters always try to hit the biggest possible audience. That’s what they are paid to do. As such, a lot of pop music ends up sounding very “neutral”. The songs are vaguely catchy and lyrically bland so as to appeal to “everyone”. That doesn’t seem to be enough for a song to stick forever. Rather than try and make a pop song interesting, producers would rather throw in whatever sounds, beats and hooks are “in” right now. Rather than do something new, they go for something familiar. That’s what the masses go for – songs that sound like songs they already like. As long as it’s not much longer than three minutes….
I’m speaking very generally now. I know there is pop music out there that defies the pigeonholes that people often want their music slotted in. I’m not talking about those songs. I’m talking about the same damn beats, same damn words, and the same damn melodies that you hear every day.
How does today’s pop music steal your mind and soul? Below, find some reasons:
1. Today, pop songs trick you into thinking an artist can really write, play and sing. A look at the credits shows that 18 writers from Sweden wrote that song, and got sued by 7 different writers from America for stealing it. A computer fixed every missed beat and note. The song was almost completely untouched by human hands.
2. The lack of innovation and exploration in pop music leads to stagnation. Just copy, copy, copy. Have a hit with an idea similar to someone else’s. There’s very little new out there. How can you expect your mind and musical taste to grow by listening to the same damn song every day?
3. Faceless performers don’t have much ability or personality compared to the golden days of the 60’s. Back then, you knew when it was Aretha singing. Today, you have to use an app on your phone to see if that was Katy Perry or Demi Lovato. Listen to them sing live – they do a low sultry voice, and then belt it out on the choruses, aided and abetted by computers. Sure, Demi has lungs, but her voice gets pretty thin when she’s reaching for notes without assistance. Thankfully this is usually covered up by the screaming crowds of teen girls.
4. We’re long past the days of people like Michael Jackson being the King of Pop. Jackson, a talented writer, worked with one of the best producers in the world, Quincy Jones. Together they worked hard and played hard to create real pop music with actual soul. Who is left in the world of pop of that stature and talent? Surely not Justin Timberlake. Timberlake has never written anything with the soul of “Billie Jean”, not that I have heard anyway.
5. Pop music and pop culture have become so intertwined that they have formed a complex web of stupidity. Remember when Britney Spears said, “I think we should just trust our president in every decision that he makes and we should just support that”? Pop stars today are saying even dumber things. Witness this zinger from Ariana Grande about “cow tit pus”:
“In America, almost everybody thinks you need to have meat for protein. Protein, protein, protein! And what’s in dairy? Calcium, calcium, calcium. It’s those kinds of proteins that latch onto the insides of your blood stream and make it easier for you to have a heart attack. Look, cows produce milk with nutrients for cows. Maybe that’s why Americans end up looking like cows! Ultimately, no one wants cow tit pus in their food, do they?”
And don’t even get me started on Biebs, the Little Turd from Stratford.
And these reasons, dear friends, are only some of the ways that modern pop music can steal your mind and then steal your soul. Stick to the classics, and beware! A mind is a terrible thing to waste.
Out of the Cellar was my first Ratt album, acquired in a trade from next door neighbour George. Considering how big Ratt were at the time, I expected it to be better. In the 80’s, I felt like Out of the Cellar was a handful of singles padded out by filler. I haven’t played the whole album in years (at least five), so this review is coming from a fresh perspective. Dusting off the CD, I note on the credits the name of producer Beau Hill — never one of my favourites.
One of the aforementioned singles, “Wanted Man”, opens the album on an up note. The cowboy motif has been popular in hard rock at least since David Lee Roth wore buttless chaps. Tough, slow and menacing is “Wanted Man”. Everything about it is classic hard rock. Finger-blurring solos, thick backing vocals (courtesy of Juan Crocier mostly), and a big chorus are all it takes in the world of Ratt. “Wanted Man” has always been a high point from Out of the Cellar, and it remains just as cool today.
“You’re in Trouble” kinda smells funny, as rock songs with funky bass often do. Great chorus, but the rest of the song fails to generate any sort of fist-pumping. This is easily forgotten since the third track is the big one. “Round and Round”…what is it about this song? It’s still irresistible today. Why? Everything clicks. It is the perfect formulation of Robbin’s riffing, Warren’s picking, and Steven’s sneer. Bobby and Juan keep the pulse tough and punchy. It’s just one of those magical songs from that era that still has the goods.
Moving on, “In Your Direction” is suitable for an album track. Ratt referred to their sound as “Ratt N’ Roll”, because according to them, it was their own sound unlike other bands. That may be so, but unfortunately Ratt N’ Roll is pretty limited as far as genres go. If you cross “Wanted Man” with “You’re In Trouble”, you get something like “In Your Direction”. Ratt albums have always suffered from too many soundalike songs. Smoking solo though — very Eddie-like. “She Wants Money” is pretty good. These old melodies are coming back, as are old memories. “She Wants Money” is one of the strongest non-singles on Out of the Cellar.
Frustratingly, “Lack of Communication” is a good song that lacks a good chorus. “Lack of communication, back off!” Something’s not clicking there, which is too bad because the rest of the song was really decent. What we need now is another single. “Back For More” was always outstanding for a Ratt song. The acoustic intro was the only soft moment, on an album composed 100% of rockers. “Back For More” is punchy and memorable, a pretty great example of Ratt N’ Roll because it doesn’t sound too much like the other songs.
Stormy guitars and cool Pearcy vocals keep “The Morning After” rocking ’til dawn. “I’m Insane” ain’t too bad, another nondescript pedal-to-the-metal Ratt N’ Roller. “Scene of the Crime” is another fairless faceless Ratt song, which closes the album. It’s a fairly limp ending, and there’s nothing about the production that really aids or abets the album.
Listening to Out of the Cellar today is much the same as it was in the 80’s. It has enough high points to give credit where credit is due, but given the chance to listen to it or a “best of” CD, you’re going to go with the compilation. It’s too bad Ratt couldn’t have tightened up some of these songs a bit first, in the writing stage.
The world of Rock and Roll fandom is filled with many varieties: The Uber Fan who owns everything, the Casual Fan who owns what they want, and the Obsessed Fan. They have a complete set of Tico Torres’ toe nails, and a collection of restraining orders against them. These are just some examples. There are many more fan types, across every genre of music. While I’m usually more interested in the collections of the Uber Fan, sometimes the Obsessed can provide hours of entertaining befuddlement.
Based on limited exposure to one of these categories, we at LeBrain HQ have scientifically determined that the rock band Europe have an inordinate amount of Obsessed Fans. What it is specifically that attracts them to the authors of “Let the Good Times Rock” and “Cherokee”, Trump only knows. But there is a particularly vehement subsect of the obsessed focusing specifically on their lead singer Joey Tempest, aka Rolf Magnus Joakim Larsson (he of the well-coifed head). We have first-hand evidence of this, presented below.
Our first encounter with an Obsessed Tempest Fan came with someone called “Carieann”, in June. “Carieann” insisted that Joey Tempest was not really Joey Tempest. An excerpt from her lengthy comment:
“This is for all those who say that the band Europe is still great or that still make great albums – STOP writing such a shocking nonsenses and stupidities!! All last albums are false and absolutely horrible and this fake band has nothing in common with the real group Europe from the 80’s, now they make fake records, fake and lifeless music without a soul, fake “shows”, all is fake and false and that’s because since the middle of 1989 the real Joey Tempest is not in this band and Joey was truly the only one who has made this group huge with his talents, awesomeness and uniqueness!! And since 26 years there’s such a horrible imposter and liar in this “group”, that’s not the real Joey Tempest!! The real Joey Tempest had to leave the group because of this horrible liar!! It’s so obvious and so clear to see that it’s just someone different (unless you’re blind and deaf, like bunch of ignorants).”
OK, then. But things took on a religious slant:
“This horrid demon also released solo albums under the name of Joey, still insolently pretending to be Joey Tempest!!! And this disgusting, hideous and rude imposter has nothing in common with the real Joey Tempest, Europe’s vocalist in 1982-1989, not only his looks and sound of voice are completely different but also behaviour, eyes, facial features, personality and absolutely everything!! And the excuse that it could be because the years have passed, it’s just such a stupid and lame excuse!!! This is just a totally different person!! It’s not even a person, he acts like some kind of a devil!! He isn’t even real Joey’ Tempest’s look-alike and never, ever will be like Joey!!! […] There’s not even comparison between him and the real Joey Tempest!! This demonic devil only cares about himself, this whole falsity and not about the “fans”, his main and the only goal is to make fools of as many people as possible to still gain more and more as long as it’s possible undeservedly and you all brainless idiots still help him to do this!!!”
Even though we are all “brainless idiots”, some Googling revealed that “Carieann” had been dumping steaming piles of this conspiracytheory all over the web since 2014.
Always looking to prod the grizzly, we posted a parody of a Europe review that lampooned “Carieann’s” comments. This parody review was loaded with over-the-top statements that served to underline just how weird this conspiracy theory is. I wish I came up with all of these statements myself, but it was a collaborative effort, with a Godlike genius of the written word who not only refuses to be identified, but has now hired 24 hour security for his premises. Here are some excerpts from that parody review, which we felt was a fairly obvious pastiche.
“Without Joey’s talent and unique abilities, the band is a lost joke; twisted and sad – imagine, it would be like Deep Purple without Nick Simper – just unthinkable!”
“Joey would NEVER let his hair go flat like that! Wake up people!”
“I have proof written on the back of a beer mat that in 1994 Matt Groening was forced to rewrite a Futurama episode that obliquely referenced the scandal. “
The article was credited to author “Jesse A. Jones” (a portmanteau of noted conspiracy theorists Jesse Ventura and Alex Jones), who is “Professor Emeritus of Applied Conspiracy at the University of Punkeydoodles Corners and author of ‘Paul is Dead: The Amazing Beatles Conspiracy’, ‘Lennon Lives! Why John Isn’t Dead’ and ‘George! Satan’s Favourite Beatle’.” Not to put too fine a point on it, but we felt this was a pretty obvious joke, especially with credits like those.
All a bit of an innocent giggle; some harmless fun, yes? Not where the Obsessed Tempest Fans come in! Several weeks after posting, this parody review was hit with comments from…Joey Tempest’s wife “Miranda” and her friends “Billy” and “Doreen”?! What is this?! More disgruntled minor celeb encounters to add to my collection?
At first, I took it all at face value, until I actually looked into Joey’s marital status, which was when it all got a little bit strange. All sources state that his wife is named Lisa Worthington, not “Miranda Larrson”. In fact a little digging revealed even more: accusations that “Miranda” had been making the rounds online “claiming” to be Joey’s wife. Then I found a slew of Youtube videos by Miranda: low quality “duets”with Europe songs straight from the album, claiming to be by “Joey and Miranda”.
Come on; we’ve all done it, haven’t we? I once spent the whole summer of ’90 pretending to be married to Lita Ford.
Read the whole thing unfolding for yourself. Follow the links below directly for the best comments by Miranda and her friends, “Billy Low” and “All-Caps Doreen” (aka “Caps-Lock Doreen”). If you’d rather read the whole thing from start to finish, then hit up the first comment from “Doreen” for the beginning of this…discussion. (?) Make a coffee, sit down and enjoy!
After intensive study (at the University of Google), we have concluded that not only does Joey Tempest have at least one fan who think he’s not really Joey Tempest (a mind-boggler in itself), but he also boasts deluded followers who think he’s married to them! At the very best, even if we took Miranda’s claims purely at face value, and assumed she is indeed the new Mrs. Larrson, then Joey Tempest has friends who have serious problems with reading and comprehension. The entire thing just went completely over their heads. That’s the best-case scenario here. That is the sunniest possible outlook.
The life of a rock star! We only see the glamorous side, but then you have this dark side dealing with obsession. Or, as the great man (the real Joey, I mean) sang on “Love Chaser”:
Someone’s at your door tonight, Someone wants your love, Is it real or just imagination?
(Posted from our secret underground bunker, Nunavut Canada.)
MAX WEBSTER – High Class in Borrowed Shoes(1977 Anthem)
It’s only the second Max Webster album, but the band were so tight and perfect that they got three radio classics off it. “Diamonds Diamonds”, “Gravity” and the title track are all three radio staples, and “On the Road” a live classic that Kim Mitchell occasionally plays unplugged. Every fan has a favourite Max album, and I think I probably know a couple who would put High Class in Borrowed Shoes as numero uno.
The album opens with the impressive “High Class in Borrowed Shoes”, a blaster that sounds to me like a Canadian Van Halen! Max had tamed some of their wackier tendencies (“Toronto Tontos”, anyone?) and focussed their chops. Not that the new Max (now featuring legendary drummer Gary McCracken) was normal by any definition. Just listen to the lullaby-like “Diamonds Diamonds”. Great song, but very different for a rock band. Its dreamlike mood is heightened by the surreal lyrics by Pye Dubois. Not to mention there are only six lines to the words!
“Gravity” would make my top five Max tracks in a heartbeat. “What do I know? I sat under a cloud. I looked up, afraid to look down.” Kim sounds like a little boy speaking the words, to great effect. The chorus is a big one, backed by a Kim’s riffing. I have no idea what this song is about, but to me the line “Forget that fear of gravity, get a little savagery in your life,” says everything. Don’t be afraid to take chances. As Pye’s friend Neil Peart once said, just roll the bones. That’s what it means to me, anyway.
Proving he has always been capable of tender ballads, “Words to Words” is one of Kim Mitchell’s first. The keyboards of Terry Watkinson keep it just a little left of center, but Kim’s acoustic work is impeccable and excellent. Pye Dubois’ lyrics are magical and stirring. It’s hard to overstate just how quality this song is. However ballads are usually best followed by scorchers, and that’s “America’s Veins”. Killer solos, smoking drums, and a chorus built for the concert stage: it’s here in one complete package.
“Oh War!” is an incredible monument of rock. AC/DC did a song with a similar vibe called “Little Lover”, but “Oh War!” is a completely different animal. The gonzo solos are more in the “Z” section of the rock aisle, as in “Zappa”. And check out the words! “‘Cause I say fuck you instead of thank you, your choice under your breath.” Yes, that’s what Uncle Kim, Canada’s favourite king of the summertime, just said! OK, so it wasn’t going to get on the radio with those words…but damn, it should have been. This song could have been almost as big as “Battle Scar” had it been.
I have a tape here of Kim Mitchell doing “On the Road” live in the MuchMusic studios, acoustically, on their Intimate and Interactive show. This is what you might call “campfire rock”, but that sells it far too short. “On the Road” is more than a song that would sound good played live around a fire, it has genuine soul that you can feel. It’s an incredible song, and once again, I wonder why Max Webster wasn’t friggin’ huge. “Rain Child” is next in line, which I would describe as a slow burner. Terry Watkinson’s keys take center stage, never intruding. “Rain Child” is a classic album track, and perfect for winding down the album.
Max Webster went mad on the last track, “In Context of the Moon”. This is the second of four “Moon” songs on the first four records: “Coming Off the Moon”, “Beyond the Moon”, and “Moon Voices” are the others. “In Context” can’t be described easily, because it spans many styles and tempos in just five measly minutes! How?! You have to play this one a few times just to get everything that is happening. It’s certainly one of the most challenging pieces of music Max have recorded. The four musicians must have rehearsed the shit out of this one. Anyway, at all times, it smokes. Whether it’s the bright intro guitars, or the metal riffs that follow them, or the sheer madness (including bass solo) that ensues, “In Context of the Moon” is always riveting. It’s just non-stop even though by the time you get to the end of it, you’ll wonder how you got there!
Final note: My good buddy T-Rev, who has guest written here a couple times before, met Gary McCracken after he moved to Sarnia. He was working at Fastenal when in came a guy to pick up an “order for Gary McCracken.” T-Rev pondered a bit before enquiring, “I hope you don’t mind me asking, but were in a band called Max Webster?” Yes, he had. It was that Gary McCracken, and he was cool. I love little stories like that. Gary McCracken was Trevor’s biggest influence as a young drummer!
Popoff’s awesome book
There is nothing more to be said in just a single review. For the whole enchilada, get the book from martinpopoff.com! And be sure to get High Class in Borrowed Shoes for your collection.
I had a customer at the old store named Stephen. He used to quietly sell CDs, always in excellent condition. He didn’t have much to say, but he was about the nicest guy you’d ever run into. One of our staff realized that Stephen was the former co-founder of an 80’s electronic band called Psyche, with his brother Darrin. He made several albums with them, starting in 1985. Nobody ever bugged him about it though. If he wanted us to know he’d have told us.
But the world is a funny place, and you run into people at the strangest places. A couple years ago, I was going out with my wife to meet some of her friends for lunch. She mentioned her friend Steve that was a musician. Sure enough, it was Stephen, my old customer. He recognized me, but misremembered me as working at a video store. He and my wife became friends, since she relocated to Kitchener. I just had no idea that her friend Steve was my customer Stephen!
She told me today that Stephen has passed away. She’s just trying to absorb this news now. I thought it would be nice to post some music for Stephen. Rest in Peace.
RECORD STORE TALES MkII: Getting More Tale #420: Walk With Meat
Everybody loves misheard lyrics! “’Scuse me while I kiss this guy.” There are entire books available with nothing but commonly misheard lyrics. My dad used to think Gene Simmons was singing “a beach creature in the Ladies Room” on that Kiss classic from Rock N’ Roll Over. Misheard lyrics can be embarrassing when caught singing along, but also fun.
Perhaps some lyrics are not misheard at all. Perhaps some are intentional?
My good friend Uncle Meat pointed out a good one on Queenryche’s 1986 track “Walk in the Shadows”. This opening song from the amazing Rage For Order album has remained a fan-favourite over the years. Its progressive-rock-meets-technology vibe was very new for the time, though it was skeptically met by fans of pure guitar rock. As much as Rage For Order broke new musical ground, it was also quite complex lyrically. I even studied some of the songs (“Neue Regel”, “Chemical Youth”, and “Surgical Strike”) for a highschool English project. But what was Geoff Tate saying in the lyrics?
What? You say you’re through with me, I’m not through with you, We’ve had what others might call love.
Only mildly disturbing. Sounds like a clingy ex-lover who can’t face that his relationship is over.
You say it’s over now, What’s done, what’s through? You can’t stay away, you need me, I need you.
Again, still clingy and slightly desperate. Nothing of any depth or hidden meaning though. It’s all right there on the page. But wait….
Ow! You got to stay with me…(Walk with me) Oooh! Walk in the shadows (Walk with MEAT), Walk in the shadows (Walk with me), Ahhh, yeah! Walk in the shadows, WOO! (Walk with MEAT), Walk in the shadows (Walk with me), Ah, ahh, ahhhhh! Walk in the shadows (Walk with MEAT), Walk with me!
Listen to the end of the song. You can clearly hear the “t” in “Meat” on every other line in the outro. Clearly! And notice how Geoff puts his emphasis and screams and fill-ins on the MEAT lines. He even threw in a “woo” there. How often do you hear Geoff Tate throwing “woos” into his lines? So what was Geoff Tate really trying to tell us on “Walk in the Shadows”?*
Analyzing the lyrics of the song, and digging into the album itself for more clues, I think I have finally figured out the true, hidden story behind “Walk in the Shadows” by Queensryche. The technological theme takes us into the future. That much is obvious from the album’s lyrics and concepts. “I only dream infrared,” and all the high-tech artificial intelligence hints at a future that had not existed in 1986. We are getting closer, but thankfully the robots haven’t revolted yet. Tate is obviously foretelling the future rather than singing about current events in 1986.
Some time in late ’85, when Geoff Tate was knee-deep in a vat of red wine, a bottle fell off his top shelf, hit him on the head and knocked him out cold. He awoke in a future that is still far away, even for us in 2015. The year is unknown – Geoff was still too loaded on wine to pick up a newspaper and read the date. However one thing is known – the future will be dominated by Uncle Meat. Tate wandered this future landscape for some time, and witnessed things that no-one would believe. His only option was to hide these warnings in the lyrics of a concept album. That album was Rage For Order. “Walk in the Shadows” was the opening song. That’s how Geoff Tate plays his cards — right there on the table.
“Walk in the shadows, walk with MEAT.” Geoff had seen a glimpse of our planet’s glorious future. Walk with him and you will see – the future is walking with MEAT. You couldn’t get any clearer. Once you hear that not-so-subtle “T” in “Meat”, the rest slowly reveals itself, like a puzzle with the edges already finished.
1986 was the year it all went down. If you were a Van Halen fan, it was time to choose.
Of course, nobody really had to choose between Van Hagar and David Lee Roth. It’s not like every fan had only $10 to spend on albums that year. Fans did choose anyway, and even today almost 30 years later, we still argue about who’s best: Diamond Dave or the Red Rocker?
No matter who you sided with, there is no question that David Lee Roth stormed into 1986 with a killer new band and album.
Steve Vai! That’s enough right there to make for an incendiary band — just ask David Coverdale. Before Little Stevie Vai was a household name, he had earned the respect of Frank Zappa who hired him on after Joe’s Garage. He made his Zappa debut on Tinseltown Rebellion, before being snagged by Graham Bonnet in 1985 for Alcatrazz’s Disturbing the Peace. In that band, he had the unenviable task of replacing a Swedish guitar player you may have heard of called Yngwie J. Malmsteen. Needless to say, Steve Vai was already experienced in filling big shoes by the time David Lee Roth made contact.
Billy Sheehan! A lot of people think he’s the world’s greatest bass player, period. Eight finger lead bass, baby! Three albums with Talas didn’t do much in terms of sales, but the material was strong enough that one song was re-recorded for the Roth album.
Gregg Bissonette! Once you learn how to properly spell his name, you will recognize Bissonette on loads of album credits. Joe Satriani come to mind? How about Spinal Tap? For your information, Gregg Bissonette is still alive, and is still the current Spinal Tap drummer.
Combine those three virtuosos with the greatest frontman of all time, and you have best new band of 1986.
Van Halen’s 5150 came out in March, going to #1. That’s a hard act to follow. Eat ‘Em and Smile, however, ending up standing the test of time. I would argue that even though it’s not Van Halen, it’s still the best Van Halen album since 1984….
As if to say “Eddie who?”, the album opens with Steve Vai’s trademark talking guitar. I’m talkin’ about-a-“Yankee Rose”! Here’s the shot heard ’round the world indeed. Lyrically, musically, and instrumentally, this song truly is the spiritual successor to classic Van Halen. David Lee was still in prime voice, and does he ever pour it on! Sassy as ever, Roth sounds exactly how he should: the showman in the rock and roll circus. And let’s not forget Billy and Gregg. Sheehan’s slinky bass on the outro is space age groove.
“Shyboy” is an atomic bomb. Billy brought in this song from Talas, but there is no question that Dave’s version is vastly superior. I have no idea how Vai makes his guitar create these sounds. When he goes into syncopation with Billy on the fastest solo of all time, your head may be blown clean off. Please, do not attempt to listen to “Shyboy” in the car, without testing it at home first. As Steve’s guitar flickers from left to right, Billy’s bass is the fastest, baddest groove on record. “Shyboy” is of such high quality that I do not think any self-respecting rock fan can live without it. Virtually every trick that Steve had at the time was in this one song.
One thing that was special about Van-Halen-with-Dave was their fearlessness in doing odd covers, such as “Big Bad Bill” or “Oh Pretty Woman”. Dave took that with him, and included oldie swing covers like “I’m Easy”. Horn laden and with Steve’s expert licks, it should be no surprise that they nail this one. It’s much in the spirit of Dave’s solo EP, Crazy From the Heat, only better.
Perhaps the most outstanding song on Eat ‘Em and Smile would be “Ladies Nite in Buffalo?” Dave has always said he loves disco and dance music. This is the most perfect melding of that world with rock. Vai is rarely so funky, and there is no question that Dave has the vibe right. Smooth and steamy, “Ladies Nite in Buffalo?” is a tune perfectly in synch with activities of the nocturnal persuasion. Who else but Dave would be perfect to deliver this message?
“Goin’ Crazy” was a great track to make into one of Dave’s typically high flying music videos. It’s party rock time, with a tropical vibe. “Goin’ Grazy” worked particularly well when Dave re-released it in Spanish, as “¡Loco del calor!”. I used to consider this tune a bit of a throwaway, but it has certainly endeared itself over the years. Another meticulously perfect Vai solo doesn’t hurt, and Billy’s bass popping helps end side one on an up note.
Now there is a story here that needs to be told. Billy Sheehan was in Canadian progressive rock band Max Webster for “about three weeks” according to lead singer Kim Mitchell. Upon joining Dave’s band, he introduced them to Kim Mitchell’s solo track “Kids In Action”, which they decided to cover. Bill called Kim up to ask him for the lyrics, because they couldn’t quite make them all out. Kim supplied the words, and Dave recorded the song. However, it was dropped at the 11th hour, for another cover — “Tobacco Road”. David Lee Roth’s version of “Kids In Action” has yet to be released or even bootlegged. Not that I am complaining about “Tobacco Road”, another old cover! Yet again, the reliably awesome Steve Vai just sells it. There is no question that the whole song just smokes, but getting to hear Stevie playing this old blues? Pretty damn cool.
That’s nothing. You thought “Shyboy” was fast? Check out “Elephant Gun”! Billy’s fingers didn’t fall off, but mine would have. “I’ll protect you baby with my Elephant Gun”, claims Dave. Nudge, wink! Steve Vai’s been known to write blazing fast songs, and “Elephant Gun” is so fast it’s almost showing off. Wisely though, things get slow and nocturnal once again on “Big Trouble”. That’s a title Dave recycled from an old unused Van Halen song. (That song became “Big River” on A Different Kind of Truth.) Steve’s guitar melodies and solo on this are particularly celestial. Roth uses his speaking voice, spinning a tale as only he can. “Bump and Grind” is a perfectly acceptable album track, a sleaze rocker as only Dave can do. If I am interpreting the lyrics correctly, Dave is a dance instructor in this one. “Shake it slowly, and do that Bump and Grind”.
Much like “Happy Trails” ended Diver Down on a jokey note, Dave ends his first solo album with a cover: “That’s Life”, the song that Sinatra made famous. Coming from the guy who did “Just a Gigolo”, we know he can do that kind of thing very well. The first time I heard the album years ago, I shrugged and said, “Another one?” Now, older and fatter, I sez it’s all good! Zop-bop-doop-zooby-dooby-doo indeed. Funny thing though. When I think of Diver Down, I think of a fun but fairly shallow album of half covers. When I think of Eat ‘Em and Smile, I don’t question the integrity of it. I don’t know why I seem to hold that double standard.
In this writer’s humble opinion, Eat ‘Em and Smile was David Lee Roth’s finest moment as a solo artist. It was not nearly as well known as 5150, OU812, or any of Van Hagar’s albums, and that is almost criminal. The talent in this band, pound for pound, outweighed anybody else going at the time, including Van Halen. Shame they couldn’t make it last.
Sarca from Caught Me Gaming does much more than just video games (not that those don’t rock)! She talks coffee, she talks books, movies, and occasionally music too. I was thrilled to get this birthday gift. Check the video below.
Aaron got the same gift from Sarca for his birthday! Check his out over at KeepsMeAlive.
Thank you Sarca for this awesome rock and roll mug!
What an odd album this is, considering where the Scorpions went a decade later. Young kids from West Germany finding their musical feet, Scorpions seemed to be a psychedelic band at the start. Their major asset was the 17 year old guitar prodigy Michael Schenker. Throughout Lonesome Crow, it is Schenker’s sparing solos that hint that Scorpions may in fact be a rock band. Throwing down the wah-wah hard, Schenker hadn’t found his direction yet either, but the talent was clear.
Also obviously gifted was 24 year old singer Klaus Meine. Although his thick accent probably didn’t help gaining international appeal, he sure could wail. The one single scream on opening track “I’m Going Mad” revealed that perhaps there was a rock star here in cocoon form.
Some fans have developed great love for Lonesome Crow over the years. When I first found the album in 1990 (a cassette reissue at a Zellers store), I thought at the time that it was perhaps the worst album I had ever bought. My stance has softened considerably over the years, as I’ve managed to penetrate its foggy haze. I have friends who have offered great praise to Lonesome Crow after ingesting certain intoxicants.
There are indeed some stellar musical moments. The song “Action” for example boats a jazzy walking bassline and some stellar playing. Bassist Lothar Heimberg only ever appeared on this one Scorpions album, and the bass is one of the biggest noticeable differences to later Scorpions records. You just don’t hear busy, walking basslines like this on the rest of their catalogue. Drummer Wolfgang Dziony (also on his only Scorpions album) accompanies him appropriately.
Klaus should grow this beard back.
The factor that makes Lonesome Crow difficult to penetrate is the tendency towards long, meandering (often directionless) psychedelic rock jams. “I’m Going Mad” (though it has no vocals for almost 2 1/2 minutes) is pretty instant, and “In Search of the Peace of Mind” has its moments too. Other songs like “Inheritance” are head-scratchers. One of the most interesting (but also difficult to penetrate) songs is the 13 minute title track. I’m sure a more seasoned band could have trimmed the fat a bit. In general, the album has several flashes of brilliance, but you have to slog through long meandering slow jams to get there. Producer Conny Plank, he of many Krautrock releases, allows the Scorpions to run wild with their imaginations.
Lonesome Crow isn’t a bad album. One reason it’s unlike other Scorpions records is that they broke up shortly after. When a new Scorpions formed, the only members remaining from this album were Klaus and rhythm guitarist Rudolph Schenker. Michael Schenker was noticed by UFO, who snagged him from the fledgling Scorpions. When the band folded, Klaus and Rudolph joined Dawn Road featuring another smokingly talented guitarist named Uli Jon Roth. Dawn Road was then renamed Scorpions, and together the new lineup began embarking on a harder rock and roll journey. With Roth’s help, and a growing songwriting duo of Klaus and Rudolph, great things were ahead.
DEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)
mikeladano.com 