AEROSMITH – Get Your Wings (1974 Columbia, 1993 Sony remaster)
Only the year after dropping their debut, Aerosmith cranked out another collection of solid bluesy rock tunes, but this time with better production! With Bob Ezrin overseeing the project, Aerosmith made the fateful hookup with Jack Douglas. Although the band had bigger hits under Bruce Fairbairn in the 80’s, Aerosmith made their best albums with Jack Douglas in the 70’s.
Get Your Wings really sounds like the Aerosmith we now know and love. The first album wasn’t all the way there yet. Get Your Wings sounds like my kinda Aerosmith. Surely, the opener “Same Old Song and Dance” is familiar to millions. Horn laden and funky, “Same Old Song and Dance” hits all the Aero-bases.
As a piano player, Steven Tyler usually keeps in simple and rhythmic, and “Lord of the Thighs” is the perfect example of that kind of Tyler piano part. It’s a menacing song, right in the pocket, also boasting some of Joe Perry’s more memorable solos.
One of my favourite songs, and one of the least-known is the sci-fi tale “Spaced”. This is a story about the “last man to survive”. It’s an ambitious tune for Aerosmith, and boasts a number of catchy parts. Another seldom heard track is “Woman of the World” which is also pretty cool. I like the acoustic intro and the smoking Joe Perry licks. “S.O.S. (Too Bad)” is a full-speed-ahead Aerosmith blast of adrenaline, a definite classic. These tracks boast a high level of musical depth and satisfying chops.
Aerosmith covered the legendary Yardbirds song “Train Kept a Rollin'” and managed to make it their own. When it picks up steam at the end, better hold on tight. This song may enduce whiplash. You get to cool down as it fades into the acoustic classic “Seasons of Wither”. As far as I’m concerned, “Seasons of Wither” is almost as brilliant as “Dream On”. It’s that good. It also takes advantage of the fuller production that Jack Douglas brought to the table.*
Although “Seasons of Wither” would have been a fine side closer, a coda is tacked on in the funky “Pandora’s Box”. Double and triple entendres, a rock solid rhythm section, and those soon-to-be-trademark Aerosmith horns n’ piano — what more do you need? While it does feel oddly sequenced, “Pandora’s Box” is every bit as classic as anything else on the album.
Get Your Wings showed significant growth from the band’s debut. Their trajectory had yet to peak…even better things were ahead.
4/5 stars
* I noticed in the photos in the CD booklet, this album was once available in Quad! Oh, to have a quad version of “Seasons of Wither”!
AEROSMITHBOX OF FIRE review series:
Disc 1: Aerosmith (1973)
Disc 2: Get Your Wings (1974)
It’s time for another series here at mikeladano.com! It’s been a while since I’ve tackled something this big, but for the last two weeks I’ve been writing and listening to a band that I hadn’t been spending a lot of time with in recent years. That band isAEROSMITH and it’s time to look at every original classic Aerosmith album on Columbia Records. The scope of the series is really simple: I’m reviewing all 13 discs in 1994’s massive Box of Fire collection — the entire box set from start to finish!
If you’re not into Aerosmith, I apologize, but that’s what I’ve got for the next couple weeks. To use the words of my friendAaron, I just had to give’r.
You ready? As Steven Tyler might say, “Oooh-wha-ga-ga-ga-GOW!” Let’s go!
AEROSMITH – Aerosmith (1973 Columbia, 1993 Sony remaster)
Who woulda thunk that the band of young kids on this shitty album cover would become one of the biggest rock bands in history? Nobody, that’s who!
I love this album. I love its simplicity, its raw sound, basic production and youthful glee. I love the built-in musical maturity that seemed to bloom fully formed. I love the interplay of the whole band, their chemistry already intact. Everything you love about the way that Perry and Whitford make their guitars mesh with bassist Tom Hamilton, and how Hamilton syncs in with Joey Kramer on drums — it’s already here. Meanwhile, Steven Tyler had yet to discover all of his sass, but he was well on his way. All Aerosmith (1973) is missing is great production, something the band would develop with Jack Douglas on the next album Get Your Wings.
It’s easy to draw comparisons between Aerosmith’s and Kiss’ first records. Both records exhibited a more “rock n’ roll” vibe, and tame production values, with a band straining at the leash to really play like they do live. Ultimately it took both bands a few years to capture that.
The two massive hits on Aerosmith are two of their best known and beloved: “Dream On” and “Mama Kin”. Think about that for a second. One album with both “Dream On” and “Mama Kin”! What more do you want?
You’ll also get six other great early Aero-gems. “Walkin’ the Dog”, a Rufus Thomas cover, is one that Aerosmith still drags out in concert occasionally. A decade later Ratt covered Aerosmith’s version, well before Guns N’ Roses made covering Aerosmith the cool thing to do, as they did with “Mama Kin”!
Hidden gem: “Movin’ Out”, based on a couple really cool Joe Perry riffs. There’s also a killer, even more raw alternate version on the Pandora’s Box set. Aerosmith recently dusted this one off again, and it sounded amazing.
I don’t think there is a weak song on the album. There aren’t a lot that are “greatest hits”, but each one is great in its own way. “Write Me”, “Somebody”, “Make It” and “One Way Street” are all catchy little blues rock tunes, nothing to write home about but plenty to shake your ass to.
Incidentally, with the benefit of 20/20 hindsight, Aerosmith also contains the greatest opening line of any debut album ever: “Good evening people welcome to the show…”
Long story short: Aerosmith is a tasty blend of all the great Aerosmith ingredients that I love. Electric rock and blues form a perfect blend, and Steven Tyler was the perfect singer to front this band. Throw in some of his harmonica, piano and mellotron and you have a potent mix. But keep in mind, greater things came in very short order. Aerosmith, solid as it is, was only a precursor to true greatness.
RECORD STORE TALES MkII: Getting More Tale #401: SIGHTING! Rasputin & the Hobbit
A few weeks ago, Mrs. LeBrain was feeling generous and treated me to a rare breakfast at McDonalds. We don’t go very often, but our closest McDonalds has a “freestyle machine” allowing you to create any number of soft drink combinations, a really cool draw. It was my buddy Craig who hyped the machine to me – “The closest thing we have to Cherry Coke Zero in Harperland,” he says. Plus the egg McMuffin is only 290 calories; I know that because of the ad that runs endlessly every night on TV!
We sat down with our McMuffins and breakfast burritos, but as I was picking a table, something caught my eye. It’s not often that I recognize my old Record Store customers in public, but how could I forget Rasputin and the Hobbit?
T-Rev and I shared the story of these two gross individuals in Part 276 of the original Record Store Tales. “HH was known for her outrageous makeup,” I said. She was also known for riding a bike in a short skirt, on her way to sell us some crappy dance CDs. “The ‘Hobbit’ with ripped nylons and the short skirt with her ass hanging out…yuck!” remembered T-Rev. Rasputin was the silent type. He would merely nod yes or shake his head no, at whatever offer we had given them for their CDs. I don’t know if I have ever heard him speak.
It was actually Rasputin (“Razzy” for short) I spotted first. You just don’t forget a guy who looks like that. Shaggy unkempt black beard, same with the hair. It was him, which by process of elimination meant his companion was HH the Hobbit. She has changed a bit, but not entirely. The makeup and short skirts are gone, but she still possesses the gross-out factor. When I sat down, her bare feet were in Razzy’s lap, right in the McDonalds. It was like that train wreck that I couldn’t look away from. I noticed Razzy was wearing dress shoes with no socks. Just like the old days, Hobbit did all the talking. Her voice was unmistakable.
I managed to get a couple pictures. Not of her feet in his lap, but I did acquire photographic proof that Rasputin the Mad Monk, and HH the Hobbit, are still alive and well in Kitchener Ontario.
THE CULT – Sonic Temple (1989 Polygram limited edition hologram cover)
The Cult went into 1989’s Sonic Temple with nothing but promise. New hotshot producer Bob Rock had struck it rich with Kingdom Come the year before. Critics raved about his drum sound and other Zeppish tendencies on that album. The Cult themselves were following up the incendiary Electric album, a stripped back record produced by Rick Rubin. Anticipation ran high. Considering that Robert Plant was quoted as saying that “Led Zeppelin is being continued by The Mission and The Cult”, I think a few people expected Sonic Temple to be the second coming.
Some fans hoping for another Electric or even another Love were disappointed by the mainstream rock direction of Sonic Temple. Mainstream though it may be, Sonic Temple burns with the same middle finger up attitude of old Cult, just with the edges sanded off and sound enhanced by Bob Rock. Rock’s production is similar to that of Dr. Feelgood released the same year.
You couldn’t ask for a better double-whammy than the opening salvo of “Sun King” and “Fire Woman”. Even though The Cult were able to score a major hit with “Fire Woman” it’s still a tough little song based on a killer Billy Duffy guitar hook. Both songs have aged well, as has “American Horse”, a slow Cult stomper. I love the interplay on the verse riff between Duffy and bassist Jamie Stewart. Stewart, a member since the band became The Cult, departed after this tour and moved to Canada. Here he produced a few up and coming bands such as Gut-Sonic. I think Jamie Stewart was the underappreciated Cult member. His grooves (with session drummer Mickey Curry*) are a part of Sonic Temple‘s drive.
The big hit ballad was the dramatic “Edie (Ciao Baby)”. Here they really benefit from Bob Rock’s lush rock production values. Strings and acoustics ring crisp. Add in a howlin’ Ian Astbury chorus and you have one hell of a song.
“Sweet Soul Sister” was the third single (after “Fire Woman” and “Edie”) and another killer Cult song it is. You can really hear Bob Rock’s touch on the layered vocals for better or worse. It’s a touch that I find dated today, but the bare organ intro is magical! Unfortunately it gets dicey after “Sweet Soul Sister”.
I wouldn’t call any of the songs that follow “Sweet Soul Sister” poor or filler. None of them lack hooks or massive Billy Duffy guitars. Yet compared to the first side of the album, everything from “Soul Asylum” onwards fails to ignite like that. There are certainly lots of memorable moments, such as the breakneck “New York City” featuring an Iggy Pop cameo. It’s a good song, and so is “Soldier Blue” and the rest of the tunes…just not as good as side one. (By the way, if any song on Sonic Temple recalls Led Zeppelin, it the massive “Soul Asylum”, which is basically The Cult’s “Kashmir”.)
My copy of Sonic Temple is a limited edition with mirrored hologram cover. I bought it from this guy Todd, who worked at the HMV store at the mall. A buddy of mine had a crush on his sister, or something, and that’s how I knew him. He treated me right when I shopped at his store, and I returned the favour when he sold his stuff to us. That’s how I got this, and also how I got the Sonic Temple Collection 3 CD set complete with mail-away box.
I still like Sonic Temple today, but I only love side one.
3.75/5 stars
*Eric Singer played on the demos, released as part of the Rare Cult Demos box set. Ex-Tori Amos drummer Matt Sorum appeared in the music videos and played on the tour, where he fatefully met Guns N’ Roses, and the rest was history.
Welcome to the 400th freakin’ instalment of Record Store Tales/Getting More Tale!
RECORD STORE TALES MkII: Getting More Tale #400: The Open Door Shit Theory
The following is my own theory, based on memory and knowledge of the people and circumstances involved. I call it the “Open Door Shit” theory because the Record Store alumnus in question, Joe “Big Nose”, is already well renowned for his Open Door Piss. Sometimes circumstances may dictate that the easiest course of action is to take a dump with the door wide open. This is the theory of those circumstances.*
My theory depends on a few facts and several assumptions.
FACT #1: Joe “Big Nose” worked alone at his Record Store for an average of four hours per day.
FACT #2: Joe is a human being who has to shit periodically.
ASSUMPTION #1: Anything he says is potentially merely a joke.
ASSUMPTION #2: Then again, anything he says is also potentially the truth masquerading as a joke. That’s his modus operandi.
ASSUMPTION #3: When it comes to gross-out stories about bodily functions, he was more than likely telling the truth. His friends testify that they have heard similar stories from him in the past. I was told by Uncle Meat that this story is “probably true”.
Although I haven’t been there for a while, I do remember his store well. I got to work a couple shifts, though never with Big Nose himself. It was a small store, with a small bathroom, located behind the counter off to the side. The story that Big Nose told me was this: On at least one occasion, he had to take a giant shit while working alone. He waited for the store to empty completely, and then rather than lock the door and put up a “Back in 5” sign, he kept it open.
Because store layout is crucial to this theory, I had contributor Thussy draw a rough store layout using AutoCAD. You can see, from his extremely accurate rendition, how Joe’s toilet had a direct line of sight to the store entrance.
Thanks to Thussy for this wonderful AutoCAD layout
Big Nose told me that in order to take a shit while working alone, he decided to do it with the door open, so he could easily spy if a customer was about to enter.
He also told me that when a customer did enter, they were greeted by the toxic stench slowly wafting over from the washroom. According to Big Nose, the customer visibly wrinkled their nose at the smell.
Is this story true? I believe it to be. But only Big Nose knows!
* Former co-worker Dave “Homer” has confirmed that Big Nose did in fact take an open-door dump in-store, with him as a witness. He adds that the store’s counter would have blocked the line of sight unless Joe stood up.
Let’s pretend that you’re involved with Ozzy Osbourne’s management or record label. When it comes time to release that first “definitive” box set, I’m sure you’d have your own ideas for making it the best box that Ozzy could release. Ozzy Osbourne in 2005 had eight mostly great studio albums, numerous live records, and more rarities than you could shake a stick at. They certainly had a lot of music to choose from. I greeted the eventual release of Prince of Darkness with great excitement at these rarities…but tremendous disappointment at the overall listening experience.
A 4-CD box set is a lot of listening and in order to keep it riveting from end to end, you have to pick the right tracks and sequence them for maximum firepower. Somebody at Sony’s box set department didn’t get my memos on that, obviously, because Prince of Darkness is one of the most annoying box sets to listen to in its entirety. They decided to do two discs “anthology” style, with live and rare tracks mixed in. The third disc is a questionable collection of Ozzy collaborations. The final CD is the worst of all: covers that Ozzy recorded and later released on their own album, Under Cover! A CD that was released only months after Prince of Darkness itself — with additional bonus tracks to milk it further, forcing the completist to buy it again!
I have so many complaints about this set that I felt it best to list them all off in point form.
1. Never, ever start your box set off with a live track. Even if that live track is “I Don’t Know” from Randy Rhoads Tribute.
2. Because this set was released in 2005, you are hearing the re-recorded bass and drums on all the songs from Blizzard and Diary…not the classic original versions.
3. Same with the tunes from Bark at the Moon. These are the remixed versions found on the 2002 reissue of that album. There are only two songs from that album anyway. “Bark” itself is an unreleased live version.
4. Two CDs is not enough space to represent Ozzy’s album output in a box set, especially when you include the studio albums, live albums and rare tracks too. The early Randy Rhoads material makes up the bulk of disc one, leaving the Jake E. Lee years under represented. There are no songs from The Ultimate Sin at all, only the three live tracks originally for the Ultimate Live Ozzy EP.
5. There are a few baffling exclusions, such as “Miracle Man” (first single with Zakk) and “I Just Want You”, in favour of also-rans such as “Spiders”.
6. The collaborations disc is a total mess. “Purple Haze” is just a Hendrix cover from the No Rest For the Wicked era, by Ozzy’s band. It’s not a collaboration, just a cover they did for the Make A Difference Foundation CD called Stairway To Heaven/Highway To Hell. It’s a real challenge to listen to this whole CD in one sitting. One moment you’re rocking out to a killer version of “N.I.B.” with Primus, the next you’re barfing through a piece of crap with Tony Iommi and Wu-Tang Clan. From Was Not Was to Miss Piggy, at least the CD is diverse, and it does collect a lot of Ozzy’s singing from albums I don’t have. I already had the Miss Piggy track but not the cover of “Stayin’ Alive” by Dweezil Zappa! Nor did I have “I Ain’t No Nice Guy” by Motörhead, from the mediocre March ör Die. This disc is too jokey and not at all consistent.
7. Even though the third disc collects a variety of tracks from a number of CDs, I am certain that Ozzy fans who buy this kind of box set already had some of them. Including “Psycho Man” by Black Sabbath (not even a single remix version) from the Reunion CD (2008) is odd. Many Ozzy and Sabbath collectors already have the Nativity in Black CDs, where the Primus and Therapy? tracks come from.
8. “Nowhere to Run (Vapor Trail)” by DMX, Ozzy Osbourne, Ol’ Dirty Bastard, The Crystal Method and Fuzzbubble is edited! This track was from the South Park album and still features Isaac Hayes’ introduction, as “Chef”. For reasons I cannot explain at all, the swearing and “n” words are blanked, and there were a lot of them. It’s also missing ODB’s rant at the end, which itself was edited off later versions of the South Park CD. (I have an earlier version with the rant intact.)
9. The packaging leaves a hell of a lot to be desired. Inside the box which is just book-style, you will find a nice big booklet that just sits loose inside. There is no way to secure it in, so it’ll fall out any time you pick it up!
10. Speaking of that booklet, the liner notes suck. Ozzy has a brief note about each song, but not necessarily any useful information. For example, regarding that South Park track, all we’re told is that Ozzy bit the head off Kenny. Nothing about how that random assortment of artists was assembled. The book is padded out with lyrics and shoddy credits that aren’t very accurate. “Bark at the Moon” live for example was recorded in 1982-1983 according to the notes. Come on, guys! Not good enough for a box set.
11. The entire fouth CD sucks. You can read my review of the expanded Under Cover version of it here. (Long story short: 1/5 stars.) The only difference is that the box set includes Kelly Osbourne’s duet with daddy, on “Changes”. This song was only included on the Japanese version of Under Cover but not the regular domestic.
Fortunately, Prince of Darkness is not a total bust. Some of the unreleased tracks are real treasures, such as the demo of “S.I.N.” called “Won’t Be Coming Home”. I prefer this to the album version from No More Tears by a long shot, as I do the twangier “I Don’t Want to Change the World”. I also love the demo for the emotional ballad “See You On the Other Side”, which features previously unheard saxophone accompaniment. I appreciated that they included the live version of “Perry Mason” from the Ozzfest 1 CD, which enabled me to sell off that pretty crappy album.
It’s easy to bitch and complain (don’t I know it?) but if I were to make a 4 CD Ozzy box from the same period, I would have done it very differently. The covers CD would be axed completely and the rarities set aside to a disc all their own. The first two “anthology” discs would be strictly studio versions, and original studio versions at that, with only a sprinkle of tracks from Randy Rhoads Tribute. I would try to squeeze in more rare tracks from B-sides and EPs, and I would definitely try to mix them in with the collaborations so that you’re not left listening to so many of those novelty tunes in a row.
Buyer beware — Prince of Darkness is not the feast you were hoping for. This is a poorly executed package. When you have an artist like Ozzy Osbourne, you really gotta screw up bad to put out a set that is this hard to listen to. Prince of Darkness is going back on the shelf, for a good long while.
RECORD STORE TALES MkII: Getting More Tale #399: Record Shopping in the Sticks
Summers in Kincardine, Ontario in the late 1980s and early 90s were beautiful, but to a teenage me they felt isolated. No phone at the cottage, no cable TV, and nothing that cityfolk would call a record store. We did have a few options. There were places that you could buy music, including one crummy music store that popped up for a brief while. Summertime is made for music, and one of my favourite childhood experiences was listening to brand new tunes in the summer.
We’d be at the cottage for two weeks straight every August, and I would usually pack my entire my tape collection to come with me (oh how my dad loved that). Having all my favourite songs with me meant I’d always have music for whatever mood I was in. Still, nothing could beat the rush of new music! New didn’t have to mean “new” per se; I was collecting the back catalogues of many metal masters too. There was always something to buy that would be brand new to me.
In the very early days, you could buy tapes at the local Stedmans store downtown. Stedmans sold everything from clothes to musical instruments to toys. Like many of these places, they are now closed. It was one store to buy new cassettes, and that is where I picked up Priest…Live! back in July of 1987. The other place to buy tapes at that time was an electronics store called Don’s Hi Fi. White Lion’s Big Game and W.A.S.P.’s Headless Children came from Don’s Hi Fi during the summer of 1989. I couldn’t wait until I got home and played them. We’d rip open the plastic and check out the pictures in the car, waiting to get back and hit play. The following summer, I bought Jon Bon Jovi’s Blaze of Glory at the same store. We would also be able to find tapes in the cheapie bin at places like drug stores, and I picked up The Earthquake Album from such a bin.
Around 1988, an actual music store opened up in Kincardine. It was there that I purchased Painkiller by Judas Priest, and Exposed by Vince Neil. It was a small store and they didn’t have many catalogue items, but you could pick up new releases there and some key older releases such as greatest hits.
Beyond these few stores, you had to get out of town. Kincardine is a small place, but Port Elgin to the north offered a few more options. There was a Radio Shack there with a different selection of tapes. They also had 7” singles, of which we bought a couple on clearance.
L-R Peter, Bob, Mike. Note Peter wearing deck shoes on a deck. He always was the best dresser. Also note my official Starfleet sideburns. Summer 1992
In the summer of ’92 we made several day trips to Port Elgin. My sister and I were headed to a “cards & comics” store that we discovered. One afternoon my sister phoned them up to ask if they had any promotional Star Wars cards? They did – road trip! The first of many happy and successful trips to Port Elgin looking for goodies. (Yes, promo cards are collectible just like some promo CDs.)
On the same trip, we found this grungy record store on the corner of the main drag. Really scummy, really dirty. They bought and sold used tapes and records. My sister brought in a whole bunch of her cassettes for store credit, and walked out with Rod Stewart’s Out of Order and one or two others. My first purchase there was Black Sabbath’s Live at Last. I bought my original copy of Helix’s Wild in the Streets on cassette at that store. The tape glowed in the dark. I’ve never seen another glow-in-the-dark tape before or since! I also picked up Kiss’ Creatures of the Night (original cover) on vinyl, as well as Twister Sister’s Come Out and Play. You might remember that Come Out and Play had that awesome cover with the opening manhole? That was the reason I bought it.
Those stores in Port Elgin are both gone. Don’s Hi Fi still exists in Kincardine, but they don’t sell music anymore. I did buy a pair of earbuds there about five years ago, but things have changed so much. There’s no such thing as “isolation” anymore, not like it felt back then. Today I can sit on the front porch of the cottage, streaming live radio from home straight to the laptop. I used to pack my entire tape collection for the cottage, but now anything I want to listen to, I can search for on Youtube. It is simply amazing how much has changed in the last two decades, and I am sure that in another 20 years it will be just as startlingly different.
As long as I can still listen to my music there, I’ll be happy!
This album was huuuuge in 1989. In Canada, summer time is Mitchell time. Cottages, brewskies, BBQ and Mitchell. That’s what it was all about! Shakin’ Like a Human Being was also a huge success for Kim, but he expressed a desire to use less keyboards and programming. Kim recorded in the US this time, and for budget reasons, did not bring along lyricist Pye Dubois with him. Pye had been in the studio with Kim for every album prior, and this caused a rift between the two that took years to heal. This was the last time they collaborated until 1994’s Itch.
The pseudo-title track, “Rocklandwonderland” refers to the “concert bowl” at Canada’s Wonderland. “Listen to the music, listen to the voices, listen to my guitar,” sings Kim, although the song is a little light on guitar. “Rocklandwonderland” was a big hit for Kim, and although it’s not a heavy rock, his guitar playing on it is stellar. Perhaps he shouldn’t have followed a slow rock tune with a ballad, although “Lost Lovers Found” is a hell of a ballad, with just a hint of twang. Some felt that Rockland was too soft compared to Kim’s progressive rock past, but a Kim ballad has more integrity than most. Kim’s backup singer extraordinaire, Peter Fredette, is present here and he also serves to class up any song by several notches.
Other ballads on the record include “Tangle of Love”, which is quirky and experimental but not great. “O Mercy Louise”, which has a rocking chorus, is a fine song with cool lyrics. The “big one” however was the single “Expedition Sailor”. This introspective acoustic song is sparse and effective. Kim’s buddy Rik Emmett from Triumph drops by to play an excellent solo on classical guitar. “Expedition Sailor” is top drawer stuff. (The music video received a remix, which you can get on Kim’s Greatest Hits album.)
The “big” song on the album, still getting airplay today, is the anthem “Rock N’ Roll Duty”. The tougher direction of the song is exemplified by a “live” style music video in a seedy bar. As a fan I really wanted Kim to come out with a tough rocking tune, with a killer chorus, and he did.
“I’m just doing my rock n’ roll duty,
Creating a buzz buzz buzz,
Some say I’m in it for the money,
Man, I’m in it for love love love!”
The phrase “I’m just doing my rock n’ roll duty,” is now commonly heard among music fans in Canada. The song just hits the spot, and the riff is now synonymous for summer in my mind.
Other highlights on Rockland include the joyful “The Crossroads” which opens side two. The guitar-heavy “This Dream” is another favourite. I could always identify with the lyrics. It’s just a stellar song, an also-ran that could have been a fourth single. The record is rounded out by “Moodstreet” and “The Great Escape”, two decent but unremarkable tunes.
MVP: Drummer Lou Molino, a near legend in these parts. Curiously, when you Google images of Lou Molino, you will also get hits for Lou Ferigno.
Overall I was pleased with the direction of Rockland, going a bit more raw and rocking. Unfortunately with the exception of a few tracks like “Rock N’ Roll Duty”, it feels very tame. Except for quirky moments within guitar solos, it doesn’t possess enough of Kim’s humour and idiosyncrasies. It feels as if it’s on a leash, but it’s also not straining to get off it. It feels like Rockland hits the mark in many respects, but plays it too safe.
RECORD STORE TALES MkII: Getting More Tale #398: New Rock, Old Rock
A selection of songs I’ve been rocking out to on the radio lately, for your consideration and perusal.
ROYAL BLOOD – “Figure It Out”
It seems that bass/drums duos are all the rage. I like this awesome, aggressive groove from the English duo of Royal Blood. Just slammin’! Proof that you don’t need more than two people to make good heavy rock!
DEATH FROM ABOVE 1979 – “Trainwreck 1979”
Having ignored these two Canadian guys for years, I have recently become infatuated with “Trainwreck 1979”. I could do without the piano touches and the “woo ooo ooo’s” but it’s hard to deny that this is a slamming song living up to its name. Well done, Death From Above 1979.
THE TREWS – “New King”
This aggressive riff-based song combines three elements I love about the Trews – guitar hooks, memorable melodies, and a great singer. Bonus points for cool lyrics like, “A bitter hipster hick, Can’t stop talking shit, The F’N idiot, Don’t know when to quit.”
DANKO JONES – “Do You Wanna Rock”
No surprises here! Danko Jones = Danko Jones = Danko Jones, but it’s always nice to hear a new track. This one’s pretty simple — it’s about rocking! More cowbell!
I MOTHER EARTH – “The Devil’s Engine”
Different from anything I’ve heard this band do before, “The Devil’s Engine” combines traditional IME percussion with metallic riffs and licks. With the prior single “We Got the Love” out in 2012, it would be nice to get a new album by I Mother Earth.
THE PRETTY RECKLESS – “Follow Me Down”
I haven’t been a fan of the Pretty Reckless. Until now I’ve found their music to be tiredly generic. This track, however, kicks it! Taylor Momsen’s turned herself into a metal howler, in her natural environment. Her songs can get repetitive but I’m not bored with this one yet.
I’ve also recently rediscovered some of these tracks that I knew very well, but have been dusted off on the radio recently.
AC/DC – “Rock the Blues Away”
I’m glad that after “Play Ball” and “Rock Or Bust”, this excellent AC/DC track has been chosen as the newest single from AC/DC’s latest. It’s absolutely a favourite of mine! Great choice for a single.
NEIL YOUNG – “Downtown”
I’m pleasantly reminded of this collaboration between Uncle Neil and Pearl Jam, showcasing their kickass new drummer Jack Irons. A great, simple little rock tune.
TRIUMPH – “Lay It on the Line”
This is undeniably a Canadian classic of double-necked guitar majesty. I noticed that the version getting airplay today is the beefier remixed version, from Greatest Hits Remixed. (I was the only listener that noticed, I know because I wrote in to ask about it!)
AEROSMITH – Get Your Wings (1974 Columbia, 1993 Sony remaster)
Disc 1: Aerosmith (1973)
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