REVIEW: Scorpions – Face the Heat (Japanese and Canadian versions)

Part 2 of 2 — for yesterday’s instalment, click here.  For Aaron’s review of the domestic CD, click here!

FACE THE HEAT_0002SCORPIONS – Face the Heat (1993 Polygram, Japanese and Canadian versions)

1990’s Crazy World was a huge hit, but before Keith Olsen produced it, Scorpions had approached Canada’s Bruce Fairbairn.  Pleased with his work on their Who cover “I Can’t Explain”, Scorpions prepared to convene in Vancouver with the producer.  They were disappointed when Bruce changed his mind at the last minute when forced to choose between the new Scorpions and AC/DC projects.  Fairbairn chose AC/DC, and the result was the five times platinum (US) Razors Edge album.

Since Crazy World ended up selling two million in the US and another five million worldwide, I’m sure there were no hard feelings between the two parties when they finally did hook up together on the followup album, Face the Heat.  Personally speaking I felt Crazy World wasn’t heavy enough.  I was hoping for more in Face the Heat.  Additionally, this album was the Scorpions’ first since 1972 without bassist Francis Buchholz.  Replacing him was five-stringer Ralph Rieckermann who ended up spending almost a decade with the Scorpions.  Rieckermann was a very different player and added new elements such as slapped bass.

The first single “Alien Nation” showed promise.  A menacing, metallic riff ushered in a tune with some slamming drums (thank you Herman Rarebell), and that ultra-low fifth string on the bass guitar. I preferred “Alien Nation” to just about any song on Crazy World. The year was 1993 and a heavy groove was exactly what the doctor ordered.

“No Pain No Gain” exhibits the Scorpions’ knack for naff song titles. Thankfully it too is a grinding metal groove, showing off Matthias Jabs’ talkbox skills on the guitar. With the Scorpions post-Schenker and post-Roth, you have to expect a certain amount of boneheaded metal. I think these guys genuinely love givin’ er on that trademark, simple sound. I believe they like playing this kind of thing with earnest, so good on them.

Three songs in and “Someone to Touch” is another great little Scorpions rocker. This speedy one won’t tax your brain cells in the lyrical department, but you will find yourself singing along to the chorus without realizing it. The chorus bears the stamp of Fairbairn with its answering lines. After this much firepower, I don’t mind a ballad and “Under the Same Sun” (perhaps a sequel to the worldwide hit “Wind of Change”) is a good one. Besides, Scorpions follow it by firing off another rocker called “Unholy Alliance”, another knockout with a great chorus. This helps lessen the impact of the next ballad, “Woman”. “Woman” is very different from “Under the Same Sun”, being dark and mournful. Another success.

Unfortunately, Face the Heat stalls in a major way on side two. A number of boring songs in a row (“Hate To Be Nice”, “Taxman Woman”, “Ship of Fools”, “Nightmare Avenue” boast only a few surprises and memorable moments. Jabs sports a nice fatbody jazz guitar solo on “Hate To Be Nice”, a trick that Fairbairn later encouraged Eddie Van Halen to use on his band’s next album, Balance. Unfortunately, a cool unique solo like this is within the same song as these lyrics:

“Hey baby, listen up,
I’m not in love with you,
You keep runnin’ off at the mouth,
And someone else can scratch my back,
And I could care less about your legs,
I just wanna see ’em walk all over me!”

The last listed track on the domestic CD is the ballad “Lonely Nights”, another really good ballad. Who cares that they just copied the way they ended Crazy World, with a slow dark ballad like “Send Me An Angel”?  All well and good says I, but as I mentioned in yesterday’s instalment of Getting More Tale, the US and Canadian versions of the album have a hidden bonus track!  Way back in ’89, the Scorps and Fairbairn discussed recording an Elvis cover.  Tucked away unlisted after “Lonely Nights” is Elvis Presley’s “His Latest Flame”.  It is a pleasant surprise!  The trombone and trumpets are the perfect added touch.  I’m sure Scorpions grew up listening to a lot of Elvis Presley records, and this version is faultless.  It’s gleeful and authentic sounding despite the fact that it’s the Scorpions!

FACE THE HEAT_0003Neither of the two bonus tracks on the Japanese version of the CD are as good as “His Latest Flame”.  Both are ballads:  “Kami O Shin Jiru”, and “Daddy’s Girl”.  They are inconsequential to casual Scorpions fans who don’t obsessively collect all their songs.  Additionally, they are disappointing to Scorpions collectors who buy these things hoping the extra tracks will be better.  I dig Rieckermann’s fretless bass on “Kami O Shin Jiru”, but these songs only serve to end Face the Heat on an excessively mellow note.  “Daddy’s Girl” is particularly depressing; I don’t want to listen to songs about child abuse — I already know it’s bad!  Scorpions tackle the subject in their usual subtle-as-a-brick fashion.

If only the second half of Face the Heat was as strong as the first.

3/5 stars

RIP B.B. King (1925-2015)

bbking
Rest in peace Riley B. King  (September 16, 1925 – May 14, 2015).

Yesterday, blues legend B.B. King passed away at age 89, leaving a vacuum in the blues that can never be filled.  I’m not very good at writing these tributes, although my soul aches too.  Rather than write something about B.B., I thought instead I would share some of the memories from the WordPress community.  Please click the links below to see the tributes and memories of B.B. King.  If we try to remember, then the thrill will never be gone.

Aaron at Keeps Me Alive:
“I was fortunate to see B.B. in concert four times, over the years.”

Sarca at Caught Me Gaming:
“Now I must go on without him!”

Derek Kortepeter at MixolydianBlog:
“As a guitarist, I reflect on how he, along with many others like Muddy Waters and Robert Johnson, made my guitar style a possibility.”

#397: Face the Heat (Mail From Sydenham)

Part 1 of 2 — First the tale, tomorrow the review!  This tale itself is a direct sequel to Aaron’s story “Mail From Jedi Master LeBrain”.

PARCEL FACE THE HEAT

RECORD STORE TALES MkII: Getting More Tale
#397: Face the Heat (Mail From Sydenham)

I collect Japanese imports, especially when there are bonus tracks afoot. A year ago, I found a Japanese copy of Scorpions’ Face the Heat CD with two such bonus tracks. I bought it from one of my favourite vendors, at the Toronto Musical Collectibles Record & CD Sale. It was $15 and complete with obi strip. A steal. (Who says Japanese imports are very expensive anyway?)

TOP OF THE BILLBecause I try to avoid redundant copies in my collection, I donated my original CD of Face the Heat to Aaron. He reviewed it and called it “a collection of strong songs that gets better as it goes along”. I played my Japanese copy, and filed it away without giving the album much thought until recently. Martin Popoff’s excellent Scorpions tome, Top of the Bill, reminded me of an Elvis cover that Scorpions did as a hidden bonus track.

The Scorpions almost recorded “His Latest Flame” back in 1989 for their hits compilation, Best of Rockers ‘n’ Ballads. It was between Elvis and The Who’s “I Can’t Explain”. “I Can’t Explain” won out, but the Scorps gave it another go in 1993 for Face the Heat. (Incidentally both tracks were produced by the late Bruce Fairbairn.)

“His Latest Flame” was one of the first “hidden bonus tracks” in my collection. It’s very unlike anything the Scorpions had done before, but they did a damn fine job of it in my opinion. I love the horn parts. I’m sure that was Fairbairn’s doing, a trumpet player. It was buried unlisted after the end of “Lonely Nights”, the final song on the CD, as part of the same track. When I read Popoff’s book, I realized, “When I gave Aaron my original CD, I didn’t check if the Japanese CD retained that bonus track…”

Indeed, “LeBrain” the Bonehead did fail to check if “His Latest Flame” was on the Japanese CD, and it is not. It’s very rare to find a domestic CD that has a bonus track not included on a Japanese version, but it does happen, and it did happen on Face the Heat!

Gratefully, when “LeBrain” the Bonehead asked if he could have the disc back, Aaron immediately said “no problem”! He knows the kind of collector I am. He sent it back to me as a part of a recent parcel exchange that we enjoy doing from time to time!

I do appreciate that he was willing to send this “gifted” CD back. It just goes to show how two collectors understand one another! As for Face the Heat, look for my review of both CDs right here tomorrow!

REVIEW: Stryper – Reborn (2005)

STRYPER REBORN_0002

STRYPER REBORN_0001STRYPER – Reborn (2005 EMI)

A few gigs led to a greatest hits CD and two new songs.  That led to a tour and a live album.  That in turn finally gave way to a new studio album by Stryper.  The aptly titled Reborn was unlike any prior Stryper album:  Detuned and heavier than hell, Reborn shocked pretty much everybody that heard it! Drum loops, chugging riffs…this was Stryper? There was also a new bassist on board — Tracy Ferrie, from Michael Sweet’s solo band.

“Open Your Eyes” begins abruptly, as if to further surprise the listener with the new Stryper sound.  It bears no resemblance to old Stryper whatsoever.  It is stripped down, heavy, droney, with emphasis on the riff, and no screams!  Stryper appeared to go very “2000’s” with their new sound, but unlike Metallica, they hung onto the guitar solos!  Then “Reborn” is stuttery and chunky.  It takes some getting used to, because melody takes a back seat to heavy here.  It’s good — but there are few hooks.  Overall, the CD reminds me of mid-90’s Dio.  I must say that drummer Robert Sweet seems particularly in his element on this heavy stuff, but his snare drum sound is a bit stuffy.

Some understated and cool guitar harmonies help out “When Did I See You Cry” on the chorus.  It’s also the first song to present those uplifting Stryper harmonies.  “Make You Mine” is a slow rocker with a melodic vocal and a highlight.  It’s remarkable how Michael Sweet’s voice has grown to have so much character while retaining its power. “Live Again” steals the riff from “Shout at the Devil” and shakes it up a bit. “Shout” was stolen from “Foxy Lady” anyway, so who cares? The song sounds nothing like “Shout” otherwise, but it’s back to that heavy detuned Stryper sound.

“If I Die” is a slow, heavy burner with a great chorus. That’s followed by “Wait For You” which is a simple pop rock song but recorded heavy, complete with “na na na” backing vocals. “Rain” is a bit of a ballad, and Sweet really reaches for it on the chorus. Solid song albeit a tad generic. “10,000 Years” is stuttery and rhythmic but doesn’t have a lot of hooks. Album closer “I.G.W.T.” is a much heavier, much better remake of the title track from 1988’s In God We Trust. This version kills the original in every single way possible. Michael even nails that final scream.

The best song on the album, by a fair shake, is the mighty “Passion”.  Not only does it possess a chorus that will shake the foundations, but it’s also the most blatantly in your face about their faith.  “Jesus Christ, I wanna serve you, I want what you want for me.  Sacred voice, I don’t deserve you, through your Passion I am free.”  That chorus will not be for everybody obviously, but damn it sure is catchy when Sweet lets it all out!  Give it a listen and see what I mean.  You don’t have to sing along if you don’t want to.

REBORNWhen originally released, the CD came packaged in a semi-transparent yellow cellophane wrap. I found it as such when it first came out at a nearby Christian book & CD store. They wanted $24.99 for it, and I couldn’t justify paying that much for yellow shrink wrap, when I could wait for a used copy to come in at the Record Store at which I worked. I ended up with the used copy, but boy I sure did like the way it looked with the yellow cellophane. The image on the cover of the band ripping the yellow ooze from their bodies is meant to represent how Stryper felt “reborn” individually and collectively. Of course the yellow and black are a return to Stryper’s original trademark colour scheme which they dropped on Against the Law.

Since Reborn, Stryper have zeroed in on the “perfect” sound, sort of a cross between this and old Stryper with loads of melody and power. Their albums continue to impress. Reborn was a necessary first step back, and it takes some getting used to. It doesn’t have the longevity of their classic work, but it definitely ain’t shabby.

3.25/5 stars

I hope you enjoyed Stryper week here at mikeladano.com!  Tomorrow we return to our regularly scheduled instalment of Getting More Tale.

REVIEW: Stryper – Against the Law (1990)

AGAINST THE LAW_0001STRYPER – Against the Law (1990 Enigma)

Damned if they do, damned if they don’t, Stryper finally took the second biggest gamble* of their lives and dropped the overtly Christian themes in their lyrics.  It was a decision they would quickly regret.  Changing their lyrical message did nothing to help them sell records, and they found themselves without a record deal.  They spurted out some new songs for a greatest hits album called Can’t Stop the Rock before Michael Sweet bailed and the band dissolved.  In the liner notes to that album, drummer Robert Sweet states, “We were making a grab for musical freedom, but we never should have let that be misinterpreted as a change in our beliefs.”

Before the change, cynics accused Stryper of faking the sincerity of their beliefs in order to “cash in” on the “gimmick” of being a Christian metal band.  Now that they had dropped those lyrics, they were accused of cashing in once again.  There was no winning at this point for Stryper.  No wonder the band caved in.

The shame of it is, fans in the know consider their 1990 album Against the Law to be among their very best.  It earned a cult classic status with those who ignored the hype.  The change wasn’t just lyrical, but total.  Eager to reverse the musical damage of In God We Trust, Stryper toughened up their sound and got veteran producer Tom Werman behind the console.  They also changed their image for the better.  Gone were the massive hairdos and the yellow and black bumblebee suits.  In were beards and goatees, and darker understated clothes.  The stripes were still there in the stage costumes, but they were now gray and black.  New logo, new start.  Or not.

A thunderous new sound opened the new album — a funky heavy metal riff.  No, this isn’t Extreme, it’s Stryper.  “Against the Law” is a really cool shuffle with echoes of Van Halen too.  The band were displaying a new toughness, and Werman captured a more appropriate raw sound from the band.  Guitar-wise, Michael Sweet and Oz Fox are not content to just law down some solos, but instead leave jaws on the floor with their creative shreddery.

“Two Time Woman” is not the kind of song title that Stryper fans were used to see on their albums.  This Motley Crue/Scorpions-ish rocker is strong but not a standout, despite its release as a music video. It’s just nice to hear Stryper rocking out with solid production behind them.

The next track “Rock the People” takes the album back to a funky “extreme”. It’s the lighter “Two Bodies (One Mind One Soul)” that really had hit potential. The acoustic guitars lull you in, but the chorus kills! “Two Bodies” gets my vote for best track on the album. It really is a shame that it never became a hit in this universe. Maybe on another Earth, where rock never fell to grunge….

“Not That Kind of Guy” is a blazingly fast Van Halen-style shuffle. David Lee Roth would have given his left nut for a song this much like his old band at the time. This kind of tune really reveals why Stryper were right to free up their songwriting a bit, if only for one album. This kind of music does not really fit spiritual lyrics all that well, so good on them for stretching out and writing a few songs like this. And listen to Michael Sweet’s scream at the end! Never before on a Stryper album had he let loose like that.

The big surprise of the album was the song chosen as lead single: a cover of Earth, Wind & Fire’s “Shining Star”! In a 1990 MuchMusic interview, bassist Tim Gaines recalled that the song was suggested to them and the reaction was “‘Shining Star’? What the hell is that going to sound like?” Not bad, actually. “Then we ended up making a video for it, which I’m not sure how that came about,” said Gaines.

“Shining Star” did not grab me at all, at the time. Today I really find it fun and enjoyable. Stryper already had funky metal elements on this album, so why not cover Earth, Wind & Fire? I’d say they pulled it off in their own way. The only mistake was choosing this song as the lead single! Leading with “Two Bodies” might have given the hard rock fans at the time something more familiar to sink their teeth into, than an Earth, Wind & Fire cover. That’s Randy Jackson on bass for this track by the way — that’s one reason why it’s so dang funky!

A few songs ago, Michael Sweet claimed to be “Not That Kind Of Guy”, now he is saying he is just an “Ordinary Man”. This smooth mid-tempo track retains those classic Stryper angelic harmonies, but better arranged to suit harder rock music. Of course, every hard rock album needed to have a ballad. Rather than keep re-writing the same old piano ballads as they had been, Stryper went acoustic for “Lady” (not the Styx song). It was a good move, and a good song. It too had hit potential, but alas, it was not to be for Stryper. They were “Caught in the Middle”; so goes the next song. It is as close as we got to old-school metal Stryper. It’s good that they did not neglect that side of the band’s sound. Again, Sweet throws in some of those unearthly screams that he is capable of.

The sleek metal stomp of “All For One” sounds like classic Dokken to me, and that’s not a bad thing. It has the same dark, ominous chug that George Lynch is so capable of. No wonder Sweet & Lynch hooked up later on! The chorus kills it, too. Against the Law is ended by “Rock the Hell Out of You” which is about as preachy as Stryper get on this album (not very). It’s another killer speedy metal scorcher to go out on. Kudos to Robert Sweet on drums for being able to play like this!

I like stories with happy endings, so I’ll share this. Stryper has since reunited, heavier than ever. Christian lyrics and ordinary rock songs co-exist on the same albums now, and fans couldn’t be happier that they are back. The fact that their reunion-era albums are so damn good doesn’t hurt, either. If the story of Against the Law has a bright side, it is that it was a step on the journey to Reborn, Murder By Pride, The Covering and beyond.

4/5 stars

*Their biggest gamble was trying to be a Christian metal band in the first place.

REVIEW: Stryper – In God We Trust (1988)

IN GOD WE TRUST_0001STRYPER – In God We Trust (1988 Enigma)

In Star Trek VI: The Undiscovered Country, the President of the United Federation of Planets (Kurtwood Smith) made a throwaway comment in one of his speeches:  “Let us redefine progress to mean that just because we can do a thing, it does not necessarily mean we must do that thing.”

I wish somebody in Stryper’s circle or record label Enigma thought that way in 1988.

Just because you have an incredible range and clean voice, does not mean you need to shatter glass with it, and it also doesn’t mean it’s best used by creating heavenly, angelic harmony parts.  Just because you had a successful prior album (To Hell With the Devil) does not mean softening your sound on your next album will equal more success.  If a record company executive said, “If you write more commercial songs and record them with less guitars and more keyboards you’ll get on the radio,” that doesn’t mean they were right.

It’s easy to put on my 20/20 Hindsight Goggles and pick apart In God We Trust, the highly anticipated third album by Stryper.  It’s like shooting ducks in a barrel.  Whatever choices Stryper or management made, In God We Trust is their most dismissed album by fans and critics alike.  It was a perfect storm of bad decisions.  Stryper themselves, dissatisfied with the original title track, later re-recorded it as “IGWT” for  their heavy reunion album Reborn.  That modern, detuned version blows away anything on this album.

The first thing that strikes me about “In God We Trust” (the original, not the remake) is the prominence of the angelic harmonies.  It sounds like a cross between a choir and a toothpaste commercial.  Michael Sweet is an incredible vocalist, this is true, but I maintain that it took him a few albums to really find his voice’s character.  Aside from the harmonies, “In God We Trust” is actually quite a heavy speedy metal track.  Drummer and “visual timekeeper” Robert Sweet is a relentless beast.

“Always There For You” was the saccharine-sweet lead single.  Sweet employed his trademark of hiding his religious message behind a neutral, benign lyric.  “I’m always there for you, I’ll always stand by you, when the world has closed the door and you can’t go on anymore, I’m always there for you.”  It sounds like the directive was, “Write us another song like ‘Calling on You’ but more commercial so we can make an expensive video.”  Then the next song “Keep the Fire Burning” almost sounds like they said the same thing, except about “Free”.  Continuing with the theme of re-writing the past hits, “I Believe In You” is “Honestly, Part II”.  It is sunk completely by the too-sweet Sweet harmonies. This sounds like something my mom would listen to!

Heavier is “The Writing’s On the Wall” but I find the lyrics irritating. “The God that Stryper serves is no delusion!” As a Christian myself, I recognize that people don’t like that kind of thing in their faces all the time. That is a personal preference and I believe there is room for everybody’s opinions. A song like “The Writing’s On the Wall” doesn’t strike me as inviting in its message, but the opposite.

The second side of In God We Trust is commenced with the terribly titled “It’s Up 2 U”. This is actually one of the better songs even though it’s one of the most commercial. The harmonies here are lower are thicker, and it turns into a bit of an anthem on the chorus. Then “The World of You and I” starts with potential as an acoustic ballad, but transitions into a sickly-sweet chorus that I can’t decide if I like or not. For glass-shattering high notes, just skip to 2:10! For really bad songs, check out “Come to the Everlife”. This is like bad Quiet Riot circa QRIII.

“Lonely” is morose but not terrible. It makes the album lean terribly ballad-heavy and soft, however. The keyboards and harmonies overpower the song rendering it somewhat limp, but with a smooth and classy beat. Thankfully “The Reign” closes the album on a heavy, Maiden-esque note. It’s a menacing but preachy metal song.

Stryper did an about-face after this album, realizing that their efforts did not produce a hit. Their next record was the most controversial yet. But that’s another review. In God We Trust lacks the firepower to be worth more than:

2/5 stars

REVIEW: Stryper – To Hell With the Devil (1986)

The rest of the week here at mikeladano.com will be STRYPER WEEK! Hope you dig it.

TO HELL WITH THE DEVIL_0001STRYPER – To Hell With the Devil (1986)

Now here is an album I’ve not heard in a long time.  10 years, I’ll wager, or close to it.  I played To Hell With the Devil a lot when I was a kid, and I seem to recall it being Stryper’s best album.  I’m curious how I feel about it today….

To Hell With the Devil came in my initial Columbia House order back in 1989!  I remember my aunt saying, “This one must be Michael’s because it has the word ‘devil’ in it.”  I told her Stryper were a Christian band but she did have a point, it was mine and not my sister’s tape!

Stryper are a heavier band today than they were in 1986, but this does have some of their best songs.  Even the sound-effect intro “Abyss” is classic.  It’s as familiar to me as “In the Beginning” by Motley Crue or “The Dark” by Black Sabbath.  I used to use all three of those bits for sound effects at Halloween time, in fact.  “To Hell With the Devil” itself is a strong metal song, with Maiden-esque guitar harmonies.  What may turn off modern listeners is the powerful bellow and angelic harmonies of Michael Sweet.  Sweet is an awesome singer — not everybody can take Brad Delp’s place in Boston — but I think younger Sweet hadn’t learned to tame and control his voice the way he has today.  His range is exceptional though, and the guy plays lead guitars too!  What a talent.  “To Hell With the Devil” kicks off the album on a melodic, but heavy note.

TO HELL WITH THE DEVIL_0004

Anthemic hard rock songs are one of Stryper’s specialities, and “Calling On You” is one of their best.  Michael Sweet said in past interviews that he tried to make his songs accessible by keeping the overtly Christian themes a little more subtle.  So, if you know Stryper are Christians, you know what “Calling On You” means.  If you don’t, you think “You give me love, you keep me company” is about two people in love.  This is something I appreciate.  While I am not “in your face” about it, I am a Christian myself, but I don’t always want to be hearing that in my music.  I like balance in my life, so I enjoy both Stryper and Ghost, and that’s just fine.

“Free” kicks ass.  That guitar riff smokes, and once again Stryper composed a melodic, heavy anthem.  Lyrically, Sweet reminds us that we are “free to walk away and deny” if we decide.  “It’s your choice,” go the words, and that helps make the song more inclusive.  “Free” was the song that got me seriously intro Stryper.  As soon as I saw the video on MuchMusic, I was hooked.

A successful hard rock album had to have a ballad in 1986.  That was the key to getting on the radio.  “Honestly” was the big piano ballad.  I don’t care for the quiet opening, but once Michael starts givin’ ‘er, it’s really great.  I didn’t think I’d still care for this ballad today, but it’s exceptionally well written and like I said, Michael Sweet really kicks ass.

The side closer on cassette was “The Way”, the only track written by guitarist Oz Fox.  (I always liked that Oz’s costume in this era had a Darth Vader-like control panel on the front.)  “The Way” is pure heavy metal — riff, smoking vocals, slamming drums.  This one is not about the melodies so much as the fast licks and high screams.  Great tune, although “Rocking for the One who is the rock,” is not the catchiest chorus I’ve ever sung along to.  The guitar solo doesn’t really fit either unfortunately.

“Sing-Along Song” has a “Metal Gods”-ish pulse to it, but it is as far from Judas Priest as you can imagine.  This is a pop rock song with a synthesizer where there should be a bass guitar.  Pretty good tune regardless.  I can imagine this one being quite good in concert.  Meanwhile, “Holding On” reminds me of “Mystery” by Dio but not as memorable.  More metallic is “Rockin’ the World”, a good album track.  A second piano ballad called “All of Me” isn’t bad, but it’s not nearly as good as “Honestly”.  Thankfully, “More Than a Man” ends the album on a solidly heavy moment.  “More Than a Man” is an appropriate bookend for “To Hell With the Devil”, closing the record with one of the most openly Christian songs on the album.  “More than a man, God almighty, He created you.”

Side one of To Hell With the Devil may well be the best side that Stryper have ever done.  It’s almost perfect.  Side two is more uneven.  Good album — but I think Stryper have done better overall since then.

3.5/5 stars

#396: Ladano


The song “Ladano” written by Veronica Tapia, performed by Stan Climie (bass clarinet), Laurie Radford (electronics)

RECORD STORE TALES MkII: Getting More Tale
#396: Ladano

It looks easy to say, and it is!  LA-DA-NO.  Emphasis on the middle DA. That’s it!  That’s all!

Yet, as a kid, I knew that if I ever wanted to be a famous rock star, I’d have to change my name.  I considered “Michael Ladd” as a good stage name.  See, the problem is that most of my life, people haven’t been able to pronounce my last name.  Would Peter Criss be famous today if he went by his real name Peter Criscoula?  Would Gene Simmons still be the Demon today, if he stuck with the name Chaim Witz?  I don’t know, but it’s hard to imagine the 1960’s with Robert Zimmerman instead of Bob Dylan, right?  “Michael Balzary” is harder to say than “Flea”…and would Declan McManus had a shot at the charts if he didn’t change his name to Elvis Costello?

The ironic thing is, my grandfather changed his last name’s spelling in the early 1900’s to “Ladano” so that Canadians would be able to pronounce it easier.  I’m sure he would have been disappointed in my 2nd grade teacher who must have thought I was related to Lando Calrissian, since she pronounced it “LaLando”.

Sometimes my sister, also a musician, will be referred to simply as “Lando”, to which she would really like to respond, “You’ve got a lot of guts coming here…after what you pulled.”

She has stubbornly refused to change her name even after marriage.  In fact she has a song called “Ladano”.

Here are some more of the best variations of my last name that I have seen and heard:

  • “Ledano”
  • “Ladana” (in my dad’s first email address set up by Bell!)
  • “Ladno”
  • “Landon”
  • “Landano”
  • “Landono”
  • “Landoni”
  • “Laudon”
  • “Ladino”
  • “Ladeeno”
  • “Ladhani”
  • “Ladayno”

And finally, my favourite:

  • “Radono”

That last one was on an official cheque from a major bank!

My last name is traditionally supposed to be spelled Laudano.  I’ve traced my family back five generations to Amalfi, Italy in the mid-1800’s.  Our side of the family left Amalfi for Sicily, opening up a shop there in Porto Empedocle.  The Laudanos then left for America in the early 1900’s and changed the spelling on purpose after arrival.  I think my grandfather would be disappointed to see the many mutilations of our name, despite him simplifying it to Ladano!

There are many Laudanos still out there, some in Ontario, Canada and others in New Hampshire.  One thing we all have in common:  Whether it is spelled Ladano or Laudano, we’re all family and we call each other “Cousin”.  (Turns out the Laudanos are actually a musical family with an extensive history of musicians!) One recent “cousin” I have met is Luigi, who came here from Amalfi Italy, where the Laudanos also originated. He is a very popular server from the highly recommended local restaurant Borealis (“Think Global, Eat Local”). Luigi married into the Laudano family, so now we call ourselves “cousins”! Getting to know those Laudanos has been a lot of fun for us.

I wonder if my cousins have had their name as mangled as mine?!*

BASS 2

* In a strange twist, one of my former online handles used to get mangled, too.  “Geddy”.  I used to use the name “Geddy” on message boards about 20 years ago.  The majority of people misspelled it “Getty”.  I’m not kidding. 

REVIEW: Blue Rodeo – Greatest Hits vol. 1 (2001)

Happy Mothers Day to all the moms out there!

BLUE RODEO GREATEST HITS_0001BLUE RODEO – Greatest Hits vol. 1 (2001 Warner)

Blue Rodeo are not a “Greatest Hits” band. Indeed, before this album came out, Jim and Greg routinely used to say, “We’ll only do a greatest hits when we’re finished.” Well, record company pressure must have gotten to them (or they may have just outlasted their own expectations), and they released this typical hits compilation: 12 hits and 2 new songs, just like every other band’s hits compilation.

The problem with Blue Rodeo is that they are so much more than the sum of their hits. Sure, “Rose-Coloured Glasses” (track 2) is a hit single, but what about “Rebel” or “Heart Like Mine”? (This is the album version of “Rose-Coloured Glasses”, not the very rare single remix, only available on 7″ single back in 1986). There’s simply no room on a single disc hits album for the songs that define the Blue Rodeo sound. Blue Rodeo were and still are more about albums, the bigger picture.  Especially in the early days, each album was a different direction from the last.  Each of the first five (and arguably six) first Blue Rodeo studio albums stand as critically important pieces of work.

Having said that, you do get a generous slice of hits here. Fans know these songs already, so I won’t spend too much time talking about them. “Lost Together”, the full length version of “Diamond Mine”, “Bad Timing”, “Try”…these are all songs that saturated the radio in the late 80’s and early 90’s. Peppered along with them are tunes like “Trust Yourself” from Casino, a minor single that some might have forgotten. I was pleased that “Side of the Road” and “Dark Angel” were here, which represent Blue Rodeo’s less commercial side.

For those who love Jim’s ballads, some of his most notable are here.  For those who prefer Blue Rodeo’s radio country-rocking side, there is “Til I Am Myself Again”, “It Could Happen to You” and the classic “Hasn’t Hit Me Yet”.  Greatest Hits vol. 1 is a fair slice of great tunes.  Certainly there are none to skip…just that there are plenty more where these came from.

Missing in action: any songs from The Days In Between, Blue Rodeo’s most recent album at the time. I guess that’s because The Days In Between just was the first underwhelming Blue Rodeo album. The US version of Greatest Hits subbed in Jim’s hit ballad “Bulletproof” from the later Palace Of Gold, instead of “It Could Happen To You” from Tremelo. (Palace Of Gold followed Greatest Hits, but not in the US where this was released afterwards.)

The two new tracks were a revelation. Blue Rodeo had started experimenting with a horn section, and the Greatest Hits tour featured these additional musicians on their back catalogue. The two new songs also feature the horns and strings.  This led into their next album, the aforementioned Palace of Gold, which utilized these instruments throughout.  A re-recording of “After The Rain” benefits greatly from their soulful sounds (not to mention extended solos and jamming). The Bee Gees cover “To Love Somebody” (lead vocal by Greg) has ended up being one of the best covers Blue Rodeo has done to date, live or otherwise. The new sound with horns would be fully realized on Palace Of Gold, but fear not if you don’t like this sound: they soon reverted to the classic configuration of the band.

My best advice is, if you want to really check out some Blue Rodeo, pick up those early albums one by one when you find them cheap (it’s not hard to do). If “Try” is your favourite song, pick up Outskirts, and then explore the rest of the gems on that classic record. Likewise if “Lost Together” is the only song you know, pick up that album and be surprised by the deep album cuts that you would have missed otherwise. And most of all, see the band live.

3.5/5 stars

#395: Dutch Boy

RECORD STORE TALES MkII: Getting More Tale
#395: Dutch Boy

As kids in the 1980s growing up in Kitchener, we would buy our music anywhere we could find it.  A lot of mine came from the mall: stores like Zellers and A&A Records.  Other places to find music included Hi-Way Market on Weber Street.  That store was incredible!  They had the largest toy section I’d ever seen, and every Christmas a professional Lego builder would put together a giant display.  None of these places exist anymore.

Another place that carried a small section of music was actually Dutch Boy Food Markets, just down the street from Hi-Way Market.  It too is long gone, but I have many memories.  It had a modest dedicated music area, but they also sold food, toys and clothing.  It was considered a supermarket but it had a little bit of everything.  My dad remembers buying many of my beloved G.I. Joe figures at that store.  He also says that we bought our Atari 2600 there.  That Atari still works today.  I think we got it in 1982.  My aunt actually used to work at a Dutch Boy location (not the same one) in Waterloo.

My friend Bob used to go there frequently.  I used to think it was because he was Dutch, but it probably had more to do with the fact that one of the Kitchener stores was within biking distance.

One afternoon in early ’88, we hopped on our bikes and hit Dutch Boy to check out the music section.  This “new” band called Whitesnake had been in our ears lately, but we only knew two albums:  Slide It In and Whitesnake/1987.  I didn’t even know they had any albums out before Slide It In at that point.  You can imagine our surprise when we found numerous other Whitesnake titles at Dutch Boy:  Snakebite, Trouble, Lovehunter, Come An’ Get It, Saints & Sinners, and Live…in the Heart of the City.  All reissued by Geffen, all on cassette.

WHITESNAKE FRONT

“Woah!” Bob exclaimed.  “Whitesnake!  Is this the same band?”

“No it can’t be.” I said.  “They’re only supposed to have two albums!”

Each of us grabbed a mitt full of Whitesnake cassettes and began examining them for more details.

This Whitesnake and our Whitesnake were both on Geffen.  This Whitesnake shared the same logo that was found on Slide It In.  It had to be the same band after all.  I explained this to Bob.

“This is the same Whitesnake,” I said.  “Look…they are using the same logo.”

“Yeah,” he replied, “but have you ever seen that guy before?”  He pointed to Mickey Moody on the cover of the live album.  He sure didn’t look like anybody I knew from Whitesnake, but it was impossible to ignore the evidence.

MOODY

“I think,” concluded Bob, “that Whitesnake are another band that had albums out before we heard of them.”  That happened from time to time.  We would discover a “new” band like White Lion or Europe, only to find that they had some little-known earlier albums.  It made it both frustrating and exciting to try and collect albums.

We both started collecting the earlier Whitesnake music.  Bob was first, picking up Saints & Sinners at Dutch Boy.  He brought the tape over one afternoon for me to copy. We loved the original version of “Here I Go Again”, as well as “Crying in the Rain”.  Later on, I added Snakebite and Come An’ Get It to my collection.  I enjoyed the earlier, more rock & roll sounds of these previously unknown Whitesnake tapes.

I’m not sure exactly when Dutch Boy closed, but I do remember the last album I bought there.  It was now spring 1990, and I had a CD player by then.  Once again Dutch Boy did not disappoint.  I found a Van Halen disc there that I had never seen before on any format other than vinyl.  The album was Fair Warning.   Since it was the most “rare” Van Halen I had found so far, I chose to buy it.  It came to about $24 with tax, a lot of money for an album that was barely half an hour long.  It should go without saying that Fair Warning was one of the best purchases that my young self ever made.

Too bad Dutch Boy had to shut its doors.  It was a good store and I hear a lot of fond memories of it from others.  Do you remember?

DUTCH BOY