MICHAEL HUNTER – River (1995 Racket Records, 2013 reissue)
99% of people who stumble upon this review won’t know who Michael Hunter is, and that’s fine. He’s one of Marillion’s crew. He’s Mark Kelly’s keyboard tech, and he’s a producer in the studio as well. This album came to be when Marillion were looking for some ambient music to open their Brave tour. The wanted to set the mood right for that dark concept album, played in its entirety. If you own one of the live albums from that tour, (though not Made Again disc 2), then chances are you’ve heard a little bit of River.
According to the liner notes by Marillion’s Steve Hogarth, the album was composed and performed, not merely programmed! The bits of music used are lifted from Marillion’s Brave, and other records, and re-composed into a 42 minute album. There are no songs, but the music is divided into seven numbered tracks (I – VII). There’s no point discussing them individually. Sometimes you can’t even tell when one section has ended, and another has begun. Sure, there are changes in mood and texture, but River remains a largely monolithic block of music. It’s watery sounding, and very atmospheric.
I had River going when I was playing a computer game (called Lux, which is the same as Risk, but with infinite maps to conquer). River felt appropriate to the video game setting, in fact it reminded me of some of the music in the old Rama video game from the 90’s. Unfortunately the CD is mixed quietly by today’s standards so I had to crank it a bit to get the listening balance right.
Bits and pieces are familiar. If you know Brave, then you have heard some of these keyboard and guitar sounds before. It doesn’t feel like “Brave remixed” any way, however. Somehow Michael Hunter used those sounds to actually compose an original piece of music that stands as its own work.
Fans started requesting that the Brave live intro music be made available on a CD, so Marillion released the Michael Hunter album on their own label Racket Records and made it available to order in 1995. That sold out, and they re-released it as a Front Row Club optional release (FRC-006). That meant that members of Marillion’s Front Row Club subscription service could get the album, but it wouldn’t be sent to them automatically. They had to “opt in” to get it, since it wasn’t a “new release” but a reissue. Some members already had it. I did not, but for whatever reason I didn’t opt in to get it. I considered it outside of the Marillion discography, and in many respects it is. In 2013 it was reissued once more (each time with slightly altered cover art), and I finally decided to snag it as part of my annual Marillion website order.
I’m glad I did. While I wouldn’t listen to this frequently, since I don’t often crave long ambient pieces, it definitely will come in handy.
RIVAL SONS – Great Western Valkyrie (2014 Earache)
From Long Beach, California, here are the Rival Sons! They have come to save hard rock. Gene Simmons is a fan, so let’s check ’em out. Great Western Valkyrie is their fourth album, but until last year I’d never heard of them.
Rival Sons are groove. They are old fashioned. I hear early influences from as far and wide as Sammy Hagar and soul rock. “Electric Man” exemplifies this. If the guitar player were the flashy type, you could mistake this for a new Chickenfoot composition. Radio loves this kind of song right now. It has vibes of the Trews and Royal Blood; the groove of bands like Death From Above 1969 but with a bluesy singing voice. They apply a distortion and reverb to the lead vocal, which does sound cool but strikes me as a bit gimmicky.
I found the second track, “Good Luck” to be a bit dull. Rival Sons seem to have psychedelic rock influences too, which isn’t really my bag, baby. “Secret” features singing Jay Buchanan doing his best Robert Plant blues voice, and it’s another ferociously grooving track. The riff is similar to “High Time” by Leadfoot, and the groove recalls “How Many More Times” from Led Zeppelin I. “Let me tell you a secret, and I know you’re gonna keep it!” screams Buchanan over a killer bass groove. Then “Play the Fool” utilizes a simple, stop-and-start rock riff, and a wicked time change. “Good Things” has a dusky nightclub feel. This is the song on which I’ll step out and take a pee. It’s still playing when I get back, because it’s almost six minutes long.
Track 6 is “When the Levee Breaks”…Err, I mean the single “Open My Eyes”. Sounds suspiciously like Zeppelin there. You may have heard this one on the radio (I have). It’s a great track, but undeniably based entirely upon Led Zeppelin. The echo on the drums is lifted directly from Bonham and there are even acoustic breaks. Back in the 1980’s there was a band called Kingdom Come that got raked over the coals for copping some Zep influences and milking it, but that’s nothing compared to “Open My Eyes”. It’s a Zeppelin rip pure and simple! That’s fine…enough time has passed that nobody cares anymore (plus Zeppelin ripped off everybody else).
“Rich and Poor” slows the pace, bringing us back to the psychedelic 60’s. If the Doors had a different singer, maybe this is how they would sound. I don’t particularly like the Doors, so onto the next one, “Belle Starr”. This song goes from fast to slow sections…just when I thought they were givin’ ‘er again, they slowed it down. I’m just itching for some rock again. Oh, there it goes! This track is almost grungy, especially with that rolling bass underneath recalling Soundgarden. I hear Rush influences too. I’m not 100% sold on “Belle Starr”. Not yet, anyway. Led Zeppelin is all over “Where I’ve Been” too, in an epic quality. Finally “Destination on Course” closes the album on a distinctly bluesy note. Singer Buchanan really blows the doors off, and the angelic backing vocals have me forgetting that “LZ” band for a change. The bluesy guitar solo is icing on the cake — just awesome. On a track like this, Rival Sons establish their own sound.
Great Western Valkyrie is an album I look forward to checking out more in the future. I think it has potential. I know there are bonus tracks on other editions, which I have not investigated. If I end up liking the band enough, I will check them out.
RECORD STORE TAKES MkII: Getting More Tale #351: Three Concerts in One Week
I love digging through old journals. I don’t get out to concerts very often anymore, but these journals bring back memories of an awesome week featuring three different concert experiences. Dig it! Some interesting autobiographical facts:
1) These journals record the date that I met Brent Doerner of Helix, thus beginning a long buddy-ship (December 1 2006).
2) I noticed that there was something in here about the flu shot. I got sick immediately afterwards. I was feeling it during the Jim Cuddy concert and got full-blown flu right after. Never had the flu shot since.
Date: 2006/11/29 06:13
Tonight we have second row seats to see BRENT BUTT! (Corner Gas) I’m sure it will be awesome and I’ll be sure to write about it later.
Then Friday is Helix…
Then Sunday is Jim Cuddy (Blue Rodeo).
Talk about an awesome week.
Date: 2006/11/30 06:55
Brent Butt was awesome, hilarious, 90 minutes of pure Canadian humour. True stuff, like, “In America, there’s no corresponding word for ‘touque’. I could understand it if they had their own word for it. Like, ‘oh, that’s what we call a nurn!’ But no, they say, ‘hey you got one of them wool knit winter cap things!’ If we said that in Canada, our brains would freeze by the time we could get out the door. ‘Honey, could you get my wool knit winter cap thing?’ zoink, you’re frozen.” So true.
There was an opening act by the name of Jamie Hutchison, guy from the Maritimes. Equally hilarious!
Date: 2006/12/01 06:14
Tonight Helix! We’ll be giving them an R around 11 o’clock at Molly Bloom’s. Helix are one of the best shows I’ve seen, and this will be my fourth or fifth time seeing them. Hopefully they’ll play their new single “Fill Your Head With Rock” which is garnering some record company interest….
Flu shot today too. Ugh.
Date: 2006/12/02 00:39
Helix were AWESOME! Right when we walked in the door, there was Brian Vollmer. He saw my vintage-style Helix shirt, walked up and said “hi”. He was so cool. He said, “I just have to go make the rounds and say hi to everybody here, but thanks for coming and have a good time tonight!”
So we wandered around, saw a couple old friends (The Infamous Taylor Brothers) and lo and behold…there was Bruce Arnold (original Helix drummer 1974-76)! A glance around the room revealed the Doerner brothers and Keith Zurbrigg as well! There were five current Helix guys on stage and four ex-Helix in the audience! I introduced myself to Brent and told him how much I liked his new CD.
Track list, to the best of our memories:
No Rest For The Wicked
Get Up
Baby Likes To Ride
Running Wild In The 21st Century
Heavy Metal Love
Boomerang Lover
Dirty Dog
You Keep Me Rocking
Make Me Do Anything You Want
Deep Cuts The Knife
Wild In The Streets
Kids Are All Shakin’
Animal House
I Believe In Rock And Roll
Does A Fool Ever Learn (dedicated to some schmuck at EMI (“Every Mistake Imaginable)
Rock You
I know I’m missing a couple in there, but it was a totally awesome hits night. Right now my ears are ringing and I’m buzzing!
Date: 2006/12/04 06:19
The Cuddy show was awesome, thus ending my three-concert-week. It was a three hour show. The opening band were a part of the whole show as Jim brought various members back out to augment his own songs. He played two songs from his first record, most of the second record, and about six Blue Rodeo songs. He threw in a Neil Young cover, bassist Bazil Donovan sang one of his own, and they also performed one by the opening band!
So terrific show, there were even two Blue Rodeo guys in his backing band. However the real star of his band was violinist Anne Lindsay. She was on fire!
ALICE COOPER – Raise the Dead: Live from Wacken (2CD/1 Blu-ray, 2014 UDR)
This beast of a set was a gift from the ever-faithful Aaron, and I do thank you so much for it. Alice Cooper in 1080i hi-def, 5.1 surround sound. The CD has more songs than the Blu-ray, so I’m going to review both simultaneously, but let you know when it’s a track that’s exclusive to CD. Let’s give’r!
“Hello Hooray”! It’s still daylight in Wacken, when Alice proclaims to “let the show begin, I’ve been ready”. Alice is resplendent in his sharp red and black stripped tux. Australian beauty Orianthi has a drip of blood in the corner her mouth, and smears of it on her guitar and arms. “Hello Hooray” leads directly into a modern version of 1989’s “House of Fire”. With the three guitars live, it has a lot more bite to it, and neat six-string twists. (“House of Fire” briefly segues into the riff from “With a Little Help From My Friends”. Remember that. That’s important.) Not letting up for a second, it’s into “No More Mr. Nice Guy” and then immediately “Under My Wheels”! There’s simply no let up as the crowd starts surfing. Alice’s six piece band are visual and boast three lead soloists.
Newer song “I’ll Bite Your Face Off” is one of only two songs from Welcome 2 My Nightmare. The cool thing is how easily Orianthi digs into the vintage guitar stylings of it. She is an absolute natural. Even though there are four other talented musicians on stage, she commands attention without even trying. Alice chases her around the stage, as she casually throws down classic guitar licks. He has changed into a black leather jacket.
“Billion Dollars Babies” takes the focus temporarily back to the oldies. Alice wields a sword impaled with money, taunting the crowd. The wheels temporarily come off with “Caffeine”. I always welcome newer material, but I’d prefer just about any other song from Welcome 2. Alice has traded the sword for a giant coffee mug that he holds dear like his “precious”. Thankfully Orianthi lays down a blazing solo (actually two) , because otherwise I’d say this is my song on which to pee. But, I wouldn’t want to miss the classic “Department of Youth” from the original Welcome to my Nightmare, one of my top 10 Alice tracks of all time.
I like a rock show with variety, so I’m glad Alice pulled “Hey Stoopid” out of his 1991 hat. In the 5.1 mix, I don’t like the way some of the guitars just kind of drop out in the verses of this arrangement. I’ll have to listen to that again. It didn’t sound right. Otherwise it’s great with plenty of shredding. “Dirty Diamonds” was another surprise. I saw Alice play that one here in Kitchener on the Dirty Diamonds tour. That whole album is excellent, but the title track has a smoking riff. Drummer Glen Sobol gets a moment in the spotlight, accompanied by bassist Chuck Garric. A drum solo in the middle of an Alice Cooper show is not always a good thing, but this is actually a cool, worthwhile solo. There’s some crazy hand-over-hand stuff, tricks with sticks, and interesting cymbal work. Then it’s Orianthi’s turn. She is, without a doubt in my mind, one of the best guitar players out there today. Every note is worth something. The whole band come together at the front line, and the crowd goes nuts! Meanwhile….
As good as the solos are, in the context of the Alice Cooper show, they were merely a distraction. Where did Alice go? The opening strains of “Welcome to My Nightmare” indicate Act II has begun. He has emerged as the Showman. Weilding a dagger in one hand, he leads the charge into 1976’s “Go to Hell”. The two songs serve as a wicked intro to the theatrical part of the show. Alice attacks lead soloist Ryan Roxie with a whip, but it doesn’t phase the guitarist who safely evades him.
Out of Alice’s trick bag comes “He’s Back (The Man Behind the Mask)” the legendary campy 80’s theme from Friday the 13th Part III. Stripped of the keyboards and drum machines, it functions as a living, rocking entity. The three guitars enable the band to fill the spaces previously played by synths in the studio. Orianthi’s guitar solo just leaves my jaw on the floor. Keeping with the monster theme is “Feed My Frankenstein” from Hey Stoopid and Wayne’s World. Alice has changed into a blood smeared smock. He is strapped to an evil looking device by “Igor” and electrocuted! Then a monster-sized Franken-Alice appears to finish the song! The real Alice returns in a straight jacket for the still haunting “Dwight Fry”. This most intense Cooper classic is well served by three guitarists, loaning a “Freebird” epic quality to it live. “I’ve gotta get out of here!” screams Alice with the agony he manages to muster for every performance. Breaking free of his bonds, he attacks Nurse Sheryl, only be executed to the tune of the exit music from “Killer”. It’s the guillotine again for Alice Cooper. His head is hoisted into the air by a black-clad executioner to a chorus of “I Love the Dead” (Alice singing off-stage). Act II is over. Act III is beginning.
Though uncredited, the opening music for “DaDa” (from 1983’s DaDa, a cool cameo) plays as Alice is surgically resurrected in the graveyard of the Hollywood Vampires. The Hollywood Vampires were the drinking club down at the Rainbow…the teachers and the students. Lennon and Keith Moon passed down the ways of drinking to the likes of Vincent Furnier and Marc Bolan. A voice booms to Alice, “What are you going to do? Raise the dead?” So that’s what Alice does….
First it’s Morrison. The Doors’ “Break on Through” finally has balls to it! I never liked the Doors. I like Alice doing the Doors, so they can’t be all that bad. What’s interesting is how Alice can morph his voice to suit these covers. He uses a lower, howling early Alice voice to do the Doors. For the next track, “Revolution” (exclusive to CD) he uses his nasal Cooper voice, to cop that Beatles feel. He also does the opening McCartney scream…of course. You have to have that. The band hit the high backing notes perfectly too. The classic riff to “Foxy Lady”(exclusive to CD) indicates that Jimi Hendrix is the next Hollywood Vampire to be honored. Another cool connection is that both Alice and Jimi were important musical icons honored in the movie Wayne’s World. And the song was “Foxy Lady”. Next it’s Keith Moon and “My Generation”. Chuck Garric gets a moment to shine on those glorious Entwistle bass licks. It’s quite a bit more modern and slick than the Who’s, but the backing vocals are remarkably authentic.
Thematically “My Generation” connects to “I’m Eighteen”. Ryan Roxie and Orianthi both play solos on “Eighteen”, and smoke each one. Then, “Poison” is the final song of the set, a slick reminder that Alice Cooper survived the 1970’s only to become more popular than ever in the 80’s, 90’s and present. “Poison” has stood the test of time. It’s not a particularly simple song; just listen to those backing vocals. They have to be right, they can’t be off. Although I hadn’t really thought of “Poison” as a set closer, it does work in that slot and ends the show on a celebratory note.
The encore of “School’s Out” is the real celebration of course; the stage ablaze with lights and Alice clad in gold. It’s a mash-up with “Another Brick in the Wall”, proving again that mash-ups can sometimes produce fascinating results. I love Alice’s stage introductions for the musicians. “In a world where evil has a name, and that name is…Orianthi! And playing the part of Alice Cooper tonight…me!”
But Nurse Sheryl returns to the stage one last time and stabs Alice! I have a feeling our anti-hero will be back to terrorize us again on another tour….
There is only one Blu-ray bonus feature. The pre-Wacken interview with Alice is cool because it’s completely uncut. It’s only 20 minutes, but it’s insightful. Cooper is always a pleasure to listen to. The concept behind Raise the Dead revolves around his old, long gone buddies from the Hollywood Vampire. With this show, Cooper is paying tribute back to those guys, his idols and friends. The show has some history to it, he says. A little bit of a lesson. But the kids already know the songs, says Alice. The tunes like “Foxy Lady” and “Break on Through” are already familiar to them. Every kid seems to own a classic rock T-shirt.
Cooper muses that his live show is probably as close to Broadway as many of his new young fans will ever see. He reminds us that he has his own Broadway influences — “Gutter Cat vs. the Jets” from West Side Story, for example. His own solo band is so tight now that he doesn’t have to worry about the music part. Alice can get on with the show and performance, because the music is in good hands. He has particular praise for the stage presence and chops of Orianthi. As for the show, It’s no longer about shock, says Alice. You can’t shock the audience anymore. Now, it’s about entertainment. Give them something entertaining and of good value.
The hidden theme in the show is that everything is connected. The kids pick up on the connections behind the music. “School’s Out” and “Another Brick in the Wall” are presented as a medley. Who produced both songs? Whose kids are on both songs? Bob Ezrin. Connections!
The Blu-ray also has a substantial booklet included, the kind of thing that people who buy physical product still care about. I’d rather have this than a crappy photo slide show or text on a DVD. My only quibble is that I was underwhelmed by the 5.1 mix. I may have had my setting messed up, and I will have to try again. It was “Hey Stoopid” where this was particularly unpleasant to me. I’ll have to check that and try again. There is absolutely nothing wrong with the CDs, which sound friggin’ great.
For the Top Whatever of No Pre-Determined Amount from two of Canada’s most knowledgeable rock gods, stay tuned right here. From Meaford Ontario, weighing in at XXX lbs, it’s Iron Tom Sharpe, who turns it up to 11.
Tom’s Top Eleven of 2014
11. Various Artists – RONNIE JAMES DIO: This Is Your Life
10. JUSTIN TOWNES EARLE – Single Mothers
9. MASTODON – Once More ‘Round the Sun
8. EARLY MAN – Thank God You’ve Got the Answers For Us All
7. OPETH – Pale Communion
6. JOHN GARCIA – John Garcia
5. ST. PAUL & the BROKEN BONES – Half the City
4. sHEAVY – The Best Of sHeavy – A Misleading Collection
3. DRIVE-BY TRUCKERS – English Oceans
2. BRANT BJORK and the LOW DESERT PUNK BAND – Black Power Flower 1.ORANGE GOBLIN – Back From The Abyss
Saving the best for last, here’s Uncle Meat. For added rocket sauce he’s also given me his top movies of 2014.
Meat’s Top Eight of 2014
8. MASTODON – Once More ‘Round the Sun
7. ECHO AND THE BUNNYMEN – Meteorites
6. FOO FIGHTERS – Sonic Highways
5. “WEIRD AL” YANKOVIC – Mandatory Fun
4. FLYING COLORS – Second Nature
3. BRANT BJORK and the LOW DESERT PUNK BAND – Black Power Flower
2. DRIVE-BY TRUCKERS – English Oceans 1.ORANGE GOBLIN – Back From the Abyss
Meat’s Top Twelve Movies of 2014
12. Lucy
11. X Men : Days of Future Past
10. St. Vincent
9. Interstellar
8. The Lego Movie
7. The Grand Budapest Hotel
6. Captain America: The Winter Soldier
5. The Hobbit: The Battle of the Five Armies
4. Guardians of the Galaxy
3. Get On Up
2. Birdman 1.Whiplash
Here are some new sh*te photies to start your new year right!
How did you spend your New Year’s Eve? I spent it unconventionally, for me. While Mrs. LeBrain snuck in some early evening Bingo, I went down to City Hall with my buddy Jason and his family. Apparently, there was going to be a toy show and sale / 80’s retro night going on. One of my favourite Transformers vendors in the whole wide world, B&K Collectibles, was going to be there!
There were a ton of people there. Also present was the DeLorean from Back to the Future, and K.I.T.T. from Knight Rider. Although I didn’t stick around to see him, Todd Bridges from 80’s sitcom Diff’rent Strokes was also on hand last night. Yee-haw.
After the toy show I got Jen at Bingo and we headed home to watch the Leafs barely beat the Bruins. I fell asleep well before midnight.
But…toys!
My two scores: Transformers Masterpiece Smokescreen. Similar to, but different from, Masterpiece Prowl. I also snagged some snazzy new missiles for my Prowl figure, from third party company Before and After. The kit includes the “Omega Launch” weapons which snap over Prowl’s normally teeny ones, and a decal sheet which I have not yet applied (if I do).
A brief introduction to Dr. Dave: Not only is he one of Sausagefest’s most notable regulars, but he’s a talented musician too. That’s him playing guitar on“The Maiden Song”from 2013. He’s brought a completely different crop of bands to mikeladano.com with his Top Ten of 2014. Enjoy. (For my top ten, click here.)
DR. DAVE’S Top Ten of 2014
Due to some disappointing releases from the likes of Mogwai, Interpol, and the Drive-By-Truckers, my Top 10 is heavy on the metal. What might surprise some people is the number of bands that fall close to, if not well within, the orbit of “black metal.” Yes, this most unfashionable of metal sub-genres has a glacier’s weight of the shitty and silly behind it, but in recent years it has evolved into the most creative force in metal. The vocals are always a dodgy proposition, but I don’t care. At a time when I was bored with the same-old blues-based root-5th power chord ho-hum I’ve heard this 87000 times since last Tuesday shtick, the blizzardy blast-beating barrage of newer BM bands came as a breath of fresh air. So, without further ado…
10. YOB – Clearing the Path to Ascend
If only for album closer “Marrow.” As the title suggests, this is as much a spiritual as a musical investment. This is not for the attention deficit disorder crowd – in fact, nothing on my list is. On his playthisriff.com website, Bob Balch of Fu Manchu cites YOB as one of the most requested, and difficult to produce, sources of guitar tablature. Must be all those eerie suspended chords. This is not your Uncle’s doom, trotting out the usual second-rate Sabbath bilge. Dive in or stay home. There is no in-between.
9. BLUT AUS NORD – Memoria Vetusta III: Saturnian Poetry
Along with the mighty Deathspell Omega, BAN forms the ungodly one-two punch of French avant-garde black metal. They have as much in common with Arnold Schoenberg as they do with classic heavy metal, and it shows. This is alien music, unsettled and unsettling melodies trapped in a churning maelstrom of rhythm. Yet from the chaos emerges moments of glorious and triumphant power. MVIII features a real drummer and a more organic feel, and while I prefer MVII, this is still undeniable. It will surely alienate conventional music listeners, and that’s fine. If you want to know what Cthulu has on his iPod, well, now you know.
Damn. For years I figured Time-Travelling Blues would forever remain my favorite Orange Goblin album. Then they came out with Eulogy for the Damned and challenged that assumption. This does the same thing. They’re not a radically different band now, they just delve deeper into their talent and influences and deliver more accomplished material. They’re hitting a middle-aged stride. Better come along for the ride. And hopefully they come back to these parts – they’re a must-see live band.
7. OPETH– Pale Communion
Wasn’t overly impressed with their last one, but this is killer. They’re not really a metal band anymore, and that’s okay. Any fan of 70’s prog should be all over this like Bill Cosby on a drowsy lady. I’ve always preferred my prog with a healthy helping of balls, and this delivers. Proof positive that metal boasts some of the most versatile and forward-looking musicians of any genre, anywhere, anywhen, anyhow.
6. MASTODON – Once More Round the Sun
As with Orange Goblin, I figured the Highway to Hell, Moving Pictures, Gretchen Goes to Nebraska, Queen II-rule would still apply – namely, that the album that first got me into the band would always be my favorite. Once More Round the Sun may, in time, dethrone Leviathan as my favorite Mastodon album. Obviously I’m not one of those dicks who argue that because they’ve gained mainstream popularity they’ve gone soft and toothless. Their use of melody has been honed to a razor’s sharpness, and they swing like pretty much no other metal band can. They are capable of anything, and where they will go from here is anybody’s guess.
5. TRIPTYKON – Melana Chasmata
Thomas Gabriel Fischer is best known as the force behind Celtic Frost. While I missed the boat on his latest project’s initial album (Eparistera Daimones), this one has had me by the short and curlies for a month now. Oozing with menace and dripping with spite, this is a lurching, gargantuan slab of primordial darkness. Album opener “Tree of Suffocating Souls” is ridiculous, but it’s the relatively subdued “Aurorae” that really hooked me. A brooding slow-burner, it adds layers and intensity in a post-metal fashion that builds to a neatly twisted guitar solo.
4. PALLBEARER – Foundations of Burden
I can understand why even some metalheads don’t cotton to the doom. It’s slow, it’s gloomy, it’s repetitive. And then comes Pallbearer, four guys from Arkansas, and everything you think you know about doom can be deposited in a small sack and buried six hundred and sixty-six feet beneath Ozzy’s decapitated bat. The melodic richness of “The Ghost I Used To Be” is a perfect example of where doom is going now because of these guys.
3. WINTERFYLLETH – The Divination of Antiquity
The most quintessentially English black metal band, Winterfylleth combines the charging rhythms and regal melodies of Iron Maiden with the blast beats and tremolo picking of black metal to create a supercharged English folk music for the 21st Century. It’s about the riffs with these guys – slight alterations in fingering create micro-melodic textures within the dominant keys, creating the “blizzardy” tremolo-picked sound of black metal. These guys have it down to a science. “A Careworn Heart” is a lot more relaxed, but you will get the drift.
2. AGALLOCH – The Serpent and the Sphere
For my money, the emergence of “post-black metal” has been the best thing to happen in metal this century, other than the “post-metal” of Isis and like bands. So, not surprisingly, Isis and Agalloch are my two favorite bands to emerge since 2000. The Serpent and the Sphere isn’t the instant classic that Ashes Against the Grain and Marrow of the Spirit were, but this is an epic addition to a nearly flawless discography nonetheless. These forest-dwellers from Oregon have perfected the folksy, pagan, post-rock mutation of black metal like no one else. Lyrical and uplifting while still rooted (distantly) in a style of metal known for the ugly and evil. As usual, it’s the build-up and crescendo that is the goal. “Plateau of the Ages” brings it, and then some.
1.PANOPTICON – Roads To The North
Blackgrass? Blue Metal? I don’t know what you’d call it, but genius Austin Lunn has combined his love of grim and frostbitten Norwegian black metal with the bluegrass of his native Kentucky, resulting in an album of unbridled originality. He’s an incredibly versatile guitarist, an insane drummer, and lays down some of the best bass ever heard on a black metal album. I envy this dude in a serious way. In order to fully grasp it, you have to hear all three parts of “The Long Road” in succession, all the way through. You can hear the black metal in the bluegrass parts and the bluegrass in the black metal parts. Fucking genius. Album of the year, regardless of genre.
Here’s the same boring blah blah that everybody is posting — site stats! The best part of site stats are the Top Commenters of 2014, so I’ve saved them for last. There are also the Top Search Terms of 2014, which hold a few real WTFs…
The busiest day of 2014 at mikeladano.com was July 16th with 1,490 views. The most popular post that day was GUEST CONCERT REVIEW: Queen + Adam Lambert 7/13/2014 (by Boppin).
In 2014, there were 430 new posts, growing the total archive of this blog to 1,344 posts.
Regardless, all five readers have excellent sites that have supported me, and I support in turn. I recommend that you check each one of them out. Aaron and James at keepsmealive write mostly about music, and music related anecdotes. Their site goes back to 2007 and there is plenty of content there. Scott, our Heavy Metal OverloRd, always has something interesting to check out in his Buying Round-Ups and reviews. If you like music, books, video games and coffee (who doesn’t), then you need to check out Sarca at Caught Me Gaming. She is also the founder of the #cupfacecrew. If you like quirky music reviews with Lego re-enactments, then the fine 1537 is the site for you. Joe’s photography is just as interesting as his writing. Then for everything in the Swedish and world hard rock scenes, Jon Wilmenius runs e-tainment news and reviews. I swear to God, I had no idea Sweden had so many rock bands! His annual Sweden Rock Festival reviews are always a treat.
Happy New Year to you, and keep on rockin’ in the free world!
RECORD STORE TALES MkII: Getting More Tale #350 The Year in Review / Top Five of 2014
Another year come and gone! Am I older and wiser? I think so, musically speaking anyway! It was a great year for music (and a baffling year too, hello Scott Stapp and Phil Rudd)! Narrowing down my favourites to a Top Five wasn’t all that difficult once I thought about it. There were some clear contenders so it was more about sorting out the order. I’ll save the Top Five(s) for last.
I lost two friends this year, both of whom went way too soon. Both had moved out of town long ago (one out of the country), but we recently reconnected via social media. Warren was the guy who helped get me started on this crazy journey of writing, being the first to publish me. George, an old friend from childhood, helped me discover Kiss. Both left this earth in 2014, and the world is sadder for it. Rest in peace boys.
That aside, my proudest writing achievement was finally finishing the Record Store Tales. I had so much fun sharing those stories over the years. I took my time ending it; I was having a good time. But I knew there were people who wouldn’t like it; that’s happened before. Again I’ll apologize to the two who complained, for any offence I caused them. These two guys were friends from the store, but neither had really expressed any support for what I was doing, and I don’t think they particularly liked it. I never had anything bad to say about either of them, but I get that they might not like things I had to say about their friends; I totally get that. I also get that they had different experiences at the Record Store than I did. That’s fine. I want to be clear that my experience was mine alone. I cannot speak for anyone but myself. (Interesting footnote though: Back in Part 170, I mentioned that our accountant Jonathan used to talk about who he trusted at the store, and who he didn’t. One of the people he never trusted was one of those two guys, because of his personal friendship with the higher-ups. Just a footnote.)
Anyway, I don’t want to focus on the negative. I did some rough calculations and by reckoning, the number of Record Store Tales that were negative towards the store was only about 16%.
So! Onto the lists! My Top Ten Favourite Record Store Tales of 2014:
As an added bonus, I also found my Top Five Albums of 2004 among my journals! For shits n’ giggles, here is a “bonus” installment of Record Store Tales for you! And Happy New Year to ya!
BONUS RECORD STORE TALES Part 350: Top Five of 2004
5. BRANT BJORK – Local Angel
4. PEARL JAM – Live at Benaroya Hall: October 22, 2003
3. THE KILLERS – Hot Fuss
2. THE HIVES – Tyrannosaurus Hives 1.MARILLION – Marbles
Stay tuned for more Top Lists of 2014 in the days ahead!
Christmas gift review! This one came from my sister and husband Melvin.
JOURNEY – Live in Houston: Escape Tour 1981(2006 Columbia CD/DVD set)
Released in 2006, the Live in Houston CD/DVD set by Journey chronicles the band at their peak. This is a vintage MTV concert finally released for sale. Opening with the brand new title track from the brand new album Escape was a good idea. Its fast paced pyrotechnics fire up the crowd appropriately. Steve Perry is resplendent in his tuxedo jacket, jeans, and animal-print T-shirt. Now this is a fucking concert. If the guy couldn’t sing like the angels, then he couldn’t get away with that shit, but it’s Steve Fucking Perry. At his peak. A great frontman with the classic voice. His vocal acrobatics rival the furious fretwork of his bandmate Neal Schon. Personally, I think Bon Jovi owes a lot to Steve Perry’s schtick.
Not letting up, the opening salvo is concluded with “Line of Fire” before it’s time for the ballads. It’s a great little rock boogie that gives the band a chance to play hard. Perry then informs the band that they are recording a live MTV special (as if you couldn’t tell by Schon’s MTV T-shirt). If that can’t get a crowd screaming for “Lights”, nothing will. This kind of song isn’t my thing really, but it is always a pleasure listening to Steve sing. Live, he’s that much more entrancing. Superhuman, really. “Lights” merges with the ballad “Stay Awhile”, which I think is the better song. Listen to that fucker sing! Then it’s time for a new ballad, “Open Arms”. This is where I step out to pee.
Neal Schon’s favourite new song from Escape was “Mother, Father”, a dramatic heavy ballad. Perry kicks this song in the ass, but it’s the anthemic chorus that you can’t forget. And people — Steve Perry hits every single one of the high notes at the end. Every. Single. One.
New kid Jon Cain takes a moment for a piano solo, while Steve Perry no doubt drinks something cold and soothing! I like that Jon tucked his sleeveless animal print shirt into his jeans. Gotta look presentable, of course. New ballad “Who’s Cryin’ Now” is greeted by high pitched screams, indicating the crowd really know this one. Perry has lost the tux jacket, revealing that he is not a T-shirt tucker. Schon’s solo is epic, in how it builds from one simple melody into something completely different and blazingly fast.
The crowd goes nuts for the rocker “Where Were You”, on which drummer Steve Smith absolutely blows the doors off. I love watching him play with classic grip. He’s the next member to get a solo, and I can’t help but notice he has tucked his T-shirt into his jeans. Interesting. I didn’t expect that from the drummer. The solo is a scorcher, leading directly into the new rocker “Dead Or Alive”. Steve Perry looks a lot more awkward dancing to this one, but his voice leaves no doubt. Nobody else could sing the song the way Perry did. Nobody.
Steve announces from the stage that Escape just went #1 in the US a mere three weeks before. The crowd then goes insane for the opening keys of “Don’t Stop Believin'”. As on the album, I love Steve Smith’s cymbal work; it’s just overpowered by the live sound of the band. You can tell that the sound wasn’t tampered with, as Neal hits a bum note in the solo and it was left in. The lush backing vocals seem to be provided live by Schon, Valory and Cain. Then it’s time for “Stone In Love”, another newbie. This hard rock classic features Jonathan Cain abandoning the keyboards and joining the frontline on guitar. This allows Schon the ability to throw in more solos and licks; meanwhile when piano is needed, Steve Perry jumps behind the keys! Then it’s time for “Keep On Runnin'”, again with Cain up front on guitar. It’s another solid rock song, although a bit of a throw-away compared to the rest of Escape. Schon then gets his chance to solo, as a lead in to “Wheel in the Sky”. It’s a note-perfect live version, and full of energy.
For encores, it’s the annoying “Lovin’, Touchin’, Squeezin'” and “Anyway You Want It”. The only good thing about “Lovin’, Touchin'” is the guitar solo with some tasty slide for added flavor. “Anyway You Want It” is ragged. It’s a hard song to sing to begin with, but Perry is running around so much that it’s bound to fall apart at times. It’s a magnificent finish.
The CD version has a bonus track: “The Party’s Over (Hopelessly in Love)”. I don’t know why it’s not on the DVD version. I think it’s one of Journey’s best also-rans. Maybe the film had deteriorated too much to use for that one song? Who knows. Anyway (you want it), you can get it on CD.
It’s also worth pointing out that three songs (“Don’t Stop Believin'”, “Open Arms”, and “Who’s Cryin’ Now”) were all re-released on the remastered Escape CD. So if you’re browsing at the store thinking, “Hey, look, it’s Escape with bonus tracks, I need that,”…no you don’t. Just get this. Always better to have the full concert!
The bonus interviews are pretty neat. Members discuss how they found their way into Journey via manager Herbie Herbert. Neal Schon is almost hilariously young looking. Perry sports the shadow of a moustache, appearing as if he would have had trouble growing a full one. Bassist Ross Valory speaks of the band’s earlier preference for instrumental music, supplanted by a switch to vocal songs. The interviews are broken up topically and are made up from a variety of sources. In the section about touring, Steve Perry reveals that after being driven around everywhere in a limo, when he gets home from the road he feels like he’s forgotten how to drive! It’s worth it, though: all their best songs were written on the road.
The DVD also includes a photo slide show that nobody will watch. It’s only a minute or two long. Some of these pics, I’ve seen before. Neal Schon does make great “guitar faces”, possibly the best ever. The original TV ad for the Escape album is hilarious in its 80’s cheesiness.
I had River going when I was playing a computer game (called Lux, which is the same as Risk, but with infinite maps to conquer). River felt appropriate to the video game setting, in fact it reminded me of some of the music in the old Rama video game from the 90’s. Unfortunately the CD is mixed quietly by today’s standards so I had to crank it a bit to get the listening balance right.
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