REVIEW: Kim Mitchell – Shakin’ Like A Human Being (1986)

KIM MITCHELL – Shakin’ Like A Human Being (1986 Alert)

Kim Mitchell really seemed to soften up on 1986’s Shakin’ Like A Human Being.  It’s Mitchell’s most successful album, featuring the massive hit single “Patio Lanterns”.  A lot of people are very fond of Shakin’ Like A Human Being, but I for one find it inferior to Akimbo Alogo in almost every way, especially production. Still, I haven’t played Shakin’ in a couple years, so let’s have a listen and try to be fair.

KIM_0004There’s certainly nothin’ wrong with the opener, “Get Lucky (Boys and Girls)”.  Kim wisely commenced the party with a rocker similar to Akimbo Alogo.  Synths are kept to a minimum, and a shout-along chorus that’s easy to remember is always a plus on a Kim Mitchell album.  Pye’s lyrics are as cool as ever.  “The more moral you get the more oral we get.”  I love that.  Kim tops the cake with a fun melodic guitar solo which is like the cherry on top — uber sweet.

Paul Delong is a fantastic drummer, and he gets a nice long (but clanky) intro on “In My Shoes”.   Unfortunately the song itself suffers from too much synth and programming.  It does have a nice little guitar lick to it and a great chorus, but the song is just too middle of the road.  “Alana Loves Me”, though a ballad, is better.  The chorus, featuring Peter Fredette, is stellar.  Too bad that synth is back.

“Patio Lanterns” sure does bring on the nostalgia.  The lyrics are so pure and perfect.  Even though it’s one of Kim’s softest moments, there is an integrity here in its earnest honesty.  Although Max Webster were a progressive rock band, as a solo artist Kim Mitchell definitely evolved into cottage rock.  This kind is song is the type that we hosers play on those warm July evenings on the cottage patio, outside speakers and beer at the ready.  It’s the kind of song everybody seems to like.

Side closer “That’s the Hold” is the hardest rock moment on the album.  It’s one of my favourite 80’s Kim rockers, and if didn’t have so much damn synth on it, it would be a classic.  The live version on I Am A Wild Party is much better.  Too bad.

The second side commences limply with “In Your Arms”.  This is just synthetic syrup.  This is the only song that isn’t written by the duo of Mitchell and Dubois: keyboardist Todd Booth co-wrote it, which might explain why I cannot discern any guitars until the song is half done.  But it gets worse:  I cannot stand “City Girl”.  There is no redeeming value to this steaming pile of synth and bad lyrics.

The fine country twang of the hit “Easy to Tame” is unfortunately tempered by…grrrr!…too much damn synth!  I should be able to hear Kim’s Fender clear and true, but it is buried beneath keys.  It’s still a great song, but all I really want is to hear what it would sound like without the keys. The music video, vocals and guitar solo are all great at least.  Incidentally, the music video is a completely different mix of the song.

“Cameo Spirit” is pretty cool, although it’s another slow keyboard song.  This is the kind of sentimental ballad that Kim became very adept at writing, post-Max.  His spare guitars are delightful, but I only wish for more of them.  The final track “Hitting the Ground” is equally good, but also equally drenched in keys.  The chorus is stellar, as are Pye’s lyrics.  Fortunately there are some guitars to sink your teeth in.  At least you end the album on an up note.

Sadly, Shakin’ Like A Human Being is the last Kim Mitchell album to feature his legendary O.P.P. (Ontario Provincial Police) baseball hat on the cover.  Shakin’ could have been a great album, equal or superior to Akimbo.  I place blame fully on the production.  Kim Mitchell self produced this album, so if anyone is to blame for all the synth and keyboards, it’s gotta be him.  Of note, Kim produced it at Le Studio, the same place Rush recorded Moving Pictures.  Too bad.  Oh what might have been.

2.5/5 stars

#324: I Heart…what?! (RSTs Mk II: Getting More Tale)

RECORD STORE TALES Mk II:  Getting More Tale

#324: I Heart…what?!

One Thursday evening, Jen and I were out and about at Conestoga Mall in Waterloo. I saw this Toronto Blue Jays sweatshirt in the window of an unnamed clothing store. Trying to hold in my laughter and remain stealthy, I quickly zipped into to take a photo of a shirt that somebody, somewhere thought was a good idea to make.

“Hey, you can’t take pictures in here!” the young girl working inside said to me.

“It’s OK,” I responded as I left. “That shirt is hilarious!”

I zoomed out into the corridor and caught up with Jen, still laughing.

The following week I walked past the same store. The Jays sweatshirt was no longer in the front window.

I’m fairly sure I’m not the first to have a laugh at the expense of this ill-conceived sweatshirt:

I HEART BJS

REVIEW: Orange Goblin – Back From the Abyss (2014 GUEST REVIEW)

NEW RELEASE – GUEST SHOT by UNCLE MEAT

GOBLIN1ORANGE GOBLIN – Back From the Abyss (2014 Candlelight)

When the mighty Orange Goblin started their musical journey, they really were more of your typical “Stoner Rock” fare.  Now to be fair, the word “typical” there refers to the overall sound and style of their music.  Right from their 1997 debut album, Frequencies From Planet Ten, it became apparent that if Orange Goblin was to be labelled “Stoner Rock”, then they were rightfully placed on the top shelf with the elite bands of that genre.  With their 2012 release, A Eulogy For The Damned, Orange Goblin dabbled sparingly with other forms of heavy rock.  The title track being the best example of that, which I feel is one of the best pieces of hard rock ever released.  But still, the album as a whole really was one big heavy metal punch to the head.  Orange Goblin’s latest musical journey  is more like a series of methodical jabs, as if the 12 songs were 12 different rounds of a barbaric boxing match, each round finding a different way of attacking your senses.  The aforementioned title track from Eulogy of the Damned showed me that Orange Goblin were capable of becoming something very different than just a “Stoner Rock” band.  Back From the Abyss sees the transformation completed.  After a couple listens I truly believe that when Orange Goblin’s career is assessed in retrospect, Goblin’s latest album will go down as their quintessential release.

The title of Orange Goblin’s 8th release refers to the gruelling two-year long tour that followed the release of Eulogy of the Damned.  It was on this tour that I had the privilege to see them live in London, Ontario last year.  They were outstanding live.  It was literally a fucking metal party.  The band seemed to enjoy the festivities as much as the crowd did.  Vocalist Ben Ward towered over the crowd like Conan and had his fellow barbarians eating out of his huge palm.  It should be noted as well, that as intimidating as Ben Ward is on stage, he was completely the opposite upon meeting him after the show.  He was a true gentleman and his overall coolness was very impressive.  Taking the experience of their first full North American tour to the studio produces Back From The Abyss. I personally was praying to the Metal Gods that Orange Goblin’s next album would continue to explore more musically diverse ways of punching you in the fucking head.   This album delivers much more than that.  This could very well be Orange Goblin’s finest hour.

“SABBATH HEX” –   The album starts off as it should with reckless Goblin abandon.  According to Ben Ward the song title came from an idea he once had to put a curse on anyone who doesn’t like Black Sabbath.  This is a great chugging riffy opener.  Starting from track one you start to realize Ben Ward is becoming more than just a growler.

“UBERMENSCH” –  Get in the car with Orange Goblin.  Fasten your seatbelts as they hit the gas pedal and tear it up.  That pretty much describes this second track.  Great riff during the verses are reminiscent of early QOTSA.  Riff is king.

“THE DEVIL’S WHIP” – This song was released weeks ago, and a lot has been written already about this being a blatant Motorhead memorial.  That is exactly what it is.  I find the track reminds me of the song “Iron Fist”, but I am sure every Motorhead fan would be reminded of a different track themselves.  From the beginning “Alright!” cue, this song is indeed a Kilmister-worthy tribute that speeds along at a break-neck pace.

“DEMON’S BLUES” – One of the greatest things about this album for me are the many different vocal approaches.  While most of this song sees Ben Ward barking out the blues in his special way, “Demon’s Blues” begins with spoken word that has a very doom metal feel.  I really like the melody-first approach on this song (which is even more apparent on the chorus), and it seems to foreshadow what is to come.

“HEAVY LIES THE CROWN” – It is official now.  Orange Goblin has progressed from being a great heavy rock band to being true songwriters.  This track is fucking awesome.  I love the lyrics, the great guitar work and the anthemic vocals.  In a recent interview, Ben Ward compared the ending chanting vocals to early Manowar and I can totally hear that.  For me, the last couple minutes of this track sounds like if Thin Lizzy had written the Game of Thrones theme song.  Best piece of music so far on the album.

“INTO THE ARMS OF MORPHEUS” –   Well, I did say “so far”.  “Into the Arms of Morpheus” starts off with a very “NIB”-like isolated bass line.  As this song marches on, Goblin launches into the molten blues they do so very well.  I love the ending of this song.  This might be the best guitar work I have ever heard from guitarist Joe Hoare.  It is becoming apparent that Orange Goblin are really challenging themselves as songwriters now.  And that theme continues with the next track as well.

“MYTHICAL KNIVES” – This pirate-themed track shows Ben Ward experimenting even more with his vocal approach.  More doom-esque tones and even parts that sound more like Gregorian monk chanting than rock vocals.  “Mythical Knives” = Melodic Power.  Nuff said.

“BLOODZILLA” – Orange Goblin warns you of what you are in store for as Ben Ward screams “Go!”  And as “Bloodzilla” began, there I was, heavily cutting in tribute to the wondrous metal before me.  I found myself wishing someone was with me while I was listening to this.  This will be an instant live staple.  I love the ending riff of this song, which repeats over and over again, and brought to mind for me a kind of heavy metal version of the ending to “Layla” by Derek and the Dominoes.

“THE ABYSS” – At times this track veers more towards Alice in Chains rather than the Sabbath-based approach that usually dominates their material.  Rearing its not so ugly head again is the doom metal sound I mentioned earlier.  In general, I am not a fan of the style of doom metal.  However I find that the sprinklings of doom throughout this album are simply a great compliment to the songs.  Once again another terrific Orange Goblin instant classic.

“TITAN” – The first of two instrumentals on the album, “Titan” may actually be my favorite piece of music on Back From The Abyss.  Very reminiscent of Iron Maiden, as well as shades of Thin Lizzy once again.  Even more surprising is that parts of this song actually remind me of Dream Theater or Queensryche.  Just another example of Orange Goblin having a lot more up their tattooed sleeve than we thought they did.

“BLOOD OF THEM” – With lyrics inspired by H.P. Lovecraft, and even more diversity in the vocal approach, “Blood of Them” comes across as an extremely heavy track both lyrically and sonically.   Love the spoken word at the beginning of the song.  Simply another great track on this album.

“THE SHADOW OVER INNSMOUTH” – The second instrumental on Back From The Abyss ends the album in style.  I found that this track reminds of “The Zoo” by the Scorpions, but with many more riffs and some off-beats.  Just a great guitar-based track which again proves that melody is becoming king to Orange Goblin.  In an interview, Ben Ward stated that they are thinking of using this track is their intro when playing live.  That would be a great choice.

In closing, Back From The Abyss impressively proves that Orange Goblin are not just a band writing heavy songs anymore.  Orange Goblin are songwriters that happen to play heavy rock and roll.  What category do you put Orange Goblin in now?  Who knows and who cares.  All you need to know is that this album is Top Shelf Rock.  Based on my previous experience seeing this band live, I can only imagine how good these songs will be to see live.  If you get the chance to see Orange Goblin live, you must do so.

5/5 stars

Ester Segarra

REVIEW: Live – Throwing Copper (1994)

LIVE – Throwing Copper (1994 Radioactive Records)

20 years ago.  It seems like such a long time, but it’s true: There was an era when the top of the charts were dominated by the likes of Hootie, and Live. Kids today might not know Live, but many of these songs are still radio staples today: “I Alone”, “Lightning Crashes”, “All Over Me” among others.  8 million copies sold, and although you can find it used quite easily today, a lot of people hung onto their copies of Throwing Copper.  I am one.

I began working at the record store in 1994, and I used to tell my customers, “You’ll probably know all these songs.” I said that for a few albums back then, such as Purple by Stone Temple Pilots and Alanis Morissette’s Jagged Little Pill. Not only did Throwing Copper have five hit singles, but virtually every album track was getting played somewhere. That’s how strong this record is.

The legacy of this album is its influence. I will maintain that without Throwing Copper, there would be no Matchbox 20, and certainly no Daughtry. Unfortunately all those bands learned from Live was bombast, and they turned it up to 11. They learned nothing about song craft, nothing about expression, nothing about restraint.

Throwing Copper has bombast in spades. It’s there in Ed’s vocals, but it’s also there in the rhythm guitar parts and the noisy Neil Young-esque solos. It’s there in the rolling bass lines and the thundering drums. But Ed Kowalczyk also knew how to use his voice quietly (“Lightning Crashes”), which amazingly was still as expressive. He names Michael Stipe as a huge influence, and you can hear R.E.M. and even U2 between the grooves.

Personal fave song:  “Shit Towne”.

Production by Jerry Harrison is stunning. The drums are some of the best, most natural sounding drums recorded in the 90’s and the bass is strong without dominating. This CD is in no need of a remastering, it sounds just fine as it is.

It’s kind of a shame that Live never did anything this good again, or with this kind of impact. While I have listened to every Live album since, I never bought any of them. This is the only one I bothered buying, and I liked it so much I bought some of the singles when I could find them. The domestic single for “White, Discussion” has a great acoustic version of “I Alone”.

If you need some 90’s nostalgia, and don’t have this album, you absolutely need it. If you’re too young to remember the 90’s but love bands like Theory of a NickelCreed, then you need to find out what real music sounds like. Throw out your Daughtry discs and pick up Throwing Copper.

5/5 stars

LIVE_0003

There is also an unlisted track after “White, Discussion” known as “Horse”.

REVIEW: AC/DC – “Play Ball” (2014)

AC/DC – “Play Ball” (2014 Columbia)

Holy shit, AC/DC’s back. When we all heard about Malcolm’s health problems, I thought that was it. I really didn’t expect them to carry on with Stevie Young — but here he is, on AC/DC’s great new single “Play Ball”.

Judging by “Play Ball”, not much has changed in AC/DC land.  The flavour is still distinctly AC/DC: upbeat, great mid-tempo groove and solid riff.  And I swear you can hear some different fingers on the strings.  Listen carefully.  Yet regardless of losing arguably the most important member of AC/DC, it sounds like nobody else.  Brian’s still growling, his voice pretty much unchanged since the Ballbreaker album in ’95.   Musically, I’m thinking in territory similar to 2000’s Stiff Upper Lip.  I’ve heard the song six times as of this writing (three on the radio, three on my PC).  It’s nothing that will go down in AC/DC history as one of their greatest singles, but I can’t say anything bad about it either.

4/5 stars

Rock Or Bust tracklisting:

01. Rock Or Bust
02. Play Ball
03. Rock The Blues Away
04. Miss Adventure
05. Dogs Of War
06. Got Some Rock & Roll Thunder
07. Hard Times
08. Baptism By Fire
09. Rock The House
10. Sweet Candy
11. Emission Control

REVIEW: Skid Row – Forty Seasons: The Best of Skid Row (Japanese version)

SKID ROW – Forty Seasons: The Best of Skid Row (1998 Atlantic Japan)

US cover

US cover

The Japanese fans always seem to get the coolest stuff.  Look at this package: shiny silver, instead of the boring grey of the American release.  Digipack with foil stickers!  Bonus track!  So much cooler than the standard release here.  Hell, the Japanese title is even spelled F-o-r-t-y, where the American version has the briefer 40.  Why?  Not sure.  Either way I’m glad to have this version, which fell in my hands thanks to customer Conrad in the late 90’s.  He sold it to me with stickers intact and still sealed; all that is missing is the obi strip.

Whether you own Forty Seasons or 40 Seasons, the party starts with “Youth Gone Wild”.  Any commemoration of the Sebastian Bach years should open with that track.  Although “Youth Gone Wild” is Bach’s signature track today (along with “I Remember You”), he actually wrote neither.  Some fans would be surprised how little Bach has written in Skid Row, and indeed he only has two writing credits on this greatest hits disc.  What Bach brings to the party is his spirit, attitude, and incredible voice.  When Skid Row came out in ’89, Bach was almost instantaneously a 21 year old superstar.  He had the ego to deliver the rock star vibe in concert and in print, and he certainly had the vocal chops.  This is why Bach has remained a thorn in Skid Row’s side today, 15 years since hiring Johnny Solinger to replace him.

Track two is a little too soon for a mellow song in my opinion, but “18 and Life” works in this slot due to its dark vibe and powerful choruses.  The singles “Piece of Me” and “I Remember You” are the other representations from album #1, although I definitely could have done without “Piece of Me”.  Skid Row have written much better heavy rockers since.  “I Remember You” is a song I still haven’t really tired of, thanks to Bach’s timeless performance.  Every time Baz sang this tune in Toronto, the place went insane, as Bach always sang it for his old stomping grounds.  Rachel Bolan and Snake Sabo may have written the song, but when I think of “I Remember You”, I think of Toronto.

Skid Row’s second album Slave to the Grind blew away the first.  I’m glad “The Threat” was included.  It may not have been a single, but it was one of the outstanding album cuts.  Equally solid was the bass groove of “Psycho Love”, which is relentless.  Skid Row really turned up the octane on that second album.  I think both tracks outshine the single “Monkey Business”, but nothing can overpowerful the thrash metal of “Slave to the Grind” itself.  When it was released, I couldn’t believe how full-on Skid Row had become.  This is a high water mark of heaviosity.

“Quicksand Jesus” represents one of the three slow tunes on Slave; I would have selected “Wasted Time”.  “Quicksand Jesus” is an outstanding song, and so is the other slow tune not included here, “In A Darkened Room”.   “Wasted Time” is so clearly above and beyond either of those two, that I can’t understand why it’s not on this CD.  It has something special to it, like “I Remember You” did.

FORTY SEASONS_0005So the first half of the CD covers the first two Skid Row records with all the big hits.  The second half covers the rest, plus rare and unreleased stuff.  I love the third Skid Row record, Subhuman Race.  I consider it a great metal record in the context of the mid 1990’s.  For some reason, none of the Subhuman songs included here are the album versions.  I know the band fought with Bob Rock over the production on that album, and maybe that is why.  “Into Another”, which might be considered a slower song, is remixed making a little lusher.  The single “My Enemy” is also remixed, perhaps to tame down the St. Anger-esque drums.  My favourite Skid Row ballad, “Breakin’ Down” is remixed as well, but you have to know the song really well like I do to notice by ear alone.  (Listen to the guitar accents.)  Overall it’s more polished and finished, which is fine, because the album version was actually more or less just the demo version.  Lyrically the song is a message from Sabo to Bach, about their failing relationship.  Bach reportedly received the demo, sang to it, and that’s what was put on the record.

The excellent banger “Frozen” is presented in demo form, which is interesting but inferior to the excellent, slamming album version.  Finally, “Beat Yourself Blind” (Bach’s favourite song from Subhuman Race) is live.  What an awesome tune live.  This is from the Japanese Subhuman Beings on Tour EP. As great as the stuttery album version is, the live one is more fluid.   I’ve heard Rachel Bolan say the Subhuman album “sucked”.  I don’t understand how he can say that, and I think the five songs here prove my point.

The album closes with a pair of treats: unreleased songs!  “Forever” from the first album’s sessions is better than many of the songs on that record!  Who chooses these songs?  Perhaps it was a bit too derivative of other popular 80’s bands, but Sebastian makes it sound like nobody else but Skid Row.  This not only should have been on the album, but could have been a hit single.   Then there’s “Fire in the Hole”, a great little slammer that didn’t make the second album.  This time I agree.  That second album is incredible and “Fire in the Hole” isn’t up to those high standards.  It’s definitely better than many bands’ album tracks, but not Skid Row.

Last of all, the lucky Japanese got the Ramones cover “Psycho Therapy” from the B-Sides Ourselves EP (1992).  This is the only inclusion from that EP, and it’s a gooder.  Rachel sang lead (with Taime Downe of Faster Pussycat backing him).  We all know Rachel’s a punk guy, and I think that’s the side of Skid Row that clashed with Bach’s metal tendencies.  Just my theory.

Great CD, loads of fun and value.

4.5/5 stars

#323: Hatorade (RSTs Mk II: Getting More Tale)

RECORD STORE TALES Mk II:  Getting More Tale

#323: Hatorade

Do you have any artists or songs that just drive you insane upon mere mention of their names? Sure you do. Don’t lie to me. You can’t hide that Hatorade deep inside! Like my buddy Aaron I thought I’d create a list of five.

1. “Fancy” – Iggy Azalea. I don’t hear much in the way of music, or songcraft on this repetitive juvenile rap. I hear people calling Iggy Azalea “talented”. What exactly is her talent? Hiding her Australian accent?

2. “Hello Kitty” – Avril Lavigne. So terrible, on so many levels. This has nothing to do with rock and roll, a genre that Avril claims to be a part of. No, this is unabashed brass-ring grabbing novelty crapola.

3. “Porn Star Dancing” – My Darkest Days. Somehow, this Canadian post-grunge bunch of posers got Zakk Wylde to play on this track. I don’t know how they did that, except perhaps promising him a lifetime supply of Jack? This awful, stinky excuse for a rock song also features Chad Kroeger on vocals. Giddy up, horse-face.

4. “Painkiller” – Three Days Grace. There are two soundalike Canadian bands with the word “Days” in their names. And now, both of them even have the same singer. Double the pain!

5. “Michael” – Franz Ferdinand. I absolutely despise this song. They listened to it in the Record Store during my miserable final days there. “Indi rock” was popular with certain groups of individuals and of all the songs I endured, this one I hated most. Sitting at work, listening to the dude from Franz Ferdinand singing “So come and dance with me Michael, so sexy, I’m sexy,” was not my cup of tea at all.

HELLO

WTF Search Terms: Bonus edition

Randy hires his replacement

WTF Search Terms XXIII: Bonus edition

More? More in one day? Seriously?

Yes more!

is gene simmons a wanker? (Yes.)

ＰＩＳＳ ＯＰＥＮ

what do you use coleman biowipes for (Your ass, what do you think?)

intestines used as rope

dance ass mouvie

uria budi xey pron photo

i fucked tawny roberts

are randy and the new assistant supervisor in season 8 related? (No, they’re banging.)

trailer park boys rachael ray season 8 (One of these things is not like the other.)

who came first who s better david lee roth or sammy hagar (You get outta here right now.)

See ya around for more WTF Search Terms!

DLRSAMMY

WTF Search Terms: More Dirty Things edition

TED AND HOOKERS

WTF Search Terms XXII: More Dirty Things edition

I really don’t have much commentary this time.   These don’t require any commentary!  I continue to be amazed at the search terms that have led people here.

 

horny teddy bear movie

handesex

doorpiss.com

www black hughi tited women sex.com/tube8

of deking robin hud porno.com

max dubrow girl p tits 1962

tag: porno van kinad.com

fugazi bad girls club

porno en youtube meiden

what comic book character puts poo poo on crackers?

 

For more WTF Search Terms, click here!  See ya next time on the weird side.

This was all I could think of.

REVIEW: Rush – Red Stars of the Solar Federation (Live at Montreal Forum May ’81)

RED STARS_0001RUSH – Red Stars of the Solar Federation (X-Rekords, Live at Montreal Forum May ’81)

I found this bootleg when I was unceremoniously transferred from one location to another.  When I started at the other location, this was among the first CDs that came in that I just had to buy.  It’s a Rush bootleg from the legendary Moving Pictures tour.  In fact this CD is the audio of the Rush video Exit…Stage Left, which is a different audio from the LP.  It sounds like a vinyl rip.  Otherwise the sound quality is pretty good.  The audience is shrill and very loud.  There are also clearly speed/pitch issues with the audio.  (This could be corrected in Audacity, but I don’t think I could do it by ear.)  This CD is selling for over $70 currently on Discogs.  I paid nowhere near that.

Between the songs are interview snippets from the band, same as the video.  It features a few tracks that were not on the Exit…Stage Left album:  “By-Tor”, “In the Mood”, “In the End”, and “2112” which is unlisted.  The rest of the songs are completely different recordings, anyway.  I guess that’s why the asking price is $70.  They are no less perfect; no less electrifying.

“The Trees” and “Xanadu” take up one massive 17 minute track on the CD, and it’s a monument to perfection of performance and craft.  I can barely remember the sequence of all the different parts of Xanadu; I can’t imagine how Rush can play a set full of this stuff with precision and feel all the time!  All this while Geddy has to remember complex lyrics about searching for the lost Xanadu.

RED STARS_0002I love Peart’s slamming drums on “Red Barchetta”, a song I simply never tire of.  What is it about Rush songs?  They don’t burn out like so many other bands.  Not even “Closer to the Heart” has burned out on me yet, and it’s always a pleasure hearing a less familiar version.

On to “By-Tor”: it features a nicely noisy and meandering Alex Lifeson solo, surely a highlight of the entire performance.  This segues directly into a truncated “In the End”, also from Fly By Night.  This then is butted against “In the Mood” from the first Rush album in an awkward transition.  Geddy appears to change the lyrics from “Hey baby” to “Hey Cookie”.  Even this song is shortened, and segues into “Grande Finale” from 2112.  Alex ends it with some noise-laden blasting on his axe, almost stealing the spotlight from his two bandmates.  It’s a perfect storm of musical excellence and heavy rock.

Sonically,  Red Stars of the Solar Federation is vastly inferior to the current Exit…Stage Left DVD.  Yet I have a geeky love for an oddball CD like this.  While I can’t say it’s worth $70, I can say it’s worth:

3.5/5 stars

This CD is top-scratched and pinholed, but plays great