Top 10 Rock Songs from the year 1984! With Peter Kerr of Rock Daydream Nation on Grab A Stack of Rock

GRAB A STACK OF ROCK With Mike and the Mad Metal Man
Episode 67: Top 10 Rock Songs from the year 1984 with Peter Kerr

We are back!  Following three weeks of chilling at the cottage, Grab A Stack of Rock returns with a roar, and a familiar face!

Peter Kerr of Rock Daydream Nation suggested this topic for his return to the show.  1984 was the year I got into rock music.  That coincided with MuchMusic’s premier in Canada.  All of a sudden, there were all these videos!  Kiss, Van Halen, Iron Maiden, Helix…and I was there with my VCR, recording everything.  For me personally, this will be a list of nostalgia…but not entirely.  After all, it was Peter who got me into Prince in 2023.  It was Tim Durling and John the Music Nut who got me buying Y&T albums recently.  It remains to be see what will make my final list, because 1984 was a completely epic year for rock music.

Peter Kerr was last on the show back in May when we unboxed the new Arkells album.  An album on which they covered “Dancing in the Dark” by Springsteen…a song released in 1984.  (It’s like poetry; it rhymes!)  Who knows what will be picked?

If you join the show from the start, you will also catch some unboxings.  Don’t miss this show, live, as we always respond to your comments!

Friday August 16 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic.   Enjoy on YouTube or on Facebook!

REVIEW: Night Ranger – ATBPO (2021)

NIGHT RANGER – ATBPO (2021 Frontiers)

Here we go with the third and final (to date) Night Ranger album gifted to me by Tim Durling.  ATBPO stands for And the Band Played On.  And play on they did, now with Keri Kelli on guitar after the departure of Joel Hoekstra, currently in Whitesnake.  Tim praises this album highly, so let’s find out why.

Some of the heaviest, slamming guitar I’ve heard from Night Ranger opens up the menacingly fun “Coming For You”.  For some reason I’m thinking of “Lost In America” by Alice Cooper.  This one is a grower.  It jumps out more listen after listen.  There are poker metaphors and a killer multi-part guitar solo!  Sounds absolutely wicked, modern and technical, like Steve Stevens on adrenaline.  It is quite possible that Brad Gillis is from outer space.

Second is “Bring It All Home To Me”, slowing the pace to a hard rock summer groove.  I mentioned to Tim, I was hearing some twang in Night Ranger on the High Road album.  I hear a teensy bit of that on the “baby, baby, baby” part of “Bring It All Home To Me”.  Tim will argue that I am hearing that because nu-country appropriated a lot of 80s hard rock, and there’s an association there.  Another bonkers solo here, making it two in a row for songs that fans of original guitar shred will want to hear.

More Gillis madness on the progressive sounding “Breakout”, bringing back the speed, but with a technical edge that few bands can really match.  Kelly Keagy’s nuts on the drums, and fretboards are burning on the solo.  This has to be one of the hardest Night Ranger songs to date.  Then, a boogie piano and a surprising cocaine reference opens “Hard to Make it Easy”, and I’m resisting saying the word ” country” again…but there it is.  This has line-dancing qualities.  Now I’m not meaning this in a bad way.  Night Ranger are allowed to stretch out and play stuff like this, and I won’t complain.  The chorus sounds like Shania…just sayin’…but the dual guitar solo is more Lizzy.

We go somewhere down the crazy river with the snaky opening guitars of “Can’t Afford a Hero”, which soon transitions to a standard acoustic ballad.  It would make a good Shaw-Blades track.  Good tune with, again, great solo work.  One of the more adventurous tunes.

“Cold As December” is a standout, with a powerful quality you can just pound your fist to.  It’s just all riff and all beef!  The guitar and vocals melodies are its strength.  Despite its edge, the melodies and hooks shine through.

An unfortunate “We Will Rock You” drum beat soon gives way to another good song, “Dance”, a power ballad with more power than ballad.  Really nice song.  “The Hardest Road” is also ballady, but Kelly Keagy’s lead vocal adds a ragged raspy edge that enhances it beyond.  Then the surprising “Monkey” kicks in with a serious beat.  This is the song that would sound best in the car when you’re on the highway.  Just non-stop stomp.

“A Lucky Man” is an album highlight, upbeat and bright, with a hint of that twang I keep hearing.  This would definitely sound great at camp or cottage in the summertime.  The keyboard and guitar solos are from the moon, which offsets the twang.  Another personal favourite, easy peasy.  Some tasty sweet guitar harmonies open up “Tomorrow”, another nice upbeat rocker with classy keyboard accents.

The closer is a “bonus track” (I ask why?) called “Savior”.  It’s a little…goofy?  I don’t know.  Everybody’s looking for a good time?  Sure.  I’ll agree with that.  Not sure about the song though.

Solid album, if a bit long:  3.5/5 stars.

 

#1150: “867-5309 / Jenny”

RECORD STORE TALES #1150: “867-5309 / Jenny”

In 1981, rock band Tommy Tutone released their second album, 2.  The lead track and single was a song called “867-5309/Jenny”.  As you can imagine, placing an actual phone number in a song was, while catchy, also problematic.   Lorene Burns from Alabama, who unfortunately had that very phone number, had to change it in 1982.  “When we’d first get calls at 2:00 or 3:00 in the morning, my husband would answer the phone. He can’t hear too well. They’d ask for Jenny, and he’d say ‘Jimmy doesn’t live here any more.’  Tommy Tutone was the one who had the record. I’d like to get hold of his neck and choke him.”

Tommy Tutone was in fact a “them” and the song was written by guitarist Jim Keller, with Alex Call from the band Clover.  The song soared to #2 in Canada, and #1 on the US Mainstream Rock chart.  It’s a great tune.  David Lee Roth recently covered it, but in its original incarnation, it’s a guitar driven rock classic with a plaintive chorus and memorable lyrics.

Jenny Jenny who can I turn to?
You give me something I can hold on to,
I know you’ll think I’m like the others before,
Who saw your name and number on the wall.
Jenny I’ve got your number,
I need to make you mine,
Jenny don’t change your number,
Eight six seven five three oh nine.

Many Jennys were teased worldwide (my wife included) by boys singing the song to them; an anthem of calling a number found on a bathroom wall.  The origins of the song are unclear.  “There was no Jenny,” claimed Alex Call in 2009.  The number, he said, just sounded right when sung.  Tommy Tutone lead singer Tommy Heath claimed in 2008 that Jenny was a real girl, and they wrote her telephone number on a wall just for laughs.  The Alex Call account sounds more believable.

Whatever the origins, many people with that phone number were prank called year after year after year.  One day in 1998, I heard “867-5309” for the first time.  Although I was not involved, a prank call ensued.

It was at the old Heuther Hotel in Waterloo (now, sadly, destined to become new condos).  I had a bad day (girl trouble), and was taken out by friends to get over it.  I sat enjoying a rum and coke (Captain Morgan’s spiced rum, always) with my co-workers Neil and Trevor.  In fact, it could have been my first ever spiced rum.  Tommy Tutone came on, and I liked the song, which I was unfamiliar with.  “It’s Tommy Tutone!” enthused Trevor.  “You don’t know this song?  Come on!”

We rocked along to the tune for a bit before Trevor realized that 867 was a local number.

“Should I call and ask for Jenny?  I’m gonna call and ask for Jenny!”

We laughed and I said no, but the drinks were flowing and Trevor dialed up 867-5309.

“Hello?” went the female voice on the other end.

“Hi, is Jenny there?” asked T-Rev with total innocence.

“Jenny’s not home,” went the answer.

“There’s actually a Jenny there?  COOL!” said T-Rev.  He was assured there was indeed a Jenny there.

“No way!  Really?  A Jenny really lives there?”  Once again, he was told yes.  “Do you know there’s a song called ‘Jenny’ with this phone number?”  The person feigned ignorance and reiterated that Jenny was not home.

“Cool!  Can you tell her Trevor called?  Thanks!”

And that was it!  We laughed all night about there being an actual Jenny at 867-5309, but I think the girl who answered the phone was just so used to getting this call that she called Trevor’s bluff.

We may never know.  Please don’t call 867-5309 and ask.

#1149: Eddie’s Story – The Narrative of Derek Riggs’ Iron Maiden Art

RECORD STORE TALES #1149: Eddie’s Story – The Narrative of Derek Riggs’ Iron Maiden Art

Edward T. Head, better known as “Eddie”, has been Iron Maiden’s mascot since the late 1970s.  He was just a mask then, made by roadie Dave Lights, to hang on the band’s live backdrop.  Why “Eddie”?   Because the mask was essentially just a head, or “‘ead” in British slang.  Therefore:  Eddie the Head!  When Iron Maiden were signed to Capitol Records, manager Rod Smallwood wisely surmised that the band would do well with an identifiable “stamp”…like a mascot.  He contacted artist Derek Riggs, and before too long, Eddie made his painted debut on the cover of Iron Maiden’s 1980 single “Running Free”.

Eddie’s impact cannot be overstated.  He is more recognizable than any single member of the band.  He is seen on T-shirts worn by diehards, casual fans, and even those who have never heard an Iron Maiden song in their lives.  He is ubiquitous.  Needless to say, Rod Smallwood was very wise, and Derek Riggs very talented.  Riggs did the cover art for every Maiden album from 1980 to 1990, and almost every single and EP in the same time frame.

As young impressionable kids growing up in suburban Ontario, we certainly knew who Eddie was.  My friends and I collected not just the albums and singles, but also the buttons.  We were intimately familiar with Eddie, his different outfits, settings, and crimes!  We attempted to draw our own Eddies.  I took a shot at a single cover for “The Duelists”, a favourite song.  It featured Eddie and the Devil fencing at the edge of a cliff.  The Devil was a foe of Eddie’s going back to the “Purgatory” single cover.  Derek Riggs eventually built an extensive mythology for Eddie and associated characters.  He focused on “Easter Eggs”, hiding characters and symbols within the artwork.  Powerslave and Somewhere In Time were chock full of such goodies.  References to the bars Maiden played, the Reaper, and even a TARDIS can be found on those albums.  One of the great pleasures of being an Iron Maiden fan was opening up an album and looking for all the secret images and messages while you played the records.

By 1986, some of us had noticed that the album covers, not including the singles, seemed to a tell a continuing story.  There was a continuity to the cover art, and Eddie in particular, that made us think there was an actual story unfolding with each album release.  This story seemed to run through Derek Riggs’ entire tenure as Iron Maiden’s cover artist, from 1980 to 1990.  While I am certain that this is entirely something made up in our heads, it does seem to hold water.

Let’s have a look at the album covers, and the story they may tell.

IRON MAIDEN -1980

Just an introduction to the character.  Eddie is a street punk, in a loose T-shirt, standing on a London street at night.  Behind him is a lit doorway, and a window with a red light – a reference to “Charlotte the Harlot”.  You can also see two of the streetlamps behind Eddie form an arc, with the moon.  Eddie’s eyes are just black sockets with light behind.  Later artists would change Eddie’s eyes, but Riggs always painted them black with some kind of illumination.  Eddie’s skin appears yellowed and stretched, like that of a mummy.  His hair is pure punk rock.

The story has yet to begin, but Eddie is clearly someone you don’t want to mess with on a London street at night.

KILLERS – 1981

Eddie appears much more refined in this image.  You get a better look at the character, including a belt and blue jeans.  The punk rock hair is gone, though Eddie remains on the streets.  It could be the same neighborhood as the first album.  The black clouds in the sky are similar.  This time, Eddie has a bloody hatchet in hand, while his victim grips his shirt in dying desperation.  Eddie seems to have no mercy.  He even seems to relish killing.  Fitting, for an album called Killers.  Our interpreted story begins here, with a murder.

 THE NUMBER OF THE BEAST – 1982

The plot thickens.  In Riggs’ best album art to date, Eddie appears a giant over a scorched, hellish background.  The rear cover had more of this scenery, indicating we were indeed in hell.  Eddie’s eyes are now lit by flames, matching the ground below.  He also has a fire in his hand, a reference perhaps to Montrose’s “I’ve Got the Fire” which was an earlier B-side.  The most striking feature here though is the appearance of the red Devil himself!  Eddie appears in control, manipulating the evil one with green puppet strings.

This was the first cover that really had us squinting at the details, on our little cassette J-cards.  For if you look closer, you will see Eddie is not in control at all.  Satan himself has his own puppet, and it is Eddie!  Our minds were boggled.  What could this mean?  We began pulling together the threads that seemed to be telling a story.  Derek Riggs had outdone himself, but he was only getting started.

 PIECE OF MIND – 1983

Imprisoned!  Captured, chained in an asylum, and lobotomized to boot!  Now bald, Eddie bore a scar across his head!  He had been cut open like an egg, and this scar would remain for the next several album covers.  Two more details were added:  a stream of blood going down his nose (always his right side), and a metal bracket holding his head together.  The screws in the bracket would always be in the same orientation.

Clearly, Eddie was in trouble.  We saw this as the punishment for his crime of murder.  The Devil came to take his due, and now Eddie is stuck in a cell.  Would he escape?  The next album told us no.

Of course, the real life inspiration for the artwork was the title Piece of Mind.  On the inner sleeve, the band members are preparing to dine upon a brain!  It doesn’t look tasty, and Adrian Smith in particular doesn’t look hungry.  In our childhood fantasy world, the Devil had served up a particularly brutal punishment for our favourite Metal mascot.

 POWERSLAVE – 1984

It appears that Eddie did not survive his brain surgery and imprisonment, for here he was being laid to rest in an ancient Egyptian setting.  In Riggs’ best artwork to date (again), a multitude of Easter eggs were hidden on the front, back and inner sleeves.  The Great Pyramid appears as it once did in antiquity, smooth and topped by a golden capstone.  Eddie’s sarcophagus can be seen, carried up the stairs, to his eternal resting place.

Or was it?

It seems pre-destined that Maiden’s next album would be called Live After Death.  It was really at this point that we started to put together that there was a story unfolding here.  Live After Death, and Eddie was buried on the previous album?  It all made sense!

 LIVE AFTER DEATH – 1985

Now this was an album that simply had to be owned on vinyl.  There was text to be read on the tombstones (“Let It RIP”), and so many Easter eggs on the back cover, including a black cat, the Reaper, and a visible “Edward T. H…” on his tombstone.  For many of us, this was the first indication that Eddie did have a last name!

With a bolt of lightning re-animating the already dead corpse, Eddie was back!  Still wearing his chains from the Piece of Mind album cover, Eddie’s hair had grown back while his T-shirt has seen better days.  Flames can be seen bursting from the ground, hinting at his hellish past.  On the rear cover, a city can be seen, surrounding the pyramid from the last album.  The continuity seemed clear.  The only issue here was that on the prior album, Eddie was laid to rest inside the pyramid.  Here, he is seen bursting out of a normal grave.  It would seem that Eddie’s remains were re-located between albums.  A minor issue easily explained away.

The city on the back cover calls to Eddie!  He was back, and up to his old ways again…

 SOMEWHERE IN TIME – 1986

Riggs outdid himself again, with the Blade Runner inspired Somewhere In Time.  Owning this album on vinyl is simply a must, for there is so much going on.

Still lobotomized, but bearing a new brain of circuitry, Eddie was technologically enhanced.  The blood, scar and bolts holding his head together are still visible despite the modifications.  On his chest, Derek Riggs’ signature emblem can be seen clearly.  It was always hidden somewhere on his albums, but here it was plainly visible.  A poster that reads “EDDIE LIVES” can be seen on the right, with the dying hand of a victim that he has just exterminated.  Back to his old killing ways from the Killers album!  Instead of a blade, Eddie now wields a pair of blasters.  Eddie seems to have arrived in a “Spinner” vehicle, similar to Blade Runner.

The same familiar moon from previous albums blazes behind, but there is so much on the back cover to discover too.  A reaper, red-lighted windows, and the names of things important to Iron Maiden’s lore are present.  As far as our story went, we imagined that Eddie emerged from his tomb centuries in the future.  This time, the Devil would not stop him!  But despite the cybernetic enhancements he underwent, his body was not whole…and soon it would be time to be reborn.

 SEVENTH SON OF A SEVENTH SON – 1988

This is where things got weird.  Really weird.  Not content to keep drawing Eddies with axes through people’s heads, Riggs went abstract on Seventh Son of a Seventh Son.  Eddie was now little more than a torso, with his skull ripped open and aflame!  The scar, bolts and blood are still present (though the blood would be replaced by a mustard-like substance on the single cover for “Can I Play With Madness”).  The remnants of his cybernetic enhancements are still present, with one eye replaced by a robotic one.  He also still has a metal throat.  An apple can be seen within his ribcage, but most striking is the Eddie-infant he’s holding in some kind of embryonic sac!  This sac is attached to his ribcage with an umbilical cord.  An arc of lamps recalls the first album.  A “book of life” is present on the back cover, tying into the album’s concept.  There are also ice statues of past Eddies on the back cover, for a total of seven Eddies.

Look closely and you can see that the surface below is both solid and liquid, and the icebergs do not touch the surface.  In our story, this represented Eddie on another plane, as he gave birth to his successor – a new Eddie.

 NO PRAYER FOR THE DYING – 1990

For the first time, we felt disappointed by an Iron Maiden cover.  Gone were the layers of Easter eggs.  The art felt unfinished, and indeed, Derek Riggs would remake it for a 90s reissue.  The album was sonically a “back to basics” affair for Iron Maiden, with simpler lyrics and shorter, harder songs.  The artwork reflected this, with a simple Eddie just back to killing again.

Reborn, and without scars, bolts or lobotomies, Eddie emerges from a stone coffin.  Because why not?  The undead should surely be reborn in a grave!  Grasping the poor gravekeeper by the throat, Eddie is seconds away from his first killing in his new body!  Looking at his coffin, the name plate is unfinished, with no clever names or puns.  The fragments of the shattered coffin don’t even fit together properly.  The blue and yellow colour scheme definitely links the album to Seventh Son, Live After Death, Powerslave and The Number of the Beast, but there is far less to keep you looking at the cover.

And this is the end of our Eddie story, for Derek Riggs would not do another Maiden cover for years, and by then there was no point in any continuity.  The next time we see Eddie, he has red bug-eyes and is half-tree.

Iron Maiden would continue to produce fascinating album covers in the future, always featuring Eddie in some way.  Notable artists included Mark Wilkinson, Melvyn Grant, and Hugh Syme.  For most fans, the original run of Derek Riggs covers will remain the pinnacle of Maiden artwork, primarily the period of 1981 to 1988.

Did Riggs have a story that he was telling with his covers?  Probably not; he probably just liked keeping Eddie consistent from cover to cover.  He would probably appreciate the fact that a bunch of Canadian kids in the suburbs had interpreted this entire saga from his artwork.  I think he’d like that a lot.

 

 

 

#1148: No Drone Movies

RECORD STORE TALES #1148: No Drone Movies

With my mom and sister visiting Japan in August, my dad didn’t want to spend his weekends at the cottage.  By that stroke of luck, Jen and I had the cottage for three weekends in a row.  I can’t remember the last time I was at the cottage for three weekends in a row.  I was probably a teenager.

I spoke to my mom after she got back from Japan, jet-lagged by about 12 hours.  My sister managed to catch a case of Covid, but my mom was luckier.  Even so, she was too worn out to use the cottage on the weekend of August 9.  At the last minute, they decided to stay home that weekend.  Therefore, Jen and I could go if we wanted to.

It’s a shame to let the cottage stay empty on a summer weekend.  We had planned on staying home and working on organizing the music collection, but at the last minute, we got out of town and hit the road.

I went with Iron Maiden’s Piece of Mind on the way up, followed by War Within Me by Blaze Bayley.  I had been immersed in an Iron Maiden writing project and decided to keep the vibe going on the road.  It was fascinating to hear how recording and production had changed between the two albums.  Piece of Mind was an organic sounding listen, with natural drums and lots of room sound.  War Within Me was modern, clean and technical.  While I prefer the analog, organic sounds, I realize that it is of the past.  A good double bill for the road.

Upon arrival on Friday night, I got the drone out, which is a good thing, because the theme for the rest of the weekend would be “No Drone Movies”!

Editing to the music of “80 Days” by Marillion, it was incredibly hard to fly at sunset with the sun in my eyes.  I could not see my drone from the ground.  I was flying by camera the whole time.  It was a good flight, with great visuals, but it was to be the only flight of the weekend, for within an hour, the gale-force winds rose!  The winds would last all weekend, and would not let up at all.  The drone was boxed for all Saturday and Sunday.

And this is when things got weird for me.

With the air cool, the wind high, and the skies dark, my seasonal affective disorder kicked in.  Big time.  It felt exactly like fall at the cottage.  Even though it was early August, and the previous week had a beach packed with kids and tourists, this was a cold deserted weekend.  All the feelings came rushing back, from years of “back to school” ads and activities.  The memories came back too:  listening to White Lion on a cold wet day on my Walkman by the river, wondering what the next school year would bring.  All back like a Polaroid picture.

My counselor told me specifically it’s too early to worry about fall, but here I am.  Unable to get it off my mind.

I am glad we went to the lake this weekend.  It’s wasteful to leave it empty on an August weekend.  My mental health is better there, than home.  But I can’t shake this foreboding feeling of fall.

 

REVIEW: Mr. Big – Ten (2024 Canadian CD version)

MR. BIG – Ten (2024 Frontiers)

Pat Torpey was such an important part of Mr. Big.  Drumming, singing, writing: Pat did it all, and that’s why Mr. Big have found him so difficult to replace.  His death from Parkinson’s disease was shattering to the band.  They carried on with Matt Starr for a while, but they needed someone who could sing.  Enter:  Nick D’Virgilio from Spock’s Beard.  Not just a legendary progressive rock drummer, but also a singer in his own right, Nick was an unexpected but appropriate choice for Mr. Big to record their final (?) album Ten.

Though some fans seem unwilling to allow bands to age and change, Mr. Big has done so without missing a beat.  Sure, Eric Martin doesn’t sound 28 years old anymore (because he’s 63), but there is nothing wrong with his voice here.  Just a little rasp, and a little less range.  He has aged better than most 63 year olds you can name in the rock biz.  He is still top notch, first class, and also a key songwriter here, along with Paul Gilbert and Andre Pessis.  Absent from the credits is Billy Sheehan.  That might explain why this album is less bass-y.  Even so, in 2024 Mr. Big have come up with one of their best albums, up there with Hey Man.

The Gilbert-penned first track “Good Luck Trying” has a definite “Manic Depression” vibe.  It’s a blues-rock classic, authentically rocking as if it came from another decade.  It’s like a time machine, and the Hendrix inspiration is undeniable.  A solid start.

Much like Hey Man and “Take Cover”, the best track is the second one.  “I Am You” will be in your head for days.  There’s a subtle acoustic guitar part, which is something of a recurring feature on this album.  “I Am You” boasts a powerful chorus, but with an anthemic meloncholy vibe.  Too bad a lyric sheet is not included, as this one has cool soul-baring words.  Everything about this song is perfect, from impassioned vocals to mighty chorus.  Sometimes it’s worth buying an album for one song.  This is one of those songs, no hyperbole.  It’s just a little different for this band, but it’s also a total pop rock anthem, and one of best Big songs in years.

We get a Zeppelin vibe on “Right Outta Here”, with bluesy verses and exotic choruses.  Anytime you hear chords that we might refer to as “exotic”, Zeppelin comes to mind.  Expect those Middle Eastern melodies on the guitar, and more acoustic backing.  Nick doesn’t necessarily play like John Bonham, but there are the odd big hits that recall him.

In a fun twist, “Sunday Morning Kinda Girl” contains the lyric “big finish”, the name of their current tour.  This song has a hard rock vibe mixed with 60s melodic sensibility.  Definite Beatles vibes in the melodies, though the song is far harder than the Fab Four.  Their green-tinted sixties minds must have been in tune for this song.  Again, acoustic guitars can be heard in the background, but check out Paul’s very Queen-like guitar solo.

There are a few ballads on Ten.  Ballads have been a thing with Mr. Big since the first album, but obviously “To Be With You” made them far more important.  “Who We Are” is an electric ballad, with a bluesy style.  Not as memorable as some past Big ballads, but a good song regardless.  Great chorus here, and superb drum fills.

“As Good As It Gets” is uptempo acoustic/electric fun.  Like “I Am You”, very different for this band and an easy album highlight.  Once again, the drum work and fills here are stunning.  It’s almost Rush-like.  Paul brings in a very sweet guitar melody, with layers of guitar tracks thickening up the soup.  This song also has one of the few Billy Sheehan bass solos on the album.

The boogie of “What Were You Thinking” has some wicked slide guitar by Paul Gilbert, housed within an uptempo rocker.  Maybe the fastest tune on the album, but it’s not to be compared to old Big like “Addicted to that Rush”.  This is just rock and roll.  The lyrics reference Star Trek with “phasers on stun”, and you just have to love that.  Another possible album highlight.

If there is a weak link, it’s “Courageous”.  It’s a mid-tempo song, but not a ballad.  It has some wonderful guitar, but doesn’t move the Earth.  What does shake the Earth is the opening drum beat on “Up On You”.  A hard rock party rocker, this features the return of the slide!  Just because it’s a hard rock song with slide guitar, there is a slight Motley vibe (circa Dr. Feelgood), but only slight.  Some boogie piano also helps keep things moving, but this is the most 80s rocker on the album.

Closing an album (sort of) with another ballad is daring.  Yet “The Frame” is the softest of them, and a totally appropriate closer.  It’s not “To Be With You”; there is no campfire rock on this album.  There is plenty of music with an emotional weight, and “The Frame” has that and more.  It takes a few listens to sink in, but it’s not really goodbye.  There is a bonus track on all versions of the album.

Some countries got an instrumental track (to be reviewed later), but the bonus track in Canada is different from the one in the US and Japan.  Here we get a blues cover, “8 Days on the Road”.  Easily another album highlight, with someone else (Paul Gilbert?) singing lead on a bluesy drawl.  Brilliant track and playing.  Talk about going out with a bang!  If this really is the end, then “8 Days on the Road” is a brilliant capstone.  It showcases the kind of playing that Mr. Big built their reputation on.

Though Mr. Big albums have been spotty through their career, Ten is among the better records.  It may go down with albums such as Hey Man as a cult classic.

4.5/5 stars

 

Tim’s Vinyl Confessions: Ep. 548: Mr. Big (Ten review) [VIDEO]

Today on Tim’s Vinyl Confessions, we deep dive into the new (final?) Mr. Big album called Ten.  Shockingly, it’s their tenth studio album.  I know, right?  It’s also a few firsts:  the first album with no songwriting from bassist Billy Sheehan, and debut Mr. Big album for new drummer Nick D’Virgilio.  It has been eight long years since their last album, Defying Gravity, which wasn’t bad at all.  Did they top it?  Did they go out on a good note?

My written review will go up tomorrow.

REVIEW: KK’s Priest – Sermons of the Sinner (2021)

KK’S PRIEST – Sermons of the Sinner (2021 EX1 Records)

You can hear from the sound of this album, KK Downing is pissed off.  He wants to prove himself.  He wants to out-Priest Judas Priest.  To that end, he’s recruited former Priest singer Tim “Ripper” Owens for this metal feast, with the emphasis on “metal”.  Everything about this album is about competing with Judas Priest, from getting their younger singer, to initially recruiting Les Binks on drums (replaced by Sean Elg), to song titles, and musical throwbacks.  The end result verges on the territory of “heavy metal bullshit”:  music contrived to sound a certain way, evoking a certain image from a certain time, resulting in generic songs.

Right from the opening “Incarnation”, KK is doing those noisy guitar roars from Priest’s “Sinner”, his trademark solo.  Then we get Elg doing similar double bass work as Scott Travis, and Ripper Owens with a big Priestly scream.  Enter:  “Hellfire Thunderbolt”!  To his credit, Ripper is singing more to the Priest vibe here than he did on either of his actual Judas Priest albums.  “Hellfire Thunderbolt” is equivalent to much of Priest’s current catalogue, and it sure is nice hearing KK wail.  We did miss KK’s sound, no matter how good his replacement is.  It’s not just a single guitar band, with AJ Mills joining KK in a dual solo.  “Hellfire Thunderbolt” is a pretty good, very Priest-like song (right now to the thunder-cracks, very similar to Ram It Down) though not as memorable.

The title track “Sermons of the Sinner” has a title that recalls KK’s signature song, and opens with an impressive drum flurry and a really good riff.  Ripper takes the screaming to the nth degree, and the guitars absolutely shred.  Unfortunately the song is a little faceless, with the focus on speed and not much else.  There’s a great middle section where things slow down, allowing the guitar melody to breathe, but it’s over quickly and then we’re back into a chaotic metal hailstorm, shards of steel hitting your ears in unpleasant ways.

“Sacerdote y Diablo” keeps the pedal to the metal, but does not satisfy the craving for memorable riffing or hooks.  KK’s soloing is starting to sound like razorblades, as he just keeps going for it, and going for it, proving he’s more “metal” than Priest, or something.  “Raise Your Fists” is more like it.  Mid-tempo with melodies you can sing along to, bringing some needed variety to the album.  It’s not a classic, but it could be given time and reception.  Some of the guitar melodies are almost Maiden-y.  The lyrics are just an ode to the experience of a heavy metal concert, a tired concept.  “Brothers of the Road” is another good tune, this time with more groove and chug.  This album is better when KK allows variety to creep into the songwriting.  “Brothers of the Road” isn’t packed to the gills with hooks, but it’s definitely an album highlight.  As great as Ripper is at screaming, this allows him to sing more melodically.

Though the music that opens “Metal Through and Through” is delicate and cool, the title is tiresome.  Perhaps Rob Halford wrote too many epics about metal over the years, and this is just a redundant theme now.  Lyrically, it’s KK paying tribute to the fans, and frankly, to himself.  “And our legacy will prevail”.  Unfortunately the song sounds like a bunch is disjointed bits mashed together, including one that sounds like Accept.  It’s an attempt at an epic, short of the mark by a fair margin.  Considering that all songs are solely credited to KK, this is where we start to really miss the songwriting input of Glenn and Rob.  An unnecessary eight minutes, with an out-of-place fade-out.

“Wild and Free” is back to breakneck.  “We’re rule breakers! We’re hell raisers!” announces Ripper.  Great for headbanging or driving real fast, with some rhythmic recollections back to “Freewheel Burning” right before the chorus.  Intentional?  Probably.  “Freewheel” is a far better song, and there are times when Ripper’s vocals get to be a bit much.

“Hail For the Priest” (this is getting tiresome) opens with a melody aped from “Sign of the Cross” by Iron Maiden.  Though almost certainly a coincidence, the similarity is unmistakable.  Some of  Halfords lyrics are cribbed (“terrifying scream” from “Painkiller”), but once the riff kicks in, we’re off the races.  Nice bass work here from Tony Newton.  The drum pattern is a little less busy, and leaves a little bit of space on the verses.  These factors help make it one of the better songs on the album.

The final track is nine minutes of metal “Return of the Sentinel”.  How do you out-do Priest?  Write the sequel to one of their best tunes, I suppose.  There are references to “Tyrants” and appropriate musical recollections directly lifted from the original “Sentinel”.  Some cool dual guitar work ensues, and an acoustic guitar break brings texture.  Unfortunately there is no proper ending, just a fade out that leaves it feeling unfinished.  Still a pretty good song, though like many sequels, it is more more indulgent, yet still a shadow of the original…and unnecessary.

On his debut, KK stakes out his territory, claiming his slice of the pie.   It is a strong and bold statement, but without the songwriting that we have grown to expect from this heavy metal pioneer.

3/5 stars

The Adventures of Tee Bone Man: Tee Bone and Ripper the Squirrel Return to Camp

Every super hero needs a vacation!  This story takes place just before Tee Bone Man’s 2023 New Year’s Eve concert, and before his first encounter with the revenge-bound Dr. K.  Cast your minds back to 2023…

THE ADVENTURES OF TEE BONE MAN
PHASE TWO: THE MULTIVERSE SAGA

Chapter Twenty-Five (flashback): Tee Bone and Ripper the Squirrel Return to Camp

It was before dawn at Deke’s Palace when the snow began to fall.   Silently, without making a creak or the sound of a single step, Tee Bone Man made his way out the front door.  Upon his shoulder sat a small black shape, quivering in fur, taking quick shallow breaths of the cold air.  Tee quietly closed the door and locked it behind him.  He stepped towards his car, already warmed up, and unlocked the doors.  The little black shape on his shoulder jumped down onto the passenger seat as he stepped in, revealing himself to be Ripper the Squirrel.

“That’s right buddy, road trip time,” said Tee to the small animal.  He had been getting better at learning how to speak Squirrel.  He had to!  With Moustachio lost in the multiverse and Edie Van Heelin’ gone forever, he and Deke were on their own so to speak.  Sure, they had their friends the Northern Lights by their sides, but they couldn’t speak Squirrel either (although Max the Axe claimed he had a VHS instructional tape).

Ripper squee’d some more from the passenger seat.  While Tee Bone couldn’t understand every squeak and chipper, he could get the jist.

“Road trip time buddy,” he said as he put on his seatbelt.  “We both need a break, I think.  And you get to pick the tunes!”

Ripper made some sounds that Tee Bone interpreted as a question as to their destination.

“It’s a surprise.  You’ll see.  Pick a song!”

Ripper looked at the dash controls.  His little paws began making selections.  Tee Bone watched him go from folder to folder.  He scrolled down the “I” artists, stopping on Iron Maiden.  He then scrolled the albums all the way to the end and picked Virtual IX.  Track one, “Futureal”.

“I knew it.  Blaze Bayley.  You miss Moustachio, don’t you?”  The squirrel nodded yes.

“I get it,” answered Tee with sympathy.  “This weekend we can forget all our problems for a couple days.  You’re going to love it.”

Tee Bone hit the gas and backed down the snowy drive.  The Maiden album blasted forth.

“I’m running out of my time, I’m running out of breath,And now it’s getting so I can’t sleep at night,In the day, feel like death!”

“That’s a little on the nose,” said Tee as they arrived at the road, and made their way north.  “This’ll be a good vacation, this time,” he assured Ripper.

The two settled in as the sun slowly made its way onto the horizon, and sprayed a fan of red across the snowy climbs of rural Thunder Bay.  There was not a single pair of eyes in the world that saw them as they made their way north.

A few hours and one Tim Horton’s stop later, Tee Bone and Ripper had arrived at Camp.  The little squirrel leaped into the snow in utter glee.  This was his original home!

“SQUEE SQUEE!” he declared, as he took his first pee on his home turf in ages.  Tee chuckled, shook his head, and swept the snow off the front porch before unlocking the door.  The door opened with the tinkle of breaking icicles.  He motioned his head.

“Come on buddy!  Yes, you can come in this time!  It’s perfectly safe.”

Like a dart, Ripper ran into the cabin.  Tee Bone and Ripper have returned to Camp!

Suddenly, Ripper stopped on a dime.  He skidded across the wooden floor.  Something was not right.  He sniffed the air.  What was it?  It wasn’t cabbage…it was more pungent.  It was…cheesy.  Like Parmesan…

“What’s wrong, buddy?”  Tee Bone flicked on the lights, only to see the answer before him.

In the big armchair across the main room, he sat.  Sunglasses perched upon his nose in perfect balance.  A Tilly hat, slightly askew, hiding a receding hairline and a long, blonde ponytail.  A teal doubleneck bass, perched next to the armchair.  A smug look.  It could only be one person.

“Common Knowledge…” gasped Tee Bone.  Ripper cowered behind his right leg, quivering slightly at the mention of the unmentionable.

“Good morning, Tee Bone Man.  Would you like some soup?  I’ve waited on a line of greens and blues, Tee Bone.”  The bassist smirked.  “Lock the door behind you.”  He picked up his bass, strummed a note, and the sonic boom actually slammed the door shut.

“What are you doing here, Common Knowledge?” sighed Tee Bone.  “We’re on vacation.”

With a flourish, Common Knowledge removed his sunglasses.

“What am I doing here?” he sneered.

“Yes, that’s what I asked!  What are you doing here?” said an exasperated Tee Bone.  Ripper stomped a paw on the floor to make a point.

“What am I doing here!!?” he returned again, placing the glasses back on his face.

“Are you trying to wind me up?” shouted Tee Bone.

Common Knowledge pulled a crinkled piece of paper from his pocket.  “Do you have full moon fever!?  Read this!”  He handed the paper over.  Cautiously, Tee Bone took it and removed his glasses to read.

“‘Hey, going to Camp for a few days, you are welcome to come, signed Tee Bone Man.'”  Tee Bone paused and scratched his head.   “I sent this email to Deke!” he said.

“And me!” protested Common Knowledge.

“Oh…shit…” confirmed Tee as he squinted at the recipients of the email.  “Man, I gotta take you out of my contacts list.”

He dropped his bag on the floor in surrender.  He looked down at Ripper and whispered a silent apology.

“You can stay in the guest room,” he sighed.  Common Knowledge leaped in glee.

“Hooray!  I just wanted to be with you guys!  You’re always copying me on emails, and then telling me I’m not invited.  It hurts, you know.  I may be a supervillain and I may have tried to kill you once or twice, but I do have feelings you know.”  Behind his sunglasses, his eyes were watery and red from the tears of constant rejection.  Then, he got up from his chair and ran over to hug Tee Bone.  Tee Bone backed up in instant ickiness.

“OK, OK, that’s fine, OK,” as he pushed the bassist off.  “Now go put your bass in the guest room.”

Common Knowledge twinkled in glee as he ran off with bass towards the guest room.

“I am so sorry, dude,” he sighed down to Ripper.  Ripper climbed up his leg and onto his shoulder.  “We’ll make the best of it.  Maybe he’s just lonely, like you.  Maybe Common Knowledge doesn’t really have any friends.”

Ripper shrugged.  Oh well.  They would indeed make the best of it.

Later that day, Tee Bone and Ripper were out in the snow, collecting wood for a fire.  Tee carried a large bundle of logs while Ripper was hustling with some twigs for starting the blaze.  Common Knowledge stood by and watched.

“What do you want me to do?” he called from the sidelines.

“Well, you’re always talking about cooking, right?” shouted Tee.  “Why don’t you start prepping the hot dogs?”

“Hot dogs!?” protested Common Knowledge, his nose all but in the clouds.  “I’m not eating hot dogs!”

“Then feel free to go hunt some lunch for yourself, because we’re having hot dogs.”  Common Knowledge stared on in disbelief.  Tee Bone shrugged.  “Listen, you partake in a batch of Tee Bone’s Gourmet Hot Dogs with us, or you can make like Ted Nugent and go catch a rabbit to eat.  Up to you.”  He continued carrying wood back to the fire spot.  Common Knowledge sighed and started walking off into the woods.

“I’ll be back!” he shouted over his shoulder.  “Keep the fire going!”

“10-4, buddy,” said Tee Bone in return.   He watched Common Knowledge disappear into the trees.  He then whispered to Ripper.  “Whew…I can’t believe that worked!”  Ripper nodded in equivalent disbelief.

“I wasn’t too mean, was I?” asked Tee Bone with a twinge of his conscience.  Ripper shook his head in an emphatic “no”.

“Trust me on these hot dogs, my friend!” he enthused.  “All the fixings, and locally farmed meat.  The best that Thunder Bay has to offer.  I also brought a batch of my signature Tee Bone Man brand chili if you like chili dogs.”  Ripper didn’t know.  He was still adjusting his palette to people-food.  Sounded good though.

The two continued to gather wood for the feast, while Common Knowledge wandered through the dense foliage.

The bassist was dressed all in white, which was fortunate, he reasoned, since it would act as winter camouflage.  The tassels on his platform boots gathered snow as he made deep footprints.  He huffed and he puffed, as the snow got deeper.

“Just like back home in Buffalo!” he gasped as he trudged through.  “No…whew…no problem at all!”  Each step took him deeper until he reached a point where he could go no further.  How do you catch a rabbit anyway?

Common Knowledge turned himself around, and started wandering in another direction.

“Here, rabbit rabbit rabbit!” he called.  His voice was deadened by the snow and trees, with no echo.

Back at Camp, Tee Bone and Ripper had a roaring fire going.  The flames licked the falling snow in a beautiful dance of yin and yang.

“And how is your hot dog, good sir?” asked Tee in a faux-accent, sipping a beer from a wine glass in mock-upper-class beau monde.

Ripper nibbled away at a dog covered in diced tomatoes, caramelized onions, paprika and plain old Heinz ketchup.  He squee’d in delight.

“Excellent sir, cheerio!” cheered Tee Bone.  The two laughed together in camaraderie and shared experience.  Who would have thought these two were once mortal enemies?  In this very spot a couple summers ago, Tee Bone had tried to kill the little creature.  Mind you, Ripper would have had it coming, but even in his crazed state, Tee Bone still had mercy in his heart.  Instead of killing the beast, he launched him in a rocket to Australia.  It was there that Ripper was tamed by the kind Australian superhero known as Moustachio.  And now, Ripper was back home where his adventures all began.  It was like poetry; it rhymed.

Tee Bone smiled to himself at the warm fireside.  Here he was in his happy place, away from the superhero thing, with one of his best friends.  Ripper had turned out to be a blessing.  More than a pet, more than an ally, Ripper had proven himself indispensable in the face of worsening odds.  As their enemies multiplied, Tee Bone needed Ripper at his side more than ever.

Drat, his mind was drifting back to “work”, to the superhero gig.  “Be mindful of the now,” he whispered to himself as he focused on the crackle of the fire.  He took a deeper sip of his beer and felt the warmth in his belly.  Those were some great hot dogs.  The chili was magnificent.  His best batch to date?  Possibly.  His thoughts then drifted to the after-meal tradition:  dessert.  He thought to try something new this time, a French Canadian tradition:  maple taffy.  Pouring maple syrup onto freshly gathered pure white snow was a treat he’d never tried before, but this seemed the perfect day to enjoy a new dessert.

“Too bad Deke isn’t here,” said Tee Bone to Ripper.  “Although him and Common Knowledge, that would be awkward.  Then again…where is that guy?  How long have we been sitting here?”  Ripper shrugged.  Tee Bone observed the shadows the trees made in the snow and reasoned it had been two hours, at least, since they last saw the bassist.  Both Tee and Ripper had excellent hearing — one powered by nuclear Scotch and one by natural ability.  They attuned their ears to the forest around them.

Nothing.

“Think he’s OK?” asked the human of the squirrel.

Ripper sniffed the air but had no answer.

“I’m sure he’s OK.  How much trouble could he get into out there?”

Common Knowledge had gotten himself into a lot of trouble.

Chasing a rabbit through the snow, Common Knowledge hit a patch of ice in clearing.  He skated across the ice in his silly platform boots, the tassels now caked in ice so thick that they tinkled like bells at his feet.  He slipped and skidded, but managed to come to a carefully balanced stop, in the middle of the icy clearing.

“I wonder why there’s so much ice in this clearing?” he wondered aloud.  He observed his surroundings and looked beneath him.  Instead of a pure white surface, he realized he was standing over a frozen pond.

“I’m on the road to ruin!” he bellowed as the ice cracked.  Cautiously and light as he could, he took a single step.  The ice cracked further under his platform heel, but he remained standing.  “OK!  You can do this Billy, you can do this!” he gasped to himself.  “Never say never!  You can do this!”  He took a second step, and a spiderweb of cracks formed immediately under his heel.  He took a deep breath and gathered his balance.  He had slid far over the pond, and safe ground was still several meters away.

“No way out, no alibis, I’ve tried my best, but I don’t understand!” he cried.  The forest answered back in silence.

Third step, and this time the ice cracked like thunder.  The bassist slipped swiftly into the black, ice cold water.  He panicked, and began thrashing in the murk.  His platform boots only hindered him as he floundered.  He gasped for breath as his Tilly hat floated away across the broken surface.  He tried calling for help, but could barely breathe, let alone scream.  “Help!  He…”  He gurgled as he went under.

By the time Tee Bone Man and Ripper had arrived, the bassist was blue in the face and not breathing.  They had hauled his soaking wet body out of the water, and now Tee Bone had to do something he never thought he would ever have to do.  It was not something he wanted to do.  It was duty, and only he could do it.  Ripper did not have the body strength.  He kneeled on the ground, made five compressions on the bassist’s chest…and then began to blow life-saving breaths through the bassist’s wet, cold lips.

Ripper looked away.  “Ew,” he squee’d in Squirrelese.

Common Knowledge sprang back to life in a sudden gasp!

“Tee Bone Man!  You…saved me!”

Tee Bone sat silent a moment and just responded, “…Yep.”

“I…I can’t thank you enough!” cried the bassist, going in for a hug.  Tee Bone backed off.

“Easy there pal, you’re dripping wet, let’s get you back to Camp where you can dry off.”

“Thank you Tee Bone Man…but I’m too weak to walk,” complained the bassist.

“I’ll…I’ll fly you there…just…ugh…here come on, put your arms around me.  Yeah…like that…hold tight.”  Tee Bone Man struggled to keep his hot dogs and beer in his stomach as Common Knowledge grasped his body.  He sighed.  Sometimes it sucked being the good guy.  Ripper had a firm grip on Tee Bone’s shoulders and they were ready to go.  “All right…blast off…” sighed Tee Bone with zero enthusiasm.

Common Knowledge was wearing a pair of Tee Bone’s pants and a jacket that belonged to Superdekes.  He warmed his hands by the fire, savouring every moment of it.  He then grabbed a scoop of maple taffy made with fresh snow and local syrup.

“Thank you for introducing me to this delicious treat, Troy!” he screamed in delight.

“Please…call me Tee Bone Man,” deadpanned the superhero.  Common Knowledge looked a little hurt, but his pain was soothed by cold maple syrup and Canadian snow.

Tee Bone’s phone rang.  He answered.  It was a video call.  From Superdekes.

“Hey pal,” said Tee as he answered.  “What’s up?”

“Hey buddy,” smiled Deke on the other end.  “Just checking in, making sure you guys got settled in at Camp alright.  Looks like you’re having a good time, sorry I got tied up here.”  Deke pointed at a desk full of paperwork behind him.  “Month end, you know.  If you want me to, I could probably be there tomorrow morning…”

Tee Bone cut him off.  “Noooo…no don’t think that’s a good idea, Deke.  Sorry.  Ummm.  Long story, but, umm…”  Tee Bone switched his phone to the front camera.  “…as you can see we have company this weekend.”  Common Knowledge looked up from his maple taffy and waved at the camera.

“Is that…is he…THAT guy of all people…is wearing my favourite Camp jacket?  The one with the hood?”

Common Knowledge flipped the hood up over his head and smiled.  His ponytail hung off to the side as he took another bite of taffy.

“Yeah…no…I’ll pass, thanks Tee Bone.”  Deke shook his head.  “See ya Monday I guess!”

“See you Monday,” sighed Tee Bone as he switched the camera back.  Ripper waved goodbye.

“This is the best vacation ever!” screamed Common Knowledge in the throes of a sugar high.  “I’m never going home!”

“Hooboy,” said Tee Bone Man with his head in his hands.  Ripper mimicked him with his paws.

“That’s a superhero’s life,” he reasoned to the squirrel.  “It’s the price, the price, price, the price you gotta pay.”

Common Knowledge produced an acoustic bass and strummed a note.  “I can’t thank you guys enough.  This is a hit song I had 33 years ago called ‘To Be With You'”.

“Oh no,” moaned Tee Bone Man.  His face sunk sullenly as he poured himself a large glass of Scotch.  “I’m gonna need this,” he said as he served himself a dram.  Common Knowledge strummed and sang at the fire, serenading the pair with his only real hit, as his captive audience wished they could simply suffer in silence.  Tee Bone sipped the Scotch, and eventually drifted off into an afternoon nap, warmed by a fire, friendship, and song.  One song.  Over, and over, and over again.

The end

 

THE ADVENTURES OF TEE BONE MAN:  PHASE ONE – THE SQUIRREL SAGA 

THE ADVENTURES OF TEE BONE MAN:  PHASE TWO – THE MULTIVERSE SAGA

 

 

THE COMPLETE ADVENTURES OF EDIE VAN HEELIN’

THE WRITER’S ROOM

 

 

 

 

 

 

 

 

REVIEW: Dream Theater – “Hollow Years” (1997 CD single)

DREAM THEATER – “Hollow Years” (1997 Warner Music Germany)

I always found something about 1997’s Falling Into Infinity to be underwhelming.  Yes, we had the stunning Doug Pinnick cameo in “Lines in the Sand” and a wickedly heavy “Burning My Soul”, but the album didn’t have the same impact or longevity as Awake or Scenes From a Memory.  It wasn’t for lack of effort.  They recruited Desmond Child and Kevin Shirley, and released singles.  The album never broke the top 50 in Canada and received mixed reviews.  A later-released demo version of the album revealed what the band would done if not influenced by Shirley and Child.  One of those demos was first released on the 1997 “Hollow Years” single.

First track on this single is a 4:15 edit of “Hollow Years”, with more than a minute and a half edited out.  The shame is that it didn’t become an instant hit.  With the Spanish guitar melody and subtle keyboard accents, it could have and should have done better for the band.  There is a very pretty piano melody after the chorus by Derek Sherinian, in his last of two outings with Dream Theater.  Yet it’s still Dream Theater, not some ballad band.  John Myung’s fretless bass sets it apart, and Mike Portnoy is always Mike Portnoy no matter the style of music.  The premature fade on the edit version, however, is extremely annoying.  Even if you don’t already know the song, it sounds like a premature fade.  The ending is so good; a song highlight!  The full length version, uncut and as intended, is really the only version to listen to.

“You Or Me” is a version of “You Not Me” from the album, before Desmond Child helped them tweak it.  It opens with the sound of a radio changing stations, and then a cool synth rhythm.  John Petrucci’s riff soon kicks in, and it’s clear Dream Theater were trying new things that might be perceived as more appealing.  Ultimately, the version that ended up on the album is probably the better of the two.  It’s definitely catchier.

The final track is “The Way It Used To Be”, a long non-album song with a Marillion-like guitar melody.  It could have been lifted directly from Seasons End.  Petrucci is the star on this one, as he also employs cool harmonics.  Definitely a cool and valuable bonus track.  If it wasn’t almost eight minutes long with plenty of musical prowess, it might have been a worthy hard rock hit on its own.

Great little CD single, but those edit versions are never as cool as they are collectible.

3.5/5 stars