#1132: Youth Gone Not-So-Wild

RECORD STORE TALES #1132: Youth Gone Not-So-Wild

I love admitting to my past musical sins.  Perhaps others will learn from my mistakes.

I was in grade 11, a mere 16 years old, when the music video for “Youth Gone Wild” hit the airwaves.  Skid Row were the latest thing, a band promoted by Jon Bon Jovi himself, from his home state of New Jersey.  We didn’t know yet that the lead singer, Sebastian Bach, identified as a Canadian.  He grew up in Peterborough Ontario, just on the other side of Toronto.  In fact, I didn’t know that I already had something of Bach in my music video collection.  I had a brief clip of him, with teased up hair, in a prior band called Madame X.  This band was led by Maxine Petrucci, sister of Roxy Petrucci from Vixen.  They featured a young Sebastian Bach and Mark “Bam Bam” McConnell whom Bach would play with in VO5.   I wasn’t into any of those bands.  I was pretty hard-headed about what I liked and disliked.

In Spring 1989, I first encountered “Youth Gone Wild” on the Pepsi Power Hour.  It could have been Michael Williams hosting, but whoever it was, they hyped up this new band called Skid Row.  I liked getting in on new bands from the ground floor.  Made them easier to collect when you started at the start.  At that point, I wasn’t even sure how many albums Judas Priest actually had.  I was intrigued enough to hit “record” on my VCR as the music video began.  I caught the opening “Ba-boom!” of drums, and sat back to watch.

While I wasn’t blown away, I kept recording.  The key was the singer.  If the singer sucked, I’d usually hit “stop” and rewind back to where I was.  The singer passed the test:  he didn’t suck.  I kept recording.

After about a minute, I pressed the “stop” button, and lamented that this new band wasn’t for me.  What happened?  What did Skid Row do to turn me off so quickly?

I can admit this.  I’ve always been open about the fact that I was very image-driven as a teenager.  We all were!  With the exception of maybe George Balazs, all the neighborhood kids were into image to some degree or another.  I was probably driven by image more than the average kid, consuming magazines and music videos by the metric tonne.  So, what exactly was wrong with Skid Row?

I’ll tell ya, folks.  It was serious.

The bass player had a chain going from his nose to his ear.

I just could not.  I couldn’t put a poster on my wall with some band that had a bass player with a chain that went from his nose to his ear!  No way, no f’n way.

I pressed rewind, and prepared to record the next video over Skid Row.

That summer, the glorious, legendary summer of ’89, I went with Warrant.  I bought their debut album sight-unseen, based on a blurb in the Columbia House catalogue.  Warrant were the selection of the month.  “What the hell,” I thought, and checked the box to order it immediately.

Meanwhile, Bob Schipper and the girl I liked, named Tammy, were really into Skid Row.  They knew all about my issues with the nose chain.  They got under my skin about it a bit, but I wouldn’t bend on Skid Row.

“18 and Life” was the next single, a dark power ballad that was easy for me to ignore.  “I Remember You” was harder to pass on.  It was the perfect acoustic ballad for 1989.  You had the nostalgic lyrics, which Bob and I both connected with.  Somehow, we knew that 1989 was the absolute pinnacle.  We knew this would be the summer to beat!  Bon Jovi and Def Leppard were still on the charts.  Aerosmith and Motley Crue had new singles out with albums incoming.  We walked around singing “Summer of ’69” by Bryan Adams, except we changed the words to “Summer of ’89”.  We just knew.  “Got my first real six string…” we sang.  And we both had our own fairly new guitars that we could barely play.

“I Remember You” was a massive hit, and still I resisted.

“Because of the nose chain?” Bob Schipper questioned me.

Absolutely because of the nose chain!

I stood firm for two years.  Bob Schipper went to college, and Tammy was long distance and not meant to last.  I felt a bit like an island by the time 1991 rolled around.  I felt alone.  My best friend was gone, I had no girlfriend, and most of my school friends went their own ways.  I was a loner like I’d never been in my life before.  Music was my companion, and my beloved rock magazines were my library.

That’s how Skid Row eventually got me.  Sebastian Bach had a good friend in Drew Masters, who published the excellent M.E.A.T Magazine out of Toronto.  Drew’s praise for the forthcoming second Skid Row album, Slave to the Grind, was unrelenting.  He caught my ear.  I was looking for heavier music in my life, not satisfied with Priest’s Painkiller as one of the heaviest albums I owned.  I wanted more rock, and I wanted it heavy.

The other thing that got me was the collector’s itch.  When I found out that Slave to the Grind was released in two versions with different exclusive songs, I was triggered.  I had to have both.

“I’ll make a tape, and put both songs on my version!”  It was a pretty cool idea.

Costco had Slave to the Grind in stock.  They had the full-on version with “Get the Fuck Out”, the song that was excluded from the more store-friendly version.  Columbia House stocked the tame version, which had a completely different song called “Beggars Day”.  I bought the CD from Costco, the vinyl from Columbia House, and suddenly I was the only guy in town who had the full set.  I made my cassette with joy, recreating the Skid Row logo on the spine, and writing the song titles in with red ink.

“Get the Fuck Out” was track 6, side one.  “Beggars Day” was track 7, side one.  I still have them in that order in my mp3 files today.

Sure, there was an audible change in sound when the tape source went from CD to vinyl, but I couldn’t afford two CD copies.  Little did I know how cool it would be later on to have an original vinyl copy of Slave to the Grind.

I loved the album.  I loved all three of the ballads.  The production was sharp.  There were excellent deep cuts:  “The Threat”, “Livin’ on a Chain Gang”, and “Riot Act” were all as great as any of the singles.  Furthermore, the singer had taken it to new heights of intensity and excellence.

I let Skid Row into my heart that day.  It was a good decision.  Skid Row accompanied me through times good and bad, lonely and angry.  They were my companion through it all, and they’re still pretty good.  It was meant to be!

We have a winner – Powerslave vs. Defenders of the Faith (Maiden vs. Priest)

It was a marathon, but it was never dull!  With Pete Jones on board, we completely dissected every track on these two 40 year old albums:

  • Judas Priest – Defenders of the Faith – 13 January 1984 – peaked at #18 in the US and went platinum.  Produced by Tom Allom, his fifth with Priest.
  • Iron Maiden – Powerslave – 3 Sept 1984 – peaked at #21 in the US and went platinum.  Produced by Martin Birch, his fourth with Maiden.

Harrison Kopp arrived at the end of the show and between he, Peter and myself, we chose a winner.  It was a 2-1 vote.

Lyrically and musically we broke down each track to the individual parts.  We shone light and appreciation on all the players, for what they contributed to each of these epic metal masterpieces.  At the end of the day, it was clear that though both bands are often lumped together, these two albums are completely different.  They have different moods, different directions, and different lyrical themes.  Both are important albums to 80s metal, and to the respective band catalogues.

Subject matter broken down in detail:

  • The bass, drum, and guitar parts to each song.
  • Lyrical themes to each song and album.
  • The B-sides and bonus tracks.
  • The true and hilarious story behind Mission From ‘Arry.
  • Connections between Becket and Iron Maiden.
  • Personal stories and impact of these records.
  • Live performances and songs that have never been played live.

You will also be treated to a live performance of “Freewheel Burning” by Mike!

They call Peter the Professor and for good reason.  He came prepared with tour information and intimate knowledge of the construction of these songs.

Though it pained me to have to pick a winner, we did!

We hope you enjoyed the show, and a big thank-you to Peter for contributing two hours of your Friday night!  Of course, always nice to see Harrison.

This is likely the last evening show of the summer of 2024.  Afternoon shows occur at 3:00 PM on Fridays, when I have an available co-host.  Thanks for watching, and stay tuned…

The next show is an interview with author Angie Moon, regarding her debut music/true time book, Crime of the Century, June 21 on Grab A Stack of Rock!

The Battle of ’84: Iron Maiden – Powerslave vs. Judas Priest – Defenders of the Faith

GRAB A STACK OF ROCK With Mike and the Mad Metal Man
Episode 62: The Battle of ’84: Iron Maiden – Powerslave vs. Judas Priest – Defenders of the Faith

It is finally time:  the Battle of ’84 has arrived!  40 years ago, two metal monsters released crucial albums:

  • Judas Priest – Defenders of the Faith – 13 January 1984 – peaked at #18 in the US and went platinum.
  • Iron Maiden – Powerslave – 3 Sept 1984 – peaked at #21 in the US and went platinum.

But which album, track for track, is better?

Tonight, Peter Jones and I will attempt to answer that question.  After appearing once with Pete on a favourite episode of Rock Daydream Nation, he finally joins Grab A Stack of Rock.  Peter is a musician, who understands the vocabulary of drums and will explain it all tonight.  (Check out his latest Contrarians episode with Martin Popoff!)  Will the drumming colour his impressions of these two landmark albums of the 80s?  We shall see tonight.

We shall dissect each and every track, including the bonus tracks & B-sides.  Who shall reign?  Find out tonight…live!

 

 

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

This is likely the last evening show of the summer of 2024.  Afternoon shows occur at 3:00 PM on Fridays, when I have an available co-host.  Thanks for watching, and stay tuned…

The next show is an interview with author Angie Moon, regarding her debut music/true time book, Crime of the Century, June 21 on Grab A Stack of Rock!

VIDEO: Fox on the Run! May 30 to June 2 2024 at the Cottage

First the first time in the Cottage Video Series, we have:

  • A fox!
  • Rock Daydream Nation!
  • Fireworks in super slow-mo!
  • An Amazon delivery!
  • A war for territory:  Blue Jay vs. Chipmunk!
  • And of course the food and scenery that you expect!

Enjoy!

 

REVIEW: Blue Rodeo – Nowhere to Here (1995)

 BLUE RODEO – Nowhere to Here (1995 WEA)

This album, recorded during what I consider to be Blue Rodeo’s jammy psychedelic phase, is one of my favourites (it’s up there with the preceding Five Days and Tremolo, to which it is related). It isn’t an album to like instantly, but only through multiple listens.  It suddenly clicked with me after seeing the band play these songs live.

This album began life during writing sessions in 1993, but the band was so inspired with some spontaneous new songs, they ended up writing and recording Five Days In July in, well…five days in July.  That album was released first, and the band later returned to the other songs written during that period.  Five Days was a huge hit, so when Blue Rodeo  finally got back to making this album, the difference took fans by surprise.  (Some of the leftovers became the similarly jammy but acoustic Tremolo, such as  “Moon & Tree”, which was once more psychedelic and electric.)

When I  saw the band live on this tour, they blew me away. I hadn’t seen them live since  the 1991 Casino tour, so this was my first exposure to the new six-man lineup. Greg Keelor was on fire, playing gonzo Young-esque feedback-laden solos that lasted up to five minutes. It was incredible. This album distills that kind of  sound down to 5 and 6 minute songs.

The first two tracks, “Save  Myself” and “Girl In Green” were not about to become hit singles, as both are slow and melancholy.  “Save Myself” is  painstakingly slow, much like Greg’s first solo album, while “Girl In Green” is  funky with a powerful, almost yelled chorus, backed by James Gray’s organ. Both  songs are winners to this listener, because they are completely noncommercial,  while retaining melody and tons of emotion.

Interestingly:  There was both a 12″ and promo CD single of “Girl In Green”, a rare trance-y “Space Knowledge” remix.  Very cool, very weird — I have both.

“What You Want” sounds a lot  more like traditional Rodeo, Jim’s first upbeat rocker of the album. Greg’s hit single “Side of the Road” is track 4, a moody 6-minute tour-de-force with an  incredible chorus and plenty of solos.

Like a one-two punch, Jim comes  back with “Better Off As We Are”, possibly the best song on the album, if not the best rock song that Cuddy’s ever written. I love Jim’s lyrics; conversations with his brother and recollections of young adulthood.  Such power in the performance!

My older brother he left the day he finished school,moved down to New York to Washington Square.he calls me up and says you should come and see me,watch the waves of people rolling everywhere.

“Sky” slows things down a bit, a Jim ballad  with a slow tempo that sounds more like something from Greg territory. That ended side 1 of the original LP,
and side 2 began just as slowly with Greg’s “Brown-Eyed Dog”. Great chorus, with comatose verses that may put the unprepared to sleep.  Then Jim’s “Blew It Again” is a sad
ballad, lyrically similar to “Bad Timing”, but musically based on a catchy little piano line.

“Get Through To You” follows, which features Greg waking up and letting rip again with an uptempo rocker. This song, one of Greg’s best, is kind of similar to Jim’s catchy tunes on side one. Jim’s “Armour” is another plaintive ballad as only Jim can do, and perhaps should have been a single, as it could have been a hit.

The album closes with two more slow ones, “Train”  and the eight-minute-plus “Flaming Bed”. These songs drone off into the distance, meandering lazily, like the hot humid July that spawned them.  This ends an album that is largely misunderstood as ignored by the general record buying public.  And a shame that is.

As you can see, this isn’t the light-hearted countryfied Blue Rodeo of  Casino or Outskirts.  Greg’s health problems (diabetes) coincided with  an interest in slowing things down, and that’s what this album is. It will either click with you, or it won’t, depending on the setting. Find the right place and time, however, and you will enjoy a surprising listening experience, full of depth and emotion, melody and lots of meandering jams.

I suggest listening during an evening, on the porch.  In July.

5/5 stars

Of note, if  there’s a third voice in the background that’s sounds familiar, it should: It’s Sarah McLachlan.

REVIEW: Twisted Sister – The Best of the Atlantic Years (2016)

TWISTED SISTER – The Best of the Atlantic Years (2016 Atlantic)

Nobody likes buying the same thing twice, so Twisted Sister have ensured this “greatest hits” album is vastly different from their other stand-by, 1992’s Big Cuts & Nasty Cuts.  That album boasted a side of live B-sides, now collected as Live at the Marquee.  As such, it only had 10 studio tracks, whereas this new compilation has 17 plus a previously unreleased bonus.

The repeated songs are the obvious ones:

  • “I’ll Never Grow Up, Now!”
  • “You Can’t Stop Rock ‘N’ Roll”
  • “I Am (I’m Me)”
  • “The Kids Are Back”
  • “I Wanna Rock”
  • “We’re Not Gonna Take It”
  • “The Price”

That leaves a whole lotta songs, including a few singles, that you’ll find here but not on Big Hits.  Notably though, that means this compilation doesn’t have “Shoot ‘Em Down”, “Under the Blade”, or “Bad Boys of Rock ‘N’ Roll”.

What makes this compilation a little more special is that the tracks go almost chronologically, and don’t skimp out on songs from Come Out and Play, or Love Is for Suckers.  Founding guitarist Jay Jay French mentioned in the liner notes that Suckers was supposed to be a Snider solo album, but we do get two songs.

Opening with Twisted’s first Atlantic album Under the Blade, we are treated to the 1985 remixes of “What You Don’t Know (Sure Can Hurt You)”, “I’ll Never Grow Up, Now!” and “Sin After Sin”.  It’s a nice one-two-three punch, with “I’ll Never Grow Up, Now!” being a bubble gum punk sandwich, stuck between two heavy metal hard hitters.  It’s actually a nice change of pace, getting the echo-laden remixes this time.

The heavy metal assault continues with what might be my favourite Twisted song of all time:  “You Can’t Stop Rock ‘N’ Roll”.

“Like a charging bull, it’s a juggernaut,With steam at full, never to be caught,Incarnate power, roaring from the sky,While others cower, rock ain’t gonna die.”

The slow intro, the chugging riff, the pounding drums of the late great A.J. Pero (my favourite member as a kid) and the roar of Dee Snider made this the perfect heavy metal song to entice a young teenager back in the 80s.  “You Can’t Stop Rock ‘N’ Roll” is part of a trio included from the same-titled album, joined by melodic metal masterpieces “I Am (I’m Me)” and “The Kids Are Back”.  When Twisted went all melodic, they drew upon classic influences, but combined with the heavy guitars, they almost sound like precursors to pop-punk.  In many regards, Twisted Sister were ahead of their time.  It’s a simple recipe:  Guitars chug, bass joins them, drums throw in some catchy fills, and Dee Snider delivers the hooks with the band on backing vocals.  Simple, but difficult to master.

The largest clutch of songs obviously comes from Stay Hungry, with six.  The three big singles are the obvious ones, but also thrown in are the classic deep cuts “Burn In Hell”, “The Beast” and “S.M.F.”  In these songs, you get the heavier side of “Stay Hungry”, minus the title track itself.  People who don’t actually know Twisted Sister might be surprised how heavy Stay Hungry could get once you ventured outside the safe singles.  “Burn in Hell” is an exersize in intensity that deserves every listen you can give it.  Perhaps the oft-forgotten “The Beast” is the most welcome here, as a true red-blooded slow burner metal monster.

Despite the quality of the lesser-heard Stay Hungry songs, one remains the pinnacle of Twisted Sister’s finest moments:  “The Price”.  Twisted probably took guff from the press and the doubters for attempting a ballad, but “The Price” puts the “power” in power ballad.  Notably, A.J.’s drums are far busier and heavier that you expect from the average paltry power ballad.  Dee Snider demonstrates his expert-level versatility here on the high notes, rendering this song very hard to sing note for note today.

This album wastes no opportunity.  Come Out and Play is finally given a fair shake.  The dark ugly duckling of the Twisted discography is represented by the title track, “Leader of the Pack”, “The Fire Still Burns” and the forgotten sing-along “You Want What We Got”.  They didn’t skimp out here, and you get the full length version of “Come Out and Play”, including the Warriors homage of “Twisted Sister, come out and play!”  Pero’s final album, and his drumming on this track is as blazing fast as it got for Twisted Sister.  “Leader of the Pack” is campy fun, but it really had to be included, being an integral part of Twisted’s early history and eventual failure (at least according to Jay Jay in the liner notes).  “The Fire Still Burns” has an intense flame indeed, though did Dieter Dierks’ production do it any favours?  Of note:  “You Want What We Got” is not the album version.  It is longer at 4:21, and contains an outro with Dee Snider talking, and dropping a deleted expletive!  This version is not credited as being unique, and it’s currently unknown where it originated.

Love Is For Suckers is often neglected.  The Beau Hill-produced album was written to be Dee’s solo debut, and included members of other bands from the Hill camp, such as Fiona, Winger and Kix.  Reb Beach played lead guitar, which led to a sudden change in sound, away from the heavy metal of Twisted Sister’s roots, and more towards what was popular at the time:  the subgenre they call “hair metal” today.  Joey “Seven” Franco replaced A.J., and was so nicknamed as he was the band’s seventh drummer.  Franco also followed Dee into his solo band the following year.  “Hot Love” was the single, which should have been a hit, while “Love Is For Suckers” was the only cover the band ever recorded without playing live first.

The final song is the bonus track, “Born to be Wild”, the Steppenwolf cover that they have indeed played live (going back to 1976, but more recently on Live At Wacken: The Reunion).  This new studio version was recorded in 2005 and produced by Mark “The Animal” Mendoza.  It was used prior to this release in a reality TV series called Knievel’s Wild Ride.  It’s tremendous fun, with Twisted Sister ripping into it with their usual reckless abandon.  Mendoza’s bass is delightfully bass, but Dee Snider really lets loose at the end.

This set, being limited to the Atlantic years, gratefully doesn’t include anything from Still Hungry or Twisted Christmas.  That’s fine and dandy; they would unbalance this release.  The Best of the Atlantic Years is the best single Twisted Sister compilation on the market.

5/5 stars

#1131: Foxes & Fireworks: Five New Things This Weekend at the Lake

RECORD STORE TALES #1131: Foxes & Fireworks
Five New Things This Weekend at the Lake

After 52 years, it’s not always easy coming up with new experiences to have at the lake.  Sometimes it’s a fortuitous mixture of planning and luck.  I am always conscious  that every second at the lake counts.  Unfortunately, my energy isn’t what it was.  I don’t remember having so many naps back in those days.  I just remember going, and going, and going!  Gosh, when Peter Cavan used to come up to the cottage for a weekend, we’d go from one activity to another without taking a break.  We’d go from badminton to throwing around a football, to playing a video game to making a stir fry for dinner.  Then we’d be in the car to buy some fireworks.  We like it easier these days.

New thing #1:  Road tunes

Our weekend began on Thursday evening for the first spin of Arkells’ new album Disco Loadout Volume One on the road.  It was a singalong success from start to finish, but it only took us as far as Listowel.  For the rest of the trip, we played the Moody Blues Long Distance Voyager.  Another success.  It is always a pleasure to try new tunes for the road.  I am happy to report that both albums did very well, and voices were raised.

We settled in quickly for a quiet weekend.  Well, quiet for the moment.  I inaugurated the weekend with some Deep Purple on the porch.  This was done to celebrate Rock Daydream Nation’s excellent Deep Purple Stormbringer episode, which I was a part of.  The episode was well received and I had a blast doing it.  Of course, Friday night was Grab A Stack of Rock which I always love doing from the lake.  There’s only one issue with doing anything on the porch involving a computer.

As another hallmark of my increasing age, my back hurts plenty after a day of rocking out and a night of live streaming from the porch.  Writing?  Extremely difficult.  The deck chairs are very comfortable there, but only for leaning back.  For working with a keyboard and a screen, they are not so practical.  Not to mention, we just have these small glass deck tables to put my laptop on.  I’ve used a number of laptop stands, but none offered the height, position and stability that I needed to easy my aching back.  There must be a solution.  Enter:  Amazon.

New thing #2:  Amazon calling

I heard through the grapevine that Amazon were now delivering to the cottage, though sometimes they have problems finding the addresses.  Some of these places are not on GPS.  However, let’s give it a shot.  I picked a new desk that I thought would work on my front porch, and had it delivered straight to the cottage.

Much to my surprise, it worked!  The delivery truck backed into the driveway at 3:00 in the afternoon, and I went outside to find a cardboard box on the deck, waiting for me!

The game has changed.  With Amazon now offering next-day delivery to the cottage, imagine what things I will waste my money on when I’m bored!  When we were kids staving off boredom, we were limited to whatever toys and cassette tapes the local stores had to offer.  Not anymore!

Now, time to set up the desk!

New thing #3:  I have a desk on the front deck now

The desk was easy enough to assemble, though the included tools were no match for my dad’s ratcheting screwdriver.  It would have taken me an hour or more if I used the wimpy little screwdriver that came in the box.  Soon, I had my desk set up, and adjusted for maximum comfort.  The game has been changed.

I could spent all day typing now.  It was like I had my own little porch nook, surrounded by coffee, lego, potato chips and CDs.

With this new desk, I should be able to do more writing and more video editing than ever before.  If I want to!  That’s the key to remember.  The cottage is for relaxing.  I must remember to do what feels right, instead of pressuring myself to “produce”.  That said, it was great broadcasting Grab A Stack of Rock with such comfort.

I did want to produce a video short this weekend, and that was semi-successful.

New thing #4:  Slow-motion fireworks

My mom and dad left us some Roman candles from the May 24 long weekend.  Though not as practical as fountains, they would do for my attempt to get some slow motion video of fireworks.

The first one didn’t give me any footage.  The problem is the firework is mostly pauses between bursts of colour.  It’s hard to hit record at the exact right time to capture anything, and even at super slow-mo, it’s hard to get more than five seconds of footage.  Next time we’ll try a fountain, but for this experiment, I was able to get two videos up on Youtube.

I love it when a plan comes together!

The last new thing that happened was complete serendipity.

On the Saturday night, Jen and I went down to the beach after finishing our delicious ribeye steak dinner.  It was after sunset, but the glow of the sun lingers for hours, and you don’t need a flashlight at the beach during twilight.  I got up to have a pee in the bushes, and after doing my business, I sang a little song and turned around.  That’s what I saw him.

The fox was heading straight towards me.  He had a gait unlike a dog.  He was unmistakable.  With absolutely no fear of humans, he walked with intent right past both of us, and on down the beach.

New thing #5:  I finally captured the fox on camera

I’ve been trying for four years now, and I finally got him.  The pictures don’t do him justice, but you’re never expecting the fox until he’s right there in front of you.  I named this one Eric Caravello.

We didn’t even get into the Lego, the steaks, the fish fry!  That will eventually make it into the cottage video.

A wonderful weekend of firsts.  Maybe the next weekend will just be old favourites!

 

 

Rock Daydream Nation: Deep Purple – Stormbringer – Did this album push Blackmore to leave Purple?

I need to remember for fortunate I am.  Some time in 2023, I was approached by an Australian man named Peter Kerr to do a show on the Vinnie Vincent Invasion for his channel, Rock Daydream Nation.  He had seen me around on social media, and we hit it off immediately.  Meeting Peter has led to some of the best shows I’ve done, including a couple on Grab A Stack of Rock.  This week on Rock Daydream Nation, Peter and I went back to one of our core deep love bands:  the Purples.  Deep Purple Mk III in fact, and the sometimes maligned Stormbringer LP.

As per the deep dive format, we begin with first impressions.  Mine begin with a cheap cassette copy bought at Encore Records in Kitchener Ontario.  We then go track by track through the whole album, side A and side B.  By the time we offer our final thoughts, it is plenty obvious that we love Stormbringer.  Blackmore may have disliked the funk, but we like when he plays funky.  We touch on Rainbow,  Whitesnake and much more.

We drive into some Deep Purple history here, so grab a coffee and enjoy this deep dive!

That’s a Wrap: Top Five Albums After a Long Gap, with Metal Roger and John Clauser plus the Mad Metal Man!

A big thank you to Metal Roger for the topic, and thanks to John Clauser for an awesome show!  The topic tonight was Roger’s:  Top five albums after a long gap between.  There was no crossover on any of our lists.  I went mostly mainstream with my bands.  Clauser surprised us with a lot of bands I didn’t know, but were popular in the comments.  A nice Steve Augeri band too! Metal Roger did industrial, metal, and beardliness.

My list is below, and included two Japanese imports and a couple of special editions with DVDs.

At the end of the day, the mighty Harrison Kopp the Mad Metal Man himself turned up with a list of his own, which surprisingly lacked any Blaze Bayley.  A huge thanks to Harrison for coming on last night.

Tune in next week for the Battle of ’84 with Pete Jones:  Defenders of the Faith vs. Powerslave!

I cheated.

TIE

KISS – Sonic Boom (2009) – 11 year gap from 1998’s Psycho-Circus

Van Halen – A Different Kind of Truth (2012) – 14 year gap from 1998’s Van Halen III (8 year gap from 2004’s Best of Both Worlds)

Faith No More – Sol Invictus (2015) – 18 year gap from 1997’s Album of the Year

Deep Purple – Perfect Strangers (1984) – 9 year gap from 1975’s Come Taste the Band

Styx – The Mission (2018) – 15 year gap from 2003’s Cyclorama (13 year gap from 2005’s Big Bang Theory)

Extreme – Six (2023) – 15 year gap from 2008’s Saudades de Rock

Top Five Albums After a Long Gap, with Metal Roger and John Clauser

GRAB A STACK OF ROCK With Mike and the Mad Metal Man
Episode 61: Top Five Albums After a Long Gap, with Metal Roger and John Clauser

‘Twas Metal Roger who suggested this week’s topic.  What are our Top Five Albums after a Long Gap?  Well, Chinese Democracy is an obvious example, but there are many more, ecpecially from the last decade or two.  It took 24 years for The Who to release a new album (Endless Wire) and then another 13 years to release the followup Who.  For the sake of this exercise, we are arbitrarily saying at minimum, at least a five year wait to qualify an album for this list.

Joining us will be Johnny Clauser from My Music Corner, which is doubly good since Roger has no physical product to show off for his picks!  (Come on, Roger!)  I have eight picks and have to narrow it down to five, which I will probably do at the last minute.

This will also be John and Roger’s first shows at the cottage.  We hope for clear weather and chipmunks!  Join us live in the comments.  We love to talk to the audience!

 

Friday May 31 at 8:00 P.M. E.S.T. / 9:00 P.M. Atlantic.   Enjoy on YouTube or on Facebook!