Paul Shortino joins the new Grab A Stack of Rock intro video

After Friday’s show, you knew I had to do this.  The synch worked out pretty well!

REVIEW: Extreme – Six (2023 Japanese import)

A special joint post today with Jex Russell – Pop Culture Nut.  Read his review by clicking here!

EXTREME – Six (2023 Victor Japan)

Extreme fans never stopped believin’.  We’re delighted that people dig the new album Six, but we always knew.  Saudades was great.  Punchline was great.  We have always boasted about what Nuno was capable of, and it’s hard not to love Gary Cherone.  This is a band you just want to kick ass, and they do on their sixth (studio) album, shockingly titled Six.  There’s no dip in quality – there hasn’t been a dip in quality since their embryonic debut back in 1988.  It’s been nothing but peaks since then, though always different from one another.  Reviewing Six is less about praising it (which is easy) and more about seeing what Extreme are doing differently this time.

We talk a lot about riffs here, but rarely have Extreme riffs been as direct and heavy as the one on “Rise”.  This, by the way, is the song with the solo that seems to have taken the world by storm.  The spirit of Van Halen was definitely in the room when Nuno laid it down, and it’s an undeniable highlight of the song.  The solo is as impressive and hooky as a song unto itself.  Another figure that people are starting to notice is drummer Kevin Figueiredo.  It’s hard to stand out when you’re Mike Mangini’s replacement in Extreme, but Kevin kicks it!  (Joke intentional – die hard Extreme fans know.)  “Rise” could be the heaviest Extreme song to date.

Riffing continues on “#Rebel” (pronounced “hashtag rebel”), another contender for heaviest to date.  The riff is definitely a monster, and Nuno augments it with those tasty licks he’s known for.  Gary Cherone, meanwhile, sounds to be in better voice than he was back in the 1990s when he joined Van Halen.  He doesn’t seem to have to push as hard, no longer going overly gritty when he’s givin’ ‘er.  The solo is another marathon workout, and just a pleasure to bang along to from start to finish.  Like most great solos, this is a fully composed piece of musical performance.

Third standout riff in a row, “Banshee” is yet another butt-kickin’ banger.  It’s not fully pedal to the metal this time, with the verses being a little less loud, allowing Gary to get slinky.  Bassist Pat Badger forms a formidable groove with Kevin here, which gives Nuno room to play around.  The solo, once again, is thought out like a miniature song within a song.

Finally on track four, we get a breather!  A brilliant acoustic song called “Other Side of the Rainbow” is just a thing of beauty.  The vocal harmonies of Gary and Nuno gel better here than anywhere else on Six.  This is pure pop, as Extreme have occasionally done (and done so well) on albums past.  There are elements of Extreme II and Waiting for the Punchline here.  It somehow sounds like a lost remnant from the decade of the 90s.  One of the best Extreme songs in the entire canon, and a brilliant Queen-like performance from Gary.

Continuing down the acoustic road, the ballad “Small Town Beautiful” definitely recalls the softer moments on Punchline.  The blend of vocals here is really special; those trademark harmonies.  Things shake up once again on the bass heavy “The Mask”, with co-lead vocals by Nuno Bettencourt, a rare treat.  Gary takes over on the choruses, while Nuno takes the verses in an affected voice.  “Rip off the mask, I’ll show you who I am!” howls Gary on the menacing chorus.

The unusual “Thicker Than Blood” has an industrial tint, but actually is closer to a reflection of Nuno’s 1997 solo album Schizophonic.  It absolutely could have come from that album, but it would have been one of the better tracks if it had.  The solo here is a wicked little number.  They take it down to a heavy grind on “Save Me”, another song with a downtuned 90s flavour, but a searing chorus.  It’s two completely different moods, verse and chorus.  Quality remains high.  Variety continues.

Another soft acoustic number called “Hurricane” sounds like Simon and Garfunkel, and there’s nothing wrong with that.  Extreme could do Simon and Garfunkel a hell of a lot better than Disturbed.  Nuno takes a rare acoustic solo here.  A very special song.  Extreme throw another curveball on the effects-heavy “X Out”.  We’re reminded, perhaps, of “Evilangelist” from Punchline, but with more of that industrial synthy vibe.  There’s an undeniable Stranger Things vibe to the synth line.

A complete 180° will spin your head on “Beautiful Girls”, a light tropical summery number about…shockingly…beautiful girls.  It’s just pop, pure and simple, and there’s nothing to feel guilty or shameful about.  (There’s only one line I dislike – “California Girls, I wish they all could be” – gimme Canadian girls any time!)  Bottom line, Extreme have never been shy about going way outside the box.  “Beautiful Girls” represents the furthest they’ve gone since Extreme II back in 1990.  The guitar solo is pure Brian May, 100%.  There’s no denial, except for that wicked burnout at the end!  Some might say, “This sounds like Sugar Ray!”  I say, “Sugar Ray could never sing nor play like Extreme do.”  Interesting that on an album with Extreme’s heaviest rockers, we also find their their most pop song.

The acoustic guitars remain out for album closer “Here’s To the Losers”, another brilliant tune that goes in another different direction.  It has an anthemic shout-along of “Get up!  Chin up!  Drink up!”  (Your beverage of choice, of course!)  It’s like a rallying cry and it’s a terrific closer.  The key change at the end is really nice.

The sequencing of this album is really interesting.  Though the first three songs sell it as a heavy monster, the diversity soon comes into play, and then we run into multiple acoustic songs in a row.  It’s unexpected but it works.  The Japanese CD has its bonus track of course, and it’s a simple radio edit version of “Rise” that allows the CD to end heavy, if you prefer it that way.  The edit version of “Rise” is a full minute shorter, but wasn’t really necessary except to satisfy radio formats.  Fortunately the solo is still a main feature of the song.

Extreme Six was expertly produced by Nuno Bettencourt.  The man’s talent knows no bounds.  In fact Extreme are one of the most talented bands to come from the 80s, end sentence.  Six is among their very best albums, which is to say, all of them but the debut.  The streak continues.  Extreme are the champions.

5/5 stars

#1077: Lunch With Aaron & Son

RECORD STORE TALES #1077: Lunch With Aaron & Son

In the last five years, my world has changed drastically.  We lost Jen’s mom, we’ve lost friends, but on the positive side, we’ve also lost weight!  The world has gone through a transformative pandemic, but one constant is Aaron KMA, a man I have not seen since 2018.  I am happy to report that Aaron is still out there being Aaron – bearing gifts and warmth as always!

We met halfway, at the Elk & Finch in Southampton Ontario.  He brought his son, who I’ve never met before, but has good taste in hamburgers.  We sat down to some amazing food, including the best smoked salmon I’ve ever tasted in my life.  This is it: as good as it gets.

Food aside, I knew Aaron would arrive bearing gifts, and as usual, he did:  Books, CDs, and more.  Let’s have a gander, shall we?  Let’s go through the contents of Aaron’s gift bag bit by bit.

Not pictured, there were four bottle of Iron Maiden’s Trooper beer!  Not pictured because I didn’t think I should pull out liquor of my own at a restaurant.  You understand of course!  You are probably familiar with this acclaimed brew already.  That made up a lot of the weight of the gift bag.  Much of the rest of the weight was taken up by books.  One book specifically.

The big one is The Art of Classic Rock by Paul Brushkin, with foreward by Alice Cooper.  Aaron has showed this off on my show before.  We also have rock magazines (with CDs)!  Other reading:  Gods of the Hammer by Geoff Pevere, the story of Teenage Head.  The “Hammer” in this case is Hamilton Ontario.  Keeping a punk vibe, Aaron also gave me Perfect Youth: The Birth of Canadian Punk by Sam Sutherland.  Finally, it’s The Story of Tommy which is really gorgeous!

I’m very excited about the music.  I actually didn’t own a copy of Garbage’s self titled debut, until now.  This one is signed by all four members, and lo and behold, it’s dedicated to Mike!  Just a coincidence I assure you but how cool is that?  I now also owned Backwaxed by Anvil, which I was missing until now, and now I also own the Hip side project Stripper’s Union.

I get more and more excited the further we go!

These Hot Wheels are really cool.  I think I need to open them.  The Yellow Submarine (Beatles) is groovy.  The USS Enterprise though…I just enjoy swooshing those ships around.  This Enterprise is NCC-1701 from the 2009 film Star Trek, directed by JJ Abrams and starring Chris Pine as Captain Kirk.  (I have to be honest, I prefer Paul Wesley’s Kirk from Strange New Worlds, which I am trying to get Aaron to watch!)  I enjoy these very much, and this is not the first time Aaron has found an appropriate Hot Wheels to gift me.

Onto the shirt, which was actually the first item in the bag.  Jeff Woods is legendary in my circles – he is THE Legend of Classic Rock.  Jeff Woods even contributed to the Sausagefest countdowns a number of times.  Aaron, however, isn’t a radio listener and isn’t intimate with the works of Mr. Woods as I am.   Yet Aaron found this shirt, thought of me, and put it in the bag.  I am thrilled.  This is a shirt I would have bought myself anyway!

Finally…

I just loved the Sheik.  I have always loved the Sheik.  He was one of the greatest villains in WWF history.  We talked to Spenny about the Iron Sheik back in May on Grab A Stack of Rock.  And now I have a little loveable stuffed Sheik of my own.   I couldn’t be more happy.  This is the kind of gift that just screams “Mike”.

 

Aaron, it was a delight to hook up again and finally meet your son.  I hope we do something like this again soon.  I could go for some salmon again.  And the coffee was great too.

Three cheers for Aaron!

 

 

The Dumbest Thing You Will See On YouTube Today: Mike Opens $1600 Box Set (With Jex) on Grab A Stack of Rock, featuring Paul Shortino

So it shall be written, so it shall be done!  The Metallica box set has been unsealed, opened, and displayed.  And I am glad that I did it.  Yes, I could have turned it around for $1600 but I chose to let the music be played as intended.  (Then there was an added screw-up, which I quickly fixed before too late, you’ll have to see it!)  Obey your Master, and watch this epic unboxing of the Master of Puppets box set.

The box included prints, lyric sheets, buttons, 3 LPs, 10 CDs, 2 DVDs, and a cassette.  We tried to get a look at all of it.  Pause to gaze at the track lists in detail.

In addition we took a peak at some new arrivals:

  • Judas Priest – Hero, Hero vinyl in pristine condition
  • Alice Cooper – Killer and School’s Out deluxe CD editions
  • Official Tee Bone Man stickers

Jex brought the fire with some cool video from Geomatrix.  You have to check this out.  See for yourself at about the 32 minute mark.

A big thank-you to an exhausted Max the Axe, who tried to make an appearance but suffered at the hands of the Streamyard gods.  We never found out what was wrong, but Tim sympathizes!

We had our “Ask Jex” questions this week – a pair from first-timer Rob Daniels.  Thanks Rob!  Great questions.  Keep them coming.

Finally, sincere appreciation to Paul Shortino for a wonderful Cameo, giving us a shout out at Grab A Stack of Rock, to the tune of “Dreaming Again” by Rough Cutt.  The guy still has an amazing voice.  We ran this Cameo twice, once at the start and once at the end of the show.

Thanks for watching and we will probably see you again next Friday evening!

 

 

 

Friday Afternoon – Cloudy With a Chance of Max, on Grab A Stack of Rock with Mike and Jex!

GRAB A STACK OF ROCK With Mike and the Jexciter

Episode 30:  Cloudy With a Chance of Max (and Tim)

A casual afternoon at the cottage with Jex!  Just for fun, we invited Max the Axe to show up, but if he does or not…who knows!  We’ll be playing his music regardless.  Tim Durling is also a possible sighting!  We’ll be talking all the latest in our musical lives, doing some unboxings, and rocking some tunes!  Of course, we need to talk about Jex’s new WordPress called Jex Russell – Pop Culture Nut!

This week, we even have a celebrity cameo!  From who?  I guess you’ll have to tune in and find out.  One clue:  “Forever we will shine!”

We will be showing of a wealth of musical treasures as always, and this time…I may FINALLY unbox that Metallica Master of Puppets box set that I’ve been sitting on for five years!  According to Patrick Olsen formerly of 107.5 Dave Rocks, sealed copies of these now go for up to $1600.  This could be the dumbest thing you see on YouTube today!

Therefore, don’t miss it!

Friday August 4 at 3:00 P.M. E.S.T. / 4:00 P.M. Atlantic.  Enjoy on YouTube or on Facebook!

 

 

 

REVIEW: Jaz King – Changing Gears (2006)

Review written in 2006.

JAZ KING – Changing Gears (2006)

How refreshing it is to purchase a CD in this day and age that doesn’t say “ProTools by…” in the liner notes.  That’s the kind of CD that Changing Gears, by newcomer Jaz King, is.  It’s earthy  without being too rough.  Miss King is a young Canadian singer/songwriter who’s been writing her own material for over half a decade.  It’s easy to be cynical in these days of Canadian Idol, and think that any young female coming out can’t write or play her own instruments.  Contrary to the norm, King sings, writes, and plays guitar and piano.  She’s backed by Steve Foley on guitar and drums, and Jon Van Wingerden on bass.

On first listen it would be easy to lump King in with the likes of early Jewel or Dayna Manning.  However, her voice is more breathy, more human.   Dare I say it; it’s darker.  The occasional high note does remind us Dayna Manning, but King’s material is not nearly as pop.  Whereas most mainstream artists overpolish their music in the studio, King has wisely left the arrangements to the basics performed by herself and her studio band.  The acoustic guitar parts are lush, reminding us of Jim Cuddy.  There is some nice electric guitar as well, the parts on “Close Your Eyes” reminding us of Ty Tabor.  During the intro to “Southbound” there’s some nice soft electric guitar that you can only get from a tube amp and it sounds perfectly appropriate.  The drum parts courtesy of Steve Foley fill in all the gaps, providing enough interesting fills without being overpowering.  Background vocals (uncredited) are complimentary and don’t cramp the mix.  Unfortunately the bass is mixed a little too low, which is sad as it’s the kind of dexterous playing that this reviewer loves.  If it only it were cranked a little higher.  Care to do a remix for us, Miss King?

King’s songwriting is definitely above average, demonstrating her years of working on her craft.  Her melodies are memorable and original.  Where she really shines, however, is in her lyrics.  “October” is sweet, dark, bitter and bright all at once.  This is something that some songwriters take years to achieve, but King has arrived on the scene as a fully developed lyricist.

The best track, without a doubt, is “All I Have”, which she wisely left for last.  Featuring King alone on piano and vocals, it stands out from the other tracks, but ends abruptly.  Whether she did this knowing the listening would wish the album wasn’t over yet isn’t clear, but it was a wise move.  Too many bands make the mistake of putting too much material on their debuts.  This tires out the listener, but King leaves them wanting more.  A very clever move.  Intentional?  Perhaps, or maybe that’s just the way the song sounded in her head.  Or both.

Clocking in at 35 minutes, Changing Gears gives you better value for the money than the average Weezer album.  Let’s not forget that in the storied old days of vinyl (remember vinyl?) 35 minutes represented a long album.  These nine tracks don’t overstay their welcome, though it would’ve be nice to hear King and her band do a nice bright fast one.  The packaging is extremely pro, a nice white & blue digipack.  All the photos inside and out follow an automobile motif (Changing Gears, get it?) and this follows through to the stickshift design on the disc itself.  There is a full colour four page booklet, which unfortunately suffers from the kind of pixilation you get from a bubblejet printer.  Because of this it’s hard to read the handwritten lyrics inside, which is tragic.

The great thing about a debut album like this is that usually it only hints at what the artist is capable of.  In the future, King should be able to carve out her own identity.  She has the necessary playing skills and songwriting ability to grow with each release.  An artist like this would benefit from a University tour, giving her a chance to build a national fanbase and her chops at the same time.  Let’s hope Jaz King gets that chance.

SOUNDCLOUD LINK.

4/5 stars

 

Noirison: Chapter One – A Tee Bone Man Multiverse Story (by Holen)

NOIRISON: Chapter One

A Tee Bone Man Multiverse Story

By Holen

A cold breeze blew in from the south, rustling the threads on my coat, and shifting my hat ever so slightly. I never could get used to these damn cold nights. I’d spent my nascent years in Perth, Australia. Anything below 60 was too clammy for my good. Leaving home wasn’t my choice, but when you find yourself running amuck of Johnny Law, it’s best to split like a bum at a railroad inspection. New York City had its charms though. I had a nose for action, and this city kept my nostrils flared.

My name is Harrison Healey. I’m a private eye. I used to work for the force, but Captain Ladano considered my attendance too erratic. Of my many virtues, punctuality was not chief among them. I looked more like a cowboy than a gumshoe. I was tan, tall, handsome, and handy with a weapon. A loaded .45 and a license to carry in all fifty states, not that I was too keen on using it. You needed a heater on these streets though, even if it was full of blanks. But if you used dummies, you’d best be ready for the other guy to call your bluff.

Damn, there’s that breeze again. I was only a few blocks from home. I liked to walk some days, it gave me a chance to sweat out the booze, but the cold was getting to me that night. I decided to light a cigar. But where did I put that lighter? It was right about then that a meaty fist the size of a 10 oz steak appeared in front of my face. It was holding a specialized lighter that read, “John T. Dreyfus Productions.” I looked up at the towering lump of meat standing in front of me. This guy was definitely muscle.

“Want a light?” the giant inquired.

“What’s the catch?” I shot back.

“A few minutes of your time. Mr. Dreyfus wants to see you,” he impatiently spat out.

“I don’t presume to know Mr. Dreyfus, and if it’s all the same to you, tiny, I’ve got a bourbon nightcap and a pillow calling my name at home. Tell him to call my office tomorrow and set up an appointment like a normal person.” With that rebuke, I turned to walk away, but the giant had other plans. The 10 oz steak became a hammer and nailed my stomach up against my spine. I hit the ground like a sack of bricks. My still unlit cigar rolled down the curb into the storm drain.

“It wasn’t so much a question,” a booming voice proclaimed from seemingly miles above me. The hammer came ‘round for a second swing, this time whacking my skull. I tasted blood, saw black, and don’t remember too much for a while after that.

I started to come around in a chair. I had no idea how long I was out, but I wasn’t booze drunk anymore, just punch drunk. I had to stop drinking like that. I should have heard a guy his size coming a mile away. A creep that size probably shook the buildings when he walked.

“Ah! He’s coming around! Good thing too, as this whole affair was beginning to try my patience,” an unfamiliar refined voice declared.

I opened my eyes and got a good look at my surroundings for the first time. I was several stories up in an expensive looking room, full of the tacky kind of furniture that only a despicable amount of wealth could ever corrupt you into believing was fashionable. It was still night, but was it the same night? The giant was lumbering in the corner, and a middle aged man with snow white hair approached me.

“My apologies for the rough stuff. My employees can oftentimes be a bit overzealous, but they’re so effective I find it hard to reprimand them!” Dreyfus decreed with insufferable hubris.

“Well if you don’t, I’d be more than happy too,” I groaned. “I think your boy fractured my skull.”

“Now, now, Mr. Healey. Let’s not be melodramatic. I deal with enough of that from my actors. I’m sure your headache is nothing a drink wouldn’t fix. Pick your poison,” he said, gesturing to the extensive supply of liquor on the wall.

“Bourbon, neat.” I guess the moratorium on drinking would have to wait.

“Ah, a man of taste. I understand that Europeans don’t often drink with ice. Is that true of Australia as well? I for one like to savor every sip. I’m a man of refined tastes, and I want to taste every cent,” Dreyfus chuckled, handed me the bourbon, and then poured a glass for himself. I took a sip, and the pain began to subside.

“Look pal, I don’t mean to be rude, but I have no idea who you are, or what you could possibly want from me,” I said.

“You’ve never heard of John T. Dreyfus Productions? I’ve been a pillar in the film industry for thirty years, by the looks of which is longer than you’ve been alive. Haven’t you ever been to a cineplex?”

“I’m a music guy.”

Dreyfus scoffed.

“Well, it’s impertinent to the matter at hand anyway,” he proclaimed. He took a sip of his bourbon. “Despite all the pageantry, what I desire from you is fairly standard. I’d like to hire you to find somebody.”

“I’m in the phone book, didn’t you think to try that first?” I quipped.

“I’m afraid it was a matter of some urgency, and I’m not accustomed to waiting.”

“All right then. What was so urgent you needed to give me a concussion?” I sarcastically inquired.

“An actress. She’s a newcomer, set to play a starring role in my latest film. This woman is a natural! Talented, and not so hard on the eyes either if you catch my drift. The picture is set to start filming next week, but she hasn’t been to rehearsal in the last three days. No one knows where she is, and I refuse to recast her. I want her in that film, and John T. Dreyfus gets what he wants!” he exclaimed in third person.

“I picked up on that, yes.”

“As I’m sure a man of your intelligence has already concluded, I want you to find her, and bring her to me.”

“What if she doesn’t want to come back?” I barbed.

“Well, I presume a man of your distinguished physical attractiveness should have no trouble convincing any woman of the heterosexual persuasion to follow you anywhere,” he said. I couldn’t tell if it was flattery, or an honest observation. In spite of all my vices, I was good looking.

“Dame got a name?” I asked.

“Savannah Severny. Doesn’t the alliteration just tickle you?”

“No,” I bluntly replied. Dreyfus sighed.

“In any case, here’s her profile shot,” Dreyfus handed me a picture of a beautiful blonde. She was a looker all right, but she had that sadness hidden under the surface. Someone had taken a belt to her too many times as a kid, or maybe no one was there to do it at all. Another broken beauty.

Dreyfus interrupted my thoughts saying, “And then there’s the matter of your pay. How does $500 a day suit you?”

It sounded good, great even. Business had been on a downward slide for months, but I wasn’t about to tell him so. I flashed a sour look.

“$750. How about that?” Dreyfus offered.

“Plus expenses,” I added.

“Well, naturally.”

I bit my lip and tried to hide my smirk. This wasn’t a parsimonious man. His po ckets clearly ran as deep as his influence. Still, something about him rubbed me the wrong way. Those rich producer types always had ties of which I never wanted to be associated. But at the end of the day, I couldn’t hide from the ugly naked truth, I needed the money.

“All right, I’ll take your case,” I agreed.

“Excellent,” Dreyfus opened a drawer and produced several bills. “Here’s a two day advance. Keep me updated on any progress.” He shook my hand with his right hand, and handed me the bills with his left. I stood up to leave, shot the muscle a quick glance of defiant bemusement, and walked towards the door.

“One more thing,” Dreyfus quickly said. I slowly turned, inadvertently betraying my annoyance.

“Forgive me, dear boy. I’m afraid I’m rather unschooled in the fine art of brevity. But seeing as you seem to have a proclivity towards impetuosity, I’d say we make quite a pair,” Dreyfus wryly remarked.

I stared in waiting.

“A bit of dry humor. Perhaps, misplaced. I’m afraid I mistook my audience, and mistook you for a risible man,” he conceded.

“What is it?” I said curtly, finally losing all patience. Briefly, I caught a sinister glance cast out of Dreyfus’ eyes. It was only a fraction of a second, then he quickly composed himself. This man was definitely a professional.

“Confidentiality is something I hold sacred. From now on, I’d like you to refer to me in all communications and in any notes you may take for this case by a false name. You are to refer to me as Snow. Understood?”

“I think I can manage.”

“Good. On your way then.”

On my way then. The ink hadn’t even dried on our deal and already I was like one of his lackeys. I rode the elevator down to the ground level, questions spinning on my mind. Why me? A man of his financial stature could afford anybody to find this broad. Why’d he employ the services of my crummy dime store operation? Maybe he had looked in the phonebook. Everyone flips to the middle anyway, and my name is right around that area. The c-notes in my pocket helped to pacify my restless mind. I wasn’t sure how I’d find this Savannah lady, but I had a good idea of who I should ask first. Before I saw him, I had to stop by a gas station for a few tallboys.

I slid into T-Bone’s, a local jazz club and found a table near the back. The guy I was looking for was up onstage, a guitarist known only by the name Holen. He was an esteemed player. Everyone knew of him, but no one knew what he looked like. He was an invisible man, sharp-dressed, but tough to discern out of context. He lived for his instrument, it was the only thing in the world that brought him happiness. That and any kind of liquor he could get down his gullet. Hence the cold tall boys in my coat.

I sat there and watched his set. I decided to have a cigar, but remembered I didn’t have a light. It was just gonna be one of those nights. Holen took his solo, then a bow, and made a predictable beeline for the bar. I met him there, tallboys still frosty in my coat. Sweat still dripping from his invisible brow, Holen turned in his barstool towards my direction.

“Harrison Healey. To what do I owe this undoubtedly dubious pleasure?” Holen exhaustedly proffered.

“A little sloppy tonight weren’t you?” I ribbed.

“It was our third set! I’m getting the shakes. And you know I never drink before or during a performance,” he spit back.

“I might find that impressive if those weren’t the only times you aren’t nursing a drink.”

“Speaking of, why don’t you cut to the chase so I can get straight to it? I got a date with the demon rum.”

“I need some information,” I said bluntly.

“Of course you do. You ever think about just making a social call?” he jested.

“I’m not the social type, Holen. Tell me everything you know about this broad,” I extended the picture out to him.

“What’s in it for me?” he grunted. I produced the tallboys.

“They were out of Mickey’s big mouth cases. I figured these would do,” I ribbed.

“Well, that’s a start. Her name’s Crystal. Well, probably not, but that’s what they call her. She dances over at the Two-Bit strip joint off of 10th street. You hurry, you might catch the end of her show.”

“I heard her name’s Savannah.”

“It probably is, but that’s not what they call her down there.”

“You sure it’s her?” I pressed.

“Yes. That’s not the type of dame you mistake for somebody else.”

“Thanks. Take it easy there, Holen. I could almost hear your liver crying above your guitar.”

“I never stop ‘til I’m three sheets to the wind. Otherwise, what’s the point?”

I patted him on the back and proffered a simple, “Do as you will.”

“I intend to,” he quipped back.

Holen was certainly a character. The tosspot took the piss out of everything and everybody. There was something about him I admired though. He’d found his niche and was content indulging his vices nightly. I took leave of T-Bone’s and set out for the strip joint. Luckily for me, it was only a few blocks away. I checked the time, it was a quarter to four. I’d better get moving if I wanted to catch Savannah.

I hastened my pace. The exertion helped subdue the cold. I made good time, and saw several girls being escorted out of the strip club by what had to be the bouncer. I snuck back in the lot behind the place. I didn’t feel like having another confrontation with a brainless brawn. Standing out of sight, I perused the shadowy figures, looking for one that resembled Savannah. No such luck yet. I saw a dark silhouette about to turn the corner, and then felt a heavy object strike the back of my dome with extreme force. So much for avoiding another head injury…

TO BE CONTINUED…

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

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

  • Chapter Eighteen:  Shinzon – Origins (By LeBrain)
  • Chapter Nineteen:  Tee Bone Man and Superdekes vs. the Lego (By LeBrain) coming soon
  • Chapter Twenty:  The Death of… (By LeBrain) September
  • Chapter Twenty-One:  The Fate of… (By LeBrain) October

 

  • Noirison:  Chapter One (by Holen)
  • The Mole in Rock and Roll Heaven (by 80sMetalMan) TBA
  • Shinzon – Dread and the Fugitive Mind (By Harrison Kopp) TBA

 

THE COMPLETE ADVENTURES OF EDIE VAN HEELIN’

THE WRITER’S ROOM

 

 

RE-REVIEW: Arkells – Morning Report (2017 vinyl deluxe edition + 4 bonus tracks)

ARKELLS – Morning Report (2017 Universal vinyl deluxe edition)

Last time I reviewed Morning Report, I mentioned that the first two songs, “Drake’s Dad” and “Private School” were my least favourites.  Ironically Morning Report became my favourite Arkells album despite this.  When I re-bought it on a vinyl reissue, I was surprised but pleased to see that the running order had been altered!  Now, a new single called “Knocking At the Door” was track #2, with “Private School” moving on to #3.  This really changes things and makes the album a much more consistent listen from the start.

Y’see, I’ve discovered that I don’t particularly like when the Arkells get too much into modern mainstream pop.   Despite its powerful soul chorus, “Drake’s Dad” falls into this category for me.  It really does have a great chorus, a powerful soul/gospel chant of “I just wanna hold you, so high!” that raises the roof.  It also has a lush arrangement with strings and samples.

“Knocking At the Door” has modern elements too, but my attention is drawn to the blast of the horn section, and the impressive and aggressive drumming from Tim Oxford.  The track is just a banger.  The chorus is as powerful as the Arkells get.  Never a dull moment in this song.  Listen to the horns and drums, trust me!  Like “Drake’s Dad”, this one also features soul/gospel vocals.

The forgettable drinking anthem “Private School” has a fun hook of “Ah, fuck off, don’t say I’d do the same!”  Silly fun.  It doesn’t overstay its welcome, and soon makes way for the incredible ballad “My Heart’s Always Yours”.  This suave pop rock heart-tugger just hits all the feels.  Max Kerman has a way with words and I’m certain that the ladies love him for it.  Though keyboards are the prominent hook-delivering instrument, the pure passion and panache of this song just elevates it to the clouds.  As you’ll see later on, it doesn’t need the keyboards.  A brilliant song, made indelible in the brain and heart!

Things get even better on “Savannah”, the fast acoustic-based song with killer lyrics.  “She was named after, she was named after her dad’s favourite city.  I was named after, I was named after the fact…”  How does Max come up with this stuff?!  He paints a picture of characters, often female, drifting in and out of his life.  He tells their stories, often depicting musty old apartments, messy beds, and empty refrigerators.  Musically, “Savannah” is even better than lyrically.  It’s powerful and it has a trumpet solo, so what more could you want?  The chorus is probably the most immediate one on the album.

Then…get ready for chills, for it is time for “Passenger Seat”, the most haunting song on the album and easily one of the most chill-inducing I’ve ever heard.   Then the chorus comes, with Max in a high falsetto, accompanied by sparse piano and keyboard effects.  “Driving on the highway home, this time alone, doesn’t mean the same without you.  I turn on the radio, to somethin’ slow, just to let it fuck with my mood…but songs don’t sound the same without you in the passenger seat.”  Who can’t relate to that?  (People without driver’s licenses I suppose.)

Brightness returns on “Making Due”, like the light peaking through the blinds after a long night.  The music is pure uplifting magic, and the lyrics cut clean through.  A sunny guitar hook opens the track, and then Max delivers some of his best melodies and words to date.  That falsetto really nails the hooks home.  Favourite lines:  “I thought we made a deal, you were crossin’ your fingers!”  Or  “Got a pulse, but there’s a few beats missin’.”

Acoustics come to the fore on “Round and Round”, a folksy number (at first) that serves to bridge two very upbeat pop songs.  The band comes in partway and it becomes a little more late Beatles-y in a weird way.  Horns come blastin’ through, then synth, and it grows into something else entirely: something birthed in the early 80s, but also talking about MuchMusic’s Electric Circus TV show circa 1999.  An interesting track that is more than meets the ear.

“Hung Up” is impossible not to dance to.  “The gatekeepers are keepin’ me out, let me in!  Who made you the president, well fucker?”  The horns also return, along with the synth, creating a modern pop rock classic.  And I just love Max Kerman’s trio of “Well fucker?” at the end of the song.  (Also listen carefully for a reference to “Fake Money” from the prior album High Noon.)  No folks, he may be no Axl Rose, but Max Kerman is not afraid of dropping F-bombs right and left.  Fortunately I’m easily entertained and I find his use of the word (usually) effective and not overdone.

A beauty called “Come Back Home” is a quieter, slow ballad, with a thrumming bassline that provides a dreamy foundation, like a pillow.  “All would be forgiven if you’d come back home,” begs Max.  “‘Cause I just wanna be yours again.”  Filled with regret, Max is looking for reconciliation.  Morning Report could in fact be a concept album about shattered relationships and our reactions to them.  “And I thought about all the ways I could hurt you, to even the score of feelin’ deserted.”

The upbeat moods return on “A Little Rain (A Song for Pete)”.  Max has indicated he’s probably an atheist in past lyrics, but here he says “I stumbled in St. Peter’s Cathedral, there I was.  I never tried religion but man, I’ll try anything once.”  I can’t tell if this song is about someone name Pete, or if Max is singing as if he’s having conversations with St. Pete himself.  It means whatever you want it to!  This incredibly catchy tune has a fun, bouncy beat and a suitable synth riff to go with it.  Drummer Tim Oxford is definitely an underrated percussionist who doesn’t play it simple and always has catchy fills.

A slower but powerful song called “And Then Some”  is next to last.  This romantic dreamer is so good!  “And I love every inch of you, and then some and then some.”  Beautiful song and I can’t help but think of Tom Cochrane on the chorus.  Something about Max’s delivery sounds like the Red Rider frontman.

Strangely, after all this power, all these hooks, and thick arrangements, the final song is very different from anything else.  Quiet, understated and short, “Hangs the Moon” is like a coda.  The arrangement is very bare, and Max’s voice is the main feature.  The Arkells occasionally choose interesting, unconventional closing songs, and this is one.  It works, but it’s not among my favourite songs on the album, and besides, it’s only the closer on the original 12 track album.  We still have three more to go, all acoustic versions of previous songs.

“My Heart’s Always Yours” has a completely different feel as a piano and vocal arrangement.  Guitar and percussion come in later.  The vocal melody is identical, but the mood hits differently.  It’s more sombre, though still mesmerising.  For the softer arrangement, Max resorts to falsetto for some of the power-vocal moments.  The wonderful “And Then Some” sounds more like the album version, though stripped back to basics.  It’s still every bit as beautiful as the record, with a few little surprises.  The best of the bonus tracks.  The last bonus track is an unplugged version “Knocking At the Door”.  This version sounds akin to an earlier album like Michigan Left.   Similar vibe.  There’s a cool bit at the end where the band sings together that just demonstrates their talent and soul.  Great tune, cool bonus.  All these bonus tracks serve to enhance an already excellent album.

To go with the new tracks, the gatefold double LP set comes with new cover art.  It’s similar, but has a woman’s face sketched instead of a man’s.  I love when different editions get similar, but different art!  I didn’t even notice at first.

Morning Report is an album that I have listened to intensely for the last couple months, and has made a permanent impression on my soul.  With Max’s lyrics tattooed on my heart, I’m already terribly biased towards love.  The improved track list here corrects any flaws with the earlier version and renders it obsolete.

5/5 stars

 

#1076: Weekend Listening At Home

RECORD STORE TALES #1076: Weekend Listening At Home

When I have time and the inclination at home, I like to go through dusty corners of the CD collection and finally get them ripped to PC.  I take my hard drives with me everywhere, so my music collection is always portable.  This weekend I took some deep dives, and sampled the sweet exotic fruits of the E section, a sampling of K’s and L’s, and some new arrivals too.

First of all, the newer stuff.

I’m going to have to re-review Morning Report by the Arkells again!  Turns out, I made a mistake in my original review.  I said that the deluxe edition had three bonus tracks, but I was wrong.  I didn’t realize that there was another bonus track inserted as track #2, between “Drake’s Dad” and “Private School”.  This makes all the difference in the world to the sequencing.  Now we get “Knocking At The Door”, a new single, as the new track #2.  Since “Drake’s Dad” and “Private School” were my two least favourite songs, having something of much higher quality between them really helps the flow.

I always buy something after doing a show on Grant’s Rock Warehouse.  This time, it was the Stone Gods.  I’ve acquired the single for “Burn the Witch”, which comes with two awesome non-album songs:  “Breakdown”, and “Heartburn”!  “Breakdown” is exactly like Thin Lizzy, to a tee, except with Richie Edwards on lead vocals.  “Breakdown” is of equally high quality, a light and humorous tune about Pepto-Bismol and Gaviscon.  Expect a review at some point in the future.

Finally, I sampled some April Wine, from Over 60 Minutes With…All the Rockers.  People ask me “Why do you not own any April Wine?”  I said “I never grew up with April Wine, my friends didn’t like them, so I never bothered.”  Well Tim Durling said I need April Wine.  I will evaluate this at a later date, but I have some April Wine now.

The next batch of discs was from the last part of the E section, five discs that had escaped ripping to the PC all these years.  It could be 20 years or more since I have last played some of these.   Earth, Wind & Fire, nothing need be said here, that’s essential.  I was surprised at the quality of Elf, as boogie-woogie isn’t usually my thing.  The Rik Emmett CD is cool because it has 2001 live versions of some of his old Triumph classics.  Episode Six runs the gamut from quaint to psychedelic.  “UFO” is one cool such song, a spoken word bit over drums, that reads from UFO sighting reports.  But that’s Ian Gillan and Roger Glover on the front cover, yes indeed!  Finally, the Eric Singer Project (ESP) was the weak link in this batch.  Just a bland covers album to me.

Next, over to the K section.  I noticed that none of my Kula Shaker music was on PC, and I have a lot of Kula Shaker.  That’s the entire collection below, in fact.

Look!  The 2 CD edition of debut album K with a cool remix of “Tattva”.  Two CDs of “Govinda” singles with B-sides and remixes.  “Grateful When You’re Dead/Jerry Was There” CD single with two non-album tracks. The highlight of me of these was “The Leek”, a quiz show style radio appearance by bassist Alonza Bevan.  (A distant cousin of Roger Glover, in fact.)  Really funny stuff.  To me, anyway!  Two CDs of “Hush”, the Joe South cover (also covered by Deep Purple Mk I) with lots more non-album tracks.  Then we have the Summer Sun EP, which has four of the previous B-sides and two songs I didn’t have elsewhere.  The second album, Peasants, Pigs & Astronauts spawned a CD single called “Sound of Drums”, both of which are here.  More non-album tracks on that as well.

Well, it turns out, I still love Kula Shaker!  Like, a lot.  That Britpop sound, mixed with 60s psychedelia and far Eastern influences just tickles my fancy.  There were a couple tracks I really loved, but none more than “108 Battles of the Mind” from the second album.  What a cool, manic track that definitely benefited from the Austin Powers era.

One thing about Kula Shaker that needs to be addressed:  the stellar musicianship.  These guys can jam!  Special notice to drummer Paul Winterhart who is absolute monster.  Incredible band.  Once I start re-absorbing these songs back into my memory, I may have to catch up with what they’ve been up to since 1999, where my collection ends.

Continuing through K, and into L, the listening continued on Sunday morning.

Kyuss is a band that I don’t think was summed up well by compilation.  I will have to dig further.  I have their split EP with Queens of the Stone Age, which has “Fatso Forgotso” on it, but I think Kyuss were an album band.  The two Kulick albums are excellent.  Corabi is on Transformer, which is signed!  I didn’t know I had a signed copy!  The James LaBrie solo disc also sounds great from what I sampled!  Very Dream Theater, in a good way.  Some heavy, some soft.  Then we have Life Sex & Death, also called LSD.  Their gimmick was their lead singer “Stanley” who was supposedly homeless (but wasn’t).  This 1992 album is one that needs more exploration.  What I heard was heavy, gritty and riffy while retaining some melody.  To be further examined in the future.

As far as I got on the weekend, this just scratches the surface.  Look at all this stuff that is still sealed in my collection.  Time or inclination just haven’t lined up with the proper mood yet.  Some are newer arrivals, like Metheny, Hollywood Vampires and Eric Carr.  Others have been sitting around for years.  The Kiss compilation may as well stay sealed for collector’s purposes, but The Boxed Life by Rollins…that could have been waiting a decade on these shelves.  The Garth Hudsons have been here since 2020.  The Etta James and Beatles since 2018.  They were in Jen’s mom’s collection.

Wish me luck as I continue to delve into these unheard corners of my collection.  What would you be playing first if you stumbled onto these discs?

 

VIDEO: Puppy memories of Ani

Ani was a special puppy to me.  I think she was my favourite puppy of all time.  She was so affectionate.  I recently found this old video of Ani taken on an unknown phone at an unknown time.  Either my old Motorola or the generic Fakeberry I replaced it with.  But that’s Ani the schnauzer.  My special friend.