You can always trust a Sausagefester to recommend good music. Today I bring you two lists, from Frank the Tank and from Max the Axe’s Stunt Double (also known as “Michael”). Frank listens to more new music than I do, and MTASD sees way more concerts. Enjoy these lists!
FRANK THE TANK
FRANK THE TANK’S FAVOURITE SONGS OF 2019
“Sorry Mike! Not sure what happened to the list of songs I was keeping. I tried to recreate it, but it is a sad attempt at this point.”
This one goes out to good pals Mars and Sarca Sim! I know they love the nostalgia of old MuchMusic bumpers. Here’s a collection of them that I assembled into one mega-bumper!
The bumpers are generally somebody saying, “Hi, I’m [insert name] from [insert band], and you’re watching the Power Hour on MuchMusic!” Some flub their lines (Craig Goldy), some put in that extra 10% (Poison) and some do both (Anvil).
It’s either they got only one take, or these are the best ones!
Check out these hilarious rock star ads below, including (in order): Mark Metcalf, Motorhead, Poison, Lita Ford, Anvil, Dio, Rik Emmett, David Coverdale and a couple surprises.
“Here is Wisdom, Let him that hath understanding count the number of the beast.”
Ye metal fans! You have all heard of the number of the Beast, but do you actually know what it is? Iron Maiden mined the Bible for lyrical ideas in the early days. The Book of Revelation was a favourite of theirs. Of the Beast, it tells us that we can identify him by his number. This is not Satan himself, but the first Beast of the apocalypse, the end of the world. The Beast, it says, comes from the sea. There are many interpretations of the Revelations. Three main schools of thought are that these are prophecies of events that already occurred, will occur in the future, or are happening now in the present day.
The Beast will “rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy. (Revelation 13:1)” Scholars say the seven heads represent seven kings. The 10 crowns are 10 more kings that have yet to be crowned. With an appearance like that, why do we need a number to identify the Beast?
Relevation is a symbolic book of the Bible and no one really claims to understand it all. The apocalyptic writings say that the Beast and the false prophet will muster the armies of the world against the man on the “white horse”. When they lose, they are tossed into a “lake of fire”. Some theologians believe the number 666 symbolizes the nations of the Earth that are in conflict with God. In the 1980s, some thought that 666 represented President Reagan, whose full name, Ronald Wilson Reagan, is three names of six letters each – 666. Indeed, Reagan changed his Bel-Air address from 666 St. Cloud Road to 668.
With the imagery and mystery inside, the Book of Revelation is great source material for heavy metal lyrics. The Bible has always been a source for popular music. Pete Seeger wrote “Turn! Turn! Turn!” around the Book of Ecclesiastes, but Revelations is great for darker themes. Iron Maiden (and even Anvil) made the number of the Beast famous to the secular community. Every metal head knows the number of the Beast. Or do they?
It turns out, the number may have been wrong all along. Older and older fragments of the Bible are constantly being unearthed. The oldest manuscript of Revelation chapter 13 (Papyrus 115) found to date is 1700 years old. This ancient fragment gives the number of the Beast as 616.
Scholars today are split. Many think 616 is the original number of the Beast, later changed to the more interesting 666 for aesthetic reasons. Try this trick with a calculator or spreadsheet: The sum of the numbers 1 through 36 is 666.
If this is true, Iron Maiden has a lot to revise, and metal fans may have some tattoos to fix!
15 albums in, Anvil still perseveres. I was saddened by the sudden departure of former bassist Glenn Five (no relation to John 5). His song “This Ride” was a personal favourite on Juggernaut of Justice. Still, Anvil bounced back incredibly swiftly with Sal Italiano, adding an American member to the otherwise Canadian trio. The change is seamless; Sal Italiano is an apt replacement and has no trouble at all keeping up with Robb Reiner (drums).
If you’re an Anvil fan, Hope In Hell is more of what you have grown to expect. Solid riffs, incredible drumming, lots of heavy metal with a little bit of humour in the lyrics. The title track starts the album on a slower groove, but that’s only a warning shot. “Eat Your Words” storms the stage amidst machine gun drums and chugging riffage. This kind of song is Anvil at their best; just playing their faces off at top speed. Add in those tasty trademark Lips guitar solos and we’re off to the races.
Unfortunately, all this momentum comes to a screeching halt on track #3: “Through With You”. The main riff and drum part of the song is a direct rip off from “Smoke On the Water”. The really unfortunate part is that the rest of the song is great! I’m quite surprised it made the album, just because of its similarity to the Deep Purple classic. Lyrically, it might be a jab at Glenn Five. Who knows?
“The Fight Is Never Won” is much better, back with the thunderous artillery and smoking guitars. By the chorus, it mutates into something more like classic metal. “Pay the Toll” too is red-hot. Anvil excel at fast rockers, and Lips’ solos fit like a glove. For lyrical hilarity, check out “Flying”. This ode to touring has my favourite lyric in all Anvil history:
“Tel Aviv to Turkey then down through Greece, Back home to Canada to see our famous geese.”
As silly as that is, it actually exemplifies something I admire about Anvil: their earnest joy that they get to play heavy metal music for thousands of people. It is quite obvious that Anvil would not have carried on this long if they did not love what they do. It bleeds out of the music and lyrics.
The album continues, steadily rocking more excellent riffs. The songs are not all memorable, but all boast memorable parts. “Bad Ass Rock N Roll” for example has a cool chorus, but the song itself sounds much like the rest of the album. One issue that has always plagued Anvil is a certain sameness to their songs. However, much like AC/DC, Anvil try to play this as a strength with mixed results.
The final song (of the standard edition) finally gets us back to magnificent Anvil metal: “Shut the Fuck Up”. The sheer velocity of this short firecracker is a joy. It’s definitely one of the most indelible tracks. Plus it’s fun to sing along, I admit.
Then there are the bonus track. Europe got two: “Hard Wired” and “Fire At Will”. (The Japanese edition, which I want, has a live version of “Hope In Hell”.) I like “Hard Wired” better than a couple songs on the album proper. “Fire At Will” is not particularly special.
Hope In Hell is a good album, no more, no less. Anvil will continue. I believe that much. There is nothing anyone can do to stop Anvil now. I thought Juggernaut of Justice was a really excellent record. Hope In Hell is missing…something. It entertains for most of its duration, but it is uneven. Anvil can do better, and I hope they will do better, next time.
ANVIL – Juggernaut of Justice (2011 The End Records)
When I first heard all that cowbell on the track “Fukeneh!” I screamed aloud, “YES!” Anvil don’t give a crap about what’s trendy and what ain’t. That’s why they’re still around over 30 years later, and Juggernaut of Justice was one of their best albums since the early 80’s.
It’s not commercial, but it is more accessible. As good as This Is Thirteen was, I like Juggernaut of Justice better. It is slickly produced by Bob Marlette (at Dave Grohl’s Studio 606). Bob Marlette is not my favourite producer, I’ll admit that, but he’s done a bang-on job here. A little trebly on the guitars in the mix, but otherwise a fine, clear sharp production job. Lip’s vocals are more accessible, but not overproduced. You can still hear flat notes here and there, which is good! I like production to remain authentic. Kudos to Marlette who made a great sounding Anvil album.
Every song is great. I especially loved “Conspiracy” and “Fukeneh!”. “On Fire” is cool and fun lyrically, an obviously autobiographical tune about Lips himself. The title track is great, and so is the galloping nu-metal sheen of “This Ride” (featuring bassist Glenn Five on vocals.) Yet there are no weak tracks, Anvil sharpening their metal edges. With the exception of the 7-minute “Paranormal,” (a great slow burner) all songs are in the 3-4 minute range, packing maximum punch into the grooves. Also noteworthy is the horn-laden metal of “Swing Thing”! This great instrumental shows off the considerable chops of drummer Robb Reiner. It is the icing on top of this heavy metal treat!
I love the cover art, which reminds me of Endgame by Megadeth for whatever reason. (Also “Conspiracy” reminded me of some of the lyrical themes on Endgame.)
I liked Juggernaut of Justice enough to buy it twice: Once digitally, to get the bonus track “What I Want To Be”, and then the limited edition CD which has its own pair of bonus tracks. “The Station” grinds along relentlessly, with a metallic sheen of multiple layered guitars. “Tonight Is Coming” is more basic, but with G5 hanging out on the upper frets of his bass every now and then to give it some flavour. The chorus is pretty amusing: “Tonight is coming, all day long!”*
The digital bonus track, “What I Want To Be” is the best of the three, a bright metal song with Reiner playing it fairly straight and the transmission in drive. Each bonus is a perfectly fine track, so purchase as you feel so inclined.
Very, very happy with this album. I had my doubts due to the presence of Bob Marlette instead of Chris Tsangarides, but…well done, Bob.
* their new album, Hope In Hell, features the song “Flying” with the following lyric:
“Tel Aviv to Turkey then down through Greece,
Back home to Canada to see our famous geese.”
“Keep on rockin, keep on rockin’, to this metal tonight!” The first of two Anvil reviews this week!
ANVIL – This is Thirteen (16 track vinyl edition, 2009 VH1 Classic Records)
I won’t go into the whole Anvil story — see the movie (Anvil! The Story of Anvil), and then get this album if you haven’t already. Don’t get this album because you feel sorry for Anvil and want to help them on their quest for stardom; buy this album because it is one seriously heavy piece of metal greatness. It’s amazing that thirty years on, a band can come up with something as strong or stronger than their classics.
Surely some of the credit must go to veteran knob-twister Chris Tsangarides (Judas Priest, Thin Lizzy, Bruce Dickinson) who produced This Is Thirteen. Tsangarides, if you’ve heard his past productions, gets a simply great sound and performance out of bands. In particular, heavy bands like Anvil. Everything here sounds great — the drums are pounding, clear and heavy and the guitars are shredding and crisp. Excellent sounding record! (NOTE: Tsangarades has been ill recently, and we wish him nothing but the best.)
The songs? Well, originally there were 13 songs…this is Anvil’s 13th album, get it? However, some extras were added to this vinyl edition (more on that later). The core 13 songs are pretty damn strong. I would say heavier than the “classic three” Anvil records, but every bit as catchy and memorable. The riffs are the kind that bore their way through the skull into your brain. And Lips plays almost all the guitars here — clearly, he is not only a talented frontman, but also an underrated shredder. No one will mistake Lips for Alex Skolnick, but he’s like a more talented Nigel Tufnel — and I mean that in the nicest way — style wise. (Former lead guitarist Ivan Hurd also appears on a handful on tracks.)
Bordering on thrash metal at times, and sinking to Sabbathy lows at others, This Is Thirteen gives you a variety of metal to sink your teeth into. Check out the title track “This is Thirteen” for some seriously heavy doom. Sounds like something on Sabbath’s Dehumanizer CD, even lyrically. I’m sure Dio would approve. Then skip ahead to something fast and heavy like “Shoulda Woulda Coulda”. This Is Thirteen has a little of everything!
Highlights for this listener included the title track, the apocalyptic “Bombs Away”, “Burning Bridges”, “Feed The Greed”, “Room #9” and the three bonus tracks.
I love when bands put bonus tracks on vinyl. It makes the metal geek in me scream in joy. Here there are three:
14. “Thumb Hang” – a song Lips & Robb wrote in highschool, about the Spanish Inquisition. Finally recorded 30 years later, it’s actually a pretty decent song!
15. “Metal On Metal” – re-recorded for that heavier sound, but don’t worry, it’s not modernized at all. It’s a straight remake, just better sounding.
16. “666” – same deal. The great thing about these re-records is that it allows new Anvil fans to get their two best known songs along with the new album. Pretty genius if you asked me!*
My only gripe? Occassionally Lips’ voice can be a little grating. I have the same issue when I listen to Megadeth for a couple hours on end. I just can’t listen to Mustaine’s voice for too long in a row. Lips’ voice isn’t as grating to me, but too much Anvil and I need to play something else.
* These three songs were later re-released on the 2011 Anvil compilation Monument of Metal.
Music, movies, and books! I’ve been very occupied these last couple days.
I get the Guiness’ Book of World Records, and the Ripley’s Believe It Or Not books every year. I imagine my surprise when I discovered a friend of ours in both books! Apparently, Sweet Pepper Klopek holds the world record for “Most Baking Sheets Buckled Over the Head for One Minute.” This is a guy who has been on my living room couch! Lemon Kurri says:
“He’s in there a couple times. Most mouse traps sprung on a tongue in 1 min too.”
THIN LIZZY – Thunder and Lightning (1983, 180 gram Back on Black reissue)
I love this album, it was actually the first Lizzy studio album I bought, on vinyl, from Tom’s store way back in the late 1990’s. I’ve always loved John Sykes from his work in Whitesnake and Blue Murder.
Thunder and Lightning is the final Lizzy studio album. It’s definitely the most metal, but it’s not the best sounding one (gimme Black Rose for that honour). It just strikes that chord inside. You know how certain albums just click with you and you don’t know why? That’s Thunder and Lightning for me, but I think it reminds me of that general vibe of heavy metal music in 1983. There are times it reminds me of Judas Priest.
This is the only album from the Lynott/Gorham/Downey/Wharton/Sykes lineup. It is produced by Chris Tsangarides (Anvil, Judas Priest). Wharton and Sykes both scored songwriting credits, which may be why this album sounds so much more “metal”. Wharton’s keys are not obtrusive.
Best track: Gorham and Lynott’s “Bad Habits”. If there was one track that sounded like old Lizzy circa Johnny The Fox, it’s “Bad Habits”. It’s just a rock and roller of a song with killer lyrics. Phil’s voice is noticeably a lot more raw, worn, but he works within his limitations as always. His voice remains as expressive as ever. In “Bad Habits” he sounds like he’s jonesing as bad as the title implies.
“Cold Sweat” is the one that Sykes co-wrote, and it is very metal, featuring his trademark guitar squeals and yet more great lyrics from Lynott. “I got a whole month’s wages, I haven’t seen that much in ages, I might spend it in stages, and move out to Las Vegas.” Love it. Sung by Lynott, those lines tell a whole story.
Really, there’s not a bad song on this album. “This Is The One” has some relentless pounding drums courtesy of Brian Downey (one of the true greats). “The Sun Goes Down” is a slower one with a keyboard solo, very atmospheric. It reminds me of the similarly titled “Night Comes Down” by Judas Priest. “Holy War” is another relentless pounder with a message to be heard. Not a bad track to be found.
If I had any complaints it would probably be the mix/production which at times comes across as a bit too bombastic and 80’s. I mean, it’s still Thin Lizzy, one of the classiest sounding bands ever. Thunder and Lightning is pretty evolved in sound from a classic like Jailbreak, and that may or may not be to your taste.
Some vinyl and cassette versions of Thunder and Lightning came with four bonus live tracks. They are actually from the Renegade tour and feature Snowy White on guitar instead of his replacement John Sykes. Thankfully, the current Back on Black 180 gram vinyl release restores the rare 12″ bonus EP. The four songs are “Emerald”, “Killer on the Loose”, “The Boys are Back in Town”, and “Hollywood (Down on Your Luck)”. These are great tracks. It also has a gatefold sleeve with lyrics inside. It’s a very nice package.
I’ve heard that 2013 will see the release of more Lizzy deluxe editions, including Thunder and Lightning. If that’s the case I will pre-order it as soon as I hear about it. There are still several B-sides from this period that are not currently available, such as “Angel of Death”, “Still in Love With You”, and “Don’t Believe a Word” live, and a remix of “The Sun Goes Down”. I don’t have these tracks, but it sure would be nice to get everything on one deluxe CD package, wouldn’t it? You guys paying attention, Universal?