black sabbath

REVIEW: Thin Lizzy – Jailbreak (deluxe edition)

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THIN LIZZY – Jailbreak (2011 deluxe edition)

Jailbreak!

This classic underappreciated masterpiece of rock goodness has finally been expanded with bonus tracks.  Underappreciated?  Sure, while everyone knows at least two songs from this album, how many friends of yours actually own a copy?

Jailbreak‘s been given some cool bonus tracks.  An entire disc’s worth in fact!  The remastering sounds good enough to me.  Until I got this deluxe, I hadn’t played Jailbreak in a while, and I had completely forgotten about great album cuts like “Running Back”.  It’s a sweet little love ditty as only Phil can do it, romantic but classy all the way.

I think the second track, “Angel From the Coast”, is one of Lizzy’s greatest album cuts.  It rides on top a rhythmic, rolling guitar riff, but it’s also one of Phil’s more memorable compositions.  “Romeo and the Lonely Girl” is another one of Phil’s romantic classic rockers.  The lyrics are kinda cheesey:  “Whoah-oh, poor Romeo, sittin’ all on his own-e-o”.  But it works, because it’s Phil, and everything he did sounded sincere and cool.

“Warriors” brings the metal.  It’s a classic heavy rocker that I am sure people like Steve Harris studied meticulously to learn the mysterious art of songwriting.  Multiple sections collide, thundering drums roll, and solos rage.

“Fight Or Fall” is a great ballad, acoustic and soulful.  This is the kind of thing that Phil had done so well on albums like Nightlife.  “Emerald” is another Phil historical epic.  Once again, I feel that Steve Harris probably studied this song intensely.  This really anticipates where Iron Maiden were going to go later on.

One of the true classics on Jailbreak was “Cowboy Song”, a song that melded live with Lizzy’s cover of Bob Seger’s “Rosalie”.  In my mind, the two songs are one in the same now.  They go together like peanut butter and jam.  And that, friends, is a tasty sandwich.

I don’t really need to talk “Jailbreak” and “The Boys Are Back In Town”, do I?

Alright, I will.  “Boys Are Back” is one I discovered initially through Bon Jovi.  They covered it back in 1989 on a charity CD that I’ll cover another time.  It was perfect for them.  Didn’t Jon always sing about the boys being back in town back then?  It had a tasty guitar harmony part for Richie Sambora to sink his teeth into, and it was melodic and radio-worthy.  In a way, this is Lizzy’s Bon Jovi song, but it is no less classic for it.

And “Jailbreak”?  Everything about it is perfect.  The riff, the melody, but it really came alive in a live setting.  As good as the album version is, it was live that “Jailbreak” burned.

The bonus disc kicks off with four remixes helmed by Joe Elliott, one of the biggest Lizzy fans out there. His strategy was simple: some subtle fixes to out-of-tune guitars and drums that were mixed too low.  Then he and Scott Gorham added previously unheard lyrics, solos and fills. The result is some fine alternate versions that won’t replace the originals but serve as interesting companion pieces. I especially enjoyed the previously unheard lyrics from Phil.

The remixes are followed by some live takes. BBC recordings of the title track, “Emerald”, and others are nice and clean. Just as you would expect from the BBC. Then there is an extended cut of “Fight Or Fall” with some very tasty slide guitar brought up to the forefront. It’s a nice touch. “Blues Boy” is a completely unreleased track, a blues as you might have guessed. It is complete with some skeletal vocals from Phil, but this is essentially a blues jam. As an unreleased song, this is a valuable inclusion, albeit not a standout song. The album ends with a live take called “Derby Blues”, which is an embrionic version of “Cowboy Song”. “This is a new number, this one!” says Phil.  “As yet untitled. We’ll call it ‘Derby Blues'”. It still has all the energy and fire that it would later embody.  (“Derby Blues” is also on a more recent release called UK Tour 75.)

The liner notes to this edition are quite excellent, among the best I have ever run into in a deluxe edition. As an added bonus, there is a page of notes from Joe Elliott, explaining the included remixes.

If you don’t want to bother with the deluxe, at least make sure you own Jailbreak.
5/5 stars

REVIEW: Black Sabbath – Paranoid (deluxe edition with Quad mix)

I’m addicted to buying these deluxe editions.  And I have more Sabbath coming soon, too! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Paranoid (2009 deluxe edition, 3 discs)

Wow, how many times have I bought Paranoid now? I would guess that this might be my sixth purchase of this album.  I mean…it’s Paranoid.

And what is Paranoid?  Only one of the most important rock albums of all time.  Regardless of the genre it helped spawn, this album is more important than just being a heavy metal album.  This is an important rock album.  I highly doubt any died-in-the-wool metal fan has not heard this album, but in case you’re young/been living on the moon, I’m happy to discuss these incredible tracks.

First up to bat is the unmistakable sludge of “War Pigs”.  “Generals gathered in their masses…just like witches at black masses…”  Bonus point to lyricist Geezer Butler for rhyming “masses” with “masses”! Joking aside, this is simply an incredible song, one which history has proven (as great as Dio was) that only Ozzy Osbourne can sing correctly.  Then, the brief punk rock explosion of “Paranoid”.  This was the first and only song I learned to play on guitar, simple are the chords.  But it is no less powerful for its simplicity!

The haunting “Planet Caravan” is a perfect example of Sabbath at their softest and darkest.  Ozzy’s distorted vocals send chills up the spine, while Geezer’s bass carries the melodic side.  I didn’t like this song as a kid (I hated the soft ones) but I sure grew to appreciate it since.  Iommi’s jazzy solo proves what an incredible player the man was and is.  In case you were falling asleep, Black Sabbath wake you up with the next track, “Iron Man”.  Everyone knows “Iron Man”, a monolithic slab of prototypical heavy metal!

“Electric Funeral” opens with Iommi’s Gibson puking wah-wah and distortion from the speakers, but like many Sabbath songs of the period, the track takes a careening turn into a fast section, before returning to its sludgy roots.  Bill Ward, one of the most underrated drummers ever, plays creatively throughout, his use of cymbals and fills endlessly interesting.

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“Hand Of Doom” is another one with different sections and tempos, and more of Ward’s jaw-dropping creativity on the tubs.  Ozzy howls like a banshee, the band behind him providing a heavy, frightening backdrop.

“Rat Salad” is a personal favourite, the album instrumental, and really a Bill Ward showcase.  You want to hear what Bill Ward could do?  This is the track to listen to, although Iommi is not to be underestimated.  His howling Gibson sends shivers up the spine.

“Fairies Wear Boots” closes the CD, the perfect mixture of riffage and melody.  All the while, Geezer and Ward continue to provide a rhythm section as interesting as the guitars and vocals.  Once again, Sabbath show their compositional prowess by creating a catchy, riffy heavy metal song with interesting sections and changes.  It is another perfect track, on an album of nothing but.

Liner notes and photos: A+. Awesome job. Lots of cool photos, facts, and figures that I was not previously aware of.

Packaging: C-. I have a 2CD/1DVD Clash set from this series where all three discs are packaged with a plastic tray to hold them in. Not so with Paranoid! Cost cutting may be the reason, but disc 3 slides into a cardboard sleeve while the other two discs have plastic trays.

Remastering: A+. My understanding is that this is a brand new remastering. That would be remastering #3 for Paranoid. (1996 Castle remasters, Black Box remasters.) Like the Black Box version, this sounds great, very clear, very powerful, very authentic. Can you tell the difference between this version and the Black Box version? Not really!

Bonus material: B+. Maybe it’s not anybody’s fault, but the bonus material is somewhat disappointing  Most are alternate takes with different lyrics or no lyrics at all. I guess that’s all that was available. Still, it’s not something I will listen to often. Including the DVD, keep in mind you’re going to be hearing these songs three times each! The alternate lyrics are interesting to say the least, but when you’re so used to hearing these songs a certain way, it is a little jarring.

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The DVD is an A. On this DVD, you get the original 1974 quad mix. Collectors rejoice, and people who are hoping for a 5.1 remix are going to have to keep waiting. I love the fact that we’re finally getting reissues of classic 1970’s quad mixes. Deep Purple have been releasing some as well. Personally I hope to hear some of the old Alice Cooper quad mixes some day, too.

Not a perfect reissue, but it is what it is. The packaging is the one thing that could have been improved easily. The extra material, well, if this is all Sabbath have in the vaults, then so be it!

(Note:  For completists, there’s still an early version of “War Pigs”,  ( then titled “Walpurgis”) with different lyrics, from BBC Radio 1, 4/26/70, but you can get it on Ozzy’s The Ozzman Cometh  CD.)

5/5 stars.

REVIEW: Black Sabbath – Mob Rules (deluxe edition)

I’m addicted to buying these deluxe editions, and I’ll be doing more Sabbath in the coming days! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Mob Rules (2010 deluxe edition)

The entire Dio-era catalogue of Sabbath has now been reissued so many bloody times! First there was the original CD issues, then the Castle remasters in 1996, then the Dio years boxed set (The Rules of Hell), and now these deluxe editions. I’m feeling lightly pillaged. But buying these is optional…unless you’re a die-hard like me. If you’re not, stick to the Dio box. If you are a die-hard, plunge forward.

The big reason to buy this set is the Live at Hammersmith Odeon bonus disc. Folks, when Rhino announced this live album in 2007, I jumped on it immediately. The CD sold out immediately, only 5000 copies were ever made.  Limited and numbered (I got #3723), even if it sucked it was bound to be worth a fortune in the future right? Well not necessarily. Now it’s been included as a bonus disc. (It’s also seen a vinyl reissue.)  So, for me this sucks — my Rhino issue is no longer as desirable to collectors. For you, it’s awesome. Now you can have this blistering live album, way better than Live Evil!

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All the other expected perks are here, including bonus tracks:  the soundtrack version of the title track, and a B-side (“Die Young”, live) from a 12″ single.  It also has extensive liner notes that cover the recording, the tour, and the Hammersmith disc. Throw in some photos and a great remastering job, and you have (hopefully!) the last copy of Mob Rules that you will ever need to buy.

Mob Rules itself is very much a brother record to Heaven and Hell. You have that big dramatic epic (“The Sign of the Southern Cross”), the speedy opener (“Turn Up The Night”) and everything else in between (“Voodoo”). It’s not quite up to the lofty standards of H&H, although it does follow the blueprint quite closely. I find the closer (“Over & Over”) to be the weak link in an otherwise pretty damn strong chain.

I think the title track, “The Mob Rules”, is probably one of the greatest heavy metal songs ever written.  Furiously paced, with Dio’s pipes in fine form, it an energized trip.  “The Sign of the Southern Cross” is, as far as I’m concerned, pretty much an equal track to “Heaven and Hell”.  Its riff is simply earth-shattering.  Once again, Dio’s pipes are unequaled.

Even something like “Country Girl”, a lesser known track, blows me away.  Iommi pulls another memorably powerful riff out of his bag of tricks, while Ronnie wails away…about what, I’m not sure.  But it sure is fun to sing along.  “Slipping Away” is another personal favourite due to Geezer’s fluidic bass solos.  “Falling Off the Edge of the World” smokes, another fast Iommi riff that bores its way into the brain.  You’ll be exhausted by the end of it.  Really, the only mis-step is the album closer, “Over and Over”, which I find a bit too dull and slow for an album as great as Mob Rules.

Pick it up to help complete your Sabbath collection, and to hear the awesome Live At Hammersmith Odeon.

5/5 stars

REVIEW: Black Sabbath – Black Sabbath (deluxe edition)

I’m addicted to buying these deluxe editions, and I’ll be doing more Sabbath in the coming days! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Black Sabbath (2009 deluxe edition)

I have been a little slow reviewing all my Sabbath deluxe editions. I got this one for Christmas, 2010. Bad LeBrain!

What can I say? The most iconic metal album of all time has been given the deluxe edition treatment, and deservedly so.

First of all, before I talk about the music, this edition just looks beautiful in its digipack. The scariest most haunting album cover of all time is printed crisply on cardboard and it looks amazing. Open it up to find photos of a hippy-dippy looking Black Sabbath, just a bunch of kids. The booklet inside has truly great liner notes and more photos of the young foursome. There is one photo of Oz playing keyboards in the studio — strange, none of his keys show up on this album. I’d love to know the story behind that photo.

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Musically, of course this album is incredible. Simple, sparse, raw, and haunting. This is the kind of music that can only be made by four guys psychically locked-in with each other, knowing what notes are coming next, anticipating them and reacting to them. Bill Ward’s drumming is thrifty and wonderful, perfectly off-time and magically working with Geezer Butler’s fluidic basslines. Geezer’s bass, in turn, is locked in with Iommi’s guitar, providing melodic accents while Tony plays the rock solid demonic riffs from hell. Meanwhile, Ozzy is on top of it all, a man possessed, his words ringing loud and powerfully along within the spaces of the songs. This is the kind of album that can only be created by four guys playing live in a room together. Modern “rock” (quotes intended) bands cannot do this kind of album.

Every song is, of course, a classic, from the opening thunder of “Black Sabbath” to the wallowing solos of “Warning” and the haunting “Sleeping Village”. “N.I.B.” has one of the catchiest bass intros of all time, amp hum buzzing away in the background as you can hear Geezer’s fingers pluck away. Truly, a classic album, all killer no filler.

And no wonder. The band was tight, playing these songs night after night after night until they had them down pat. I once read that Sabbath were doing 8 sets, 45 minutes each, in the bars each gig. That makes you a tight band, and the bonus disc proves this. Alternate takes of key tracks on the second disc prove that the band had these songs down to a fine science. Casual fans won’t even be able to pick up on the differences, they are so tight. The biggest difference is in the alternate take of “Evil Woman”. Flutes? Methinks Tony still had a bit too much Jethro Tull in his system!

There are also some instrumentals with the vocal tracks stripped off. These are interesting from an analytical point of view. The title track really allows you to hear the instruments playing against each other, Tony’s guitar puking mounds of distortion all over the tapes.

Lastly you get both “Wicked World” and “Evil Woman”. Depending on where you lived, one track was subbed for the other on the original album and the first CD issues. All later remasters of this album contained both songs, including this one.

Interestingly, the demos that Ozzy released on his own Ozzman Cometh compilation are not included here. Pick that album up as well for some very rough early versions of some of these tracks, with different lyrics as well.

5/5 stars. Every metal fan in the world needs this album, absolutely no excuses.

GUEST CONCERT REVIEW: W.A.S.P. w/ Metallica and Armored Saint – January 19, 1985

A treat for you boys & girls today!  A guest shot, a vintage concert review, and a significant one at that.  Remember when Metallica was just an opening act for mediocre bands?  Meat does.  And he’s back to tell you the story.  Enjoy the first guest shot of 2013, by Meat!

TALLICA

W.A.S.P. w/ METALLICA and ARMORED SAINT – January 19, 1985

By Meat

I was lucky at a young age to have the opportunity to see some great concerts.  The first concert of my life was at The Center in the Square in Kitchener, Ontario.  It was The Monks (remember “Drugs in my Pocket”?)  and I went with my childhood friend, Scott Hunter, and his mother.  I also saw the almighty Black Sabbath play the Kitchener Memorial  Auditorium, three days before my 12th birthday, on the Mob Rules tour on November 19, 1981. I saw Triumph on the Allied Forces tour play the Center in the Square, with my father not long after that.  But really my early concert experiences were mostly, and most memorably, with the aforementioned Scott Hunter.   I believe it was his uncle who had connections with a concert promotion at the time called CPI.  He would leave free tickets at Will Call for us at Maple Leaf Gardens or wherever the show was.  We saw the last Kiss tour with makeup at the time (Creatures of the Night tour) on January 14, 1983 with The Headpins opening.  Also saw the first ever Kiss tour without makeup (Lick it Up tour) on March 15, 1984 with Accept as the opening act.  As well as Motley Crue on the Shout at the Devil tour on June 10, 1984, at what is now the Ricoh Coliseum, also with Accept as support.   Many of these shows are quite memorable and monumental, but none so much as the first time I saw Metallica live.

I remember the first time Scott and I heard Metallica.  We would have a sleepover at his place every Friday night specifically because Toronto radio station Q107 had their “Midnight Metal Hour” on that night.  We would have first heard Metallica (“Seek and Destroy”) either late 1982 or early 1983, before Kill ‘Em All was even released.  Obviously it was an instant shot of Metal Up Our Ass!   Kill ‘Em All was released on vinyl and cassette on July 25, 1983.   I specifically remember  (but not exactly when) walking into a record store downtown Kitchener called Records on Wheels and buying that album, Anthrax’s Fistful of Metal and Van Halen’s 1984 on vinyl,  all during the same visit.   I also remember buying Metallica’s second album, Ride the Lightning, the day it was released.  Thanks to the World Wide Web, I know now that date was July 27, 1984. Starting grade ten that September, I was pushing Metallica on anyone that would be open to it at my high school.   There were a very select few of us who were die-hards and would have Sony Walkmans stuck to our heads at every opportunity possible.  Now I cannot recall if we got free tickets for this particular show, but I do remember how pumped I was when I knew I was gonna see Metallica live.

The bill was as follows: Armored Saint (with Anthrax’s John Bush on vocals), Metallica and W.A.S.P.  Yes you read that right.  Metallica was opening up for W.A.S.P.  I do know that further along on the tour, Metallica and W.A.S.P. would trade headlining sets due to the obvious buzz around Metallica at the time.  Here is a picture of an actual ticket stub of this show.  Note the price ($15.00) and Armored Saint being spelled wrong on the ticket.

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One thing I will add before I go on.  Of all the concerts and bands I have seen multiple times live, it is kinda strange I only saw Metallica live twice ever.  One of the reasons for this is quite obviously that after their album Load (otherwise known as Mighty Load of Shit), I never really had a great interest in seeing the band live again.  But it is worthwhile noting that I have seen Metallica live twice and BOTH TIMES they were opening for someone else.  (The second time being the strange bill of The Black Crowes / Warrant / Metallica / Aerosmith on June 29, 1990 at CNE Exhibition Stadium in Toronto) Again, note the ticket price for this.  This was before The Eagles ruined ticket prices for all acts with the ridiculous prices for their shows.   To quote “The Dude”  I hate the fuckin’ Eagles.

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So there we were, January 19th 1985 standing in line in front of the late great Toronto concert venue named The Concert Hall. It was freezing cold out, and windy too.   So since this was a General Admission event, standing in line braving at least -15 Celsius weather, you can imagine how cold and bitchy people were.  I recall the rush of metalheads being ushered  quickly into the venue.  The second I got in there I went straight for the merch booth and bought a Ride the Lightning tour shirt for me and a high school friend named Joe DeLeo.  After that, like seemingly everybody, I had to take a wicked piss.  After doing that, I was horrified when I tried to zip my probably really tight jeans back up, and couldn’t because my hands were numb from the cold.  My embarrassed horror turned to laughter as I turned my head to see dozens of much older and much larger long-haired headbangers all having the same problem.  Only in Canada I guess eh?

Sometime later, Armored Saint took the stage.  I remember them being great and how loud it was in there.  They were received well and that venue was filling up. While enjoying their set my buddy Scott gets my attention and points to the much-shorter person beside me.  Immediately I recognized him as Russell Dwarf from the Toronto band Killer Dwarfs. Their name was very apropos considering this band consisted of nothing but short dudes with long hair.  I can only imagine how this band got together.  Wonder if an ad went out that said.  “Metal musicians needed.  Must not be over 5 foot 6 inches tall and have long hair”.  I loved that first album.  If you don’t know of them, here is their first single and video.

It was time for the Mighty Metallica.  They started out with the first track off Ride The Lightning, the classic riff-monster “Fight Fire With Fire”.   At this point I was probably about mid-way to the stage in a sea of metalheads.  This was before the days of the “moshpit”.  This was more of a Hair Swarm packed with long-haired sardines covered in denim and leather.   It would have been about half-way through the show that I wormed my way to the front of the stage.  This was no easy task as I am sure you can imagine, however being only 15 and much smaller than the masses (with the exception of the Killer Dwarfs of course), there I was literally feet from what would become the best-selling metal band of all-time.  This brings me to a memory I will cherish forever.  The seemingly monstrous Cliff Burton was right in front of me.  I reached out and had in my hand, the bottom leg of his ragged bell-bottom jeans.  He tried to kick me in the face, and thankfully missed.  Can’t blame him either for trying to kick my head off, and honestly it was the first thing I thought of  when said legend died in a bus accident a year and a half later in Sweden on September 27, 1986. R.I.P. Clifford Lee Burton.  Check out this YouTube audio clip I found of Metallica playing “Seek and Destroy” from this exact show.  Gotta love YouTube.

Check out this set list of the show the next night in Buffalo at some place called the Salty Dog Saloon. (I couldn’t find the Toronto set list online but I am sure it is identical)

  • “Fight Fire With Fire”
  • “Ride the Lightning”
  • “Phantom Lord”
  • “(Anethesia) Pulling Teeth”
  • “For Whom the Bell Tolls”
  • “No Remorse”
  • “The Call of Ktulu”
  • “Seek & Destroy”
  • “Whiplash”

Encores:

  • “Creeping Death”
  • Guitar solo
  • “Am I Evil?”
  • “Motorbreath”

Which brings me to winding down this novel of a concert review.  How could W.A.S.P. possibly follow Metallica?  Well, I do remember chants of “you suck”.  I remember that the front was nowhere near as packed as it was for Metallica.  Maybe Blackie thought he could follow them by drinking fake blood out of a skull (which he did).  Here is a quote from Mr. Blackie Lawless comparing separate tours with both Slayer and Metallica and musing about this particular tour.

Blackie: I’ll tell you what was worse – us and Metallica.  It was our first or second U.S. tour.  It was us, Metallica, and Armored Saint.  When they (Slayer) went out with us, they were still an up n’ coming band, didn’t have a lot of fans, so there was a pocket of division every night.  With Metallica, I kid you not, it was like an invisible line was drawn right down the middle of the room, and half was theirs and half was ours.  It didn’t matter what we were doing on stage.  It looked like two opposing armies.  Sometimes we just stopped what we were doing and watched. It was a war.

I realize that the merit of music is subjective and it is all in the Ear Of The Beholder.  But lets face it.  W.A.S.P. really does kinda suck.  Some good moments but really not much to speak of.  During their set myself and others that with us were just kind of mulling about as most others were really.  It was during this time that a guy we were with named Kevin B. (nicknamed Little Dude) said that he saw Geddy Lee and Alex Lifeson leaving out a side door during their set.  Now to give some perspective on this, this person was a known bull-shitter.  None of us believed him.  True story:  Kevin years later had trans-gender surgery and now is known as Treva. But anyways, we shrugged this off as yet another lie from Little Dude.  It was months later reading a Blackie Lawless interview in Circus magazine that I read this quote.  “Geddy Lee and Alex Lifeson were actually at one of our shows in Toronto last year…. But they were not there to see us.”    A classic example of the Little Dude who cried wolf.

Meat

 

2012’s rockin’ stats, for your amusement!

In 2012, I posted 493 articles.  I did 157 chapters in a continuing series of Record Store Tales which has been extremely satisfying.  The rest have been a series of reviews, and rants!  Very popular was my series of Kiss reviews (53 of them!), when I covered every Kiss album in sequence. Currently, I’m finishing up my series of Iron Maiden reviews (42 so far in a series of 45), covering every album and rarity that I have access to. It’s been a blast!

Some personal statistical highlights:

1. Doing an interview with Brian Vollmer, of Helix (my 4th interview so far), which was a huge blast for me as a fan and writer.

2. The many Guest Shots (10 so far!) from contributors such as Tommy Morais, Statham, T-Rev, Mrs. LeBrain and Uncle Meat.  It’s been a pleasure to read and publish your work, gentlepersons.  Keep sending me stuff!

3. Record Store Excursion 2012, and the resulting video.  I love making videos, and this was a blast. At last check, it’s had almost 200 hits (194 to be exact) including some of the people at the stores that we reported on!

Thanks to all the readers out there who’ve made 2012 so much fun here at LeBrain’s Blog.  Let’s kick 2013 into overdrive.

My top ten posts of 2012, by hits:

Editorial: Paul Stanley’s voice problems 741
REVIEW: KISS – The Box Set (Deluxe mini guitar case edition!) 273
GEOFF TATE: Solo album KINGS & THIEVES song samples available now 270
REVIEW: Black Sabbath – Master of Reality deluxe edition! 254
REVIEW: KISS – Destroyer (Resurrected) (2012) 227
REVIEW: KISS – “Hell or Hallelujah” single! (2012) 211
Ex-Queensryche’s GEOFF TATE UPDATE: Still a douche 202
REVIEW: KISS – Destroyer (and a word about that 35th anniversary Resurrected thing) 193
UPDATE: Queensryche’s Tate is a Douche 185
Part 71/ REVIEW: Pink Floyd – Shine On (9 disc box set) 185

Top five LeBrain-reading countries:

Country Views
Canada FlagCanada 13,754
United States FlagUnited States 6,242
United Kingdom FlagUnited Kingdom 2,417
Brazil FlagBrazil 739
Finland FlagFinland 629

Here’s a fun one:  Top five Google searches that led people to LeBrain’s Blog!

queensryche split 82
paul stanley voice 76
kiss revenge review 71
geoff tate is a douche 68
kiss hell or hallelujah 66

LOL…Geoff Tate is a douche!  That’s awesome!

Hope you didn’t party too hard last night.  Let’s rock 2013 like there’s no tomorrow!

Most Anticipated New Releases of 2013 (?)

I was having an offline discussion with the mighty Heavy Metal OverloRd and The CD Whisperer about the albums we’re most excited about in 2013.

It’s easy to think back just one year and remember how we couldn’t wait to see if the new Van Halen would be a triumph or disaster.  Now it’s the end of the year once again, and as long as the world doesn’t end on December 21, there are some cool releases lined up for the new year.

What are you most excited for?  Is there something in particular that you KNOW you’ll be buying before you hear a single note?

I have five must-buys in 2013.  Here’s my list.

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5. QUEENSRYCHE

This could end up being a total disaster.  Replacing a beloved (albeit knife-weilding) original frontman with a relative unknown is a huge risk.  Kudos to the band for trying, I’ll play along.  The key will be to walk a fine line between avoiding a retread of the past, and reminding fans how good they used to be.  Not an easy task.  Will Todd La Torre be up for it?  Time will tell.

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4. MOTLEY CRUE

Nikki has said the band is writing music to follow the lacklustre single “Sex”.  They’ve got tour dates with Kiss lined up in the new year.  I’ll admit I’m actually not that excited about a new Motley release, but I have been faithfully following this band through ups and downs through their entire career.  I even bought New Tattoo!

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3. VOIVOD – Target Earth

This one has a confirmed release date of January 22.  Although some may say that the idea of a new Voivod album without the late guitarist Piggy is sacrilege, life goes on.  This is the first album in over two decades with Blackie on bass.  From what I’ve heard of the first single, “Kluskap O’Kom”, it does sound like Voivod.  I’ll be supporting the boys in 2013, count on reading my review in the new year.

Sabbath Logo

2. BLACK SABBATH

Some might say that the idea of an “original” Sabbath album without Bill Ward is sacrilege!  Hell, I might be one of them!  But I love this band, and I have to have faith that the combined might of Sabbath plus Rick Rubin will produce something worthwhile.  Will “Scary Dreams” be on there?  I sure hope so.  First album with Tommy Clufetos on drums, a much more metronomic drummer, so I wonder if Sabbath can capture that loose vibe of the precious first 8.

Purple

1. DEEP PURPLE

Confirmed for an April 26 release.  Confirmed that Bob Ezrin is producing.  Confirmed song titles:  “Out Of Hand,” “Hell To Pay,” “Weirdistan,” “Uncommon Man” and “Above and Beyond.”  “Above and Beyond” is a tribute to late organist Jon Lord, who passed away far too soon.  “Weirdistan”?  I love it.  That title can only come from Ian Gillan.  Astoundingly this is the fifth album with Steve Morse and third with Don Airey.  And some said they’d never last without Blackmore!  I will most definitely be pre-ordering whatever cool editions the band has lined up.

What are you psyched about in the new year?  I want to hear from you.

REVIEW: Bill Ward – Ward One: Along the Way (1990)

A companion piece to my previous Record Store Tale, a video blog, seen above!

BILL WARD – Ward One: Along the Way (1990)

To date, since leaving Black Sabbath (the first time) in 1980, Bill Ward has released precisely two full solo albums (plus the single “Straws”).   This is especially unfortunate, since both solo albums are particularly fine pieces of work.  The finest and most noteworthy was his first, Ward One: Along the Way, released a decade after his Sabbath departure.  A long time in the making doesn’t begin to sum it up.

Bill himself provides drums, lead vocals, and piano, but not on all tracks.  Some tracks feature guest vocalists (Ozzy Osbourne, Jack Bruce, guitarist Rue Philips) and a guest drummer (Eric Singer, also ex-Sabbath, but best known for being in Kiss).  Other notables include Marco Mendoza (Thin Lizzy, Whitesnake), Lanny Cordola (House of Lords), Gordon Copley (Black Sabbath), Bob Daisley and Zakk Wylde (both of Ozzy’s bands).  Jack Bruce of course also plays bass!  It’s a smorgasbord of integrity.

Aside from some production issues (this album could use a nice, clear remix) this is among the best solo products issued by any ex-member of Black Sabbath, including Dio and Ozzy.  It has its Sabbathesque moments (a few crushing guitar chords, pounding drums, peacenik lyrics) but it truly is an animal of its own.   Bill Ward received a co-writing credit on every original Black Sabbath song, and it’s clear why.  The man has a vivid imagination, creating swirling soundscapes of music.  There is nothing here that is outright commercial, nothing straightforward, everything is just slightly fucked up.  I think most likely it was Bill that gave Black Sabbath its oddball experimental edge in the early days.  An edge they have lost now that they have given him the boot.

The obvious standout track is “Bombers (Can Open Bomb Bays)”, the thunderous single featuring none other than Ozzy himself on lead vocals.  But even that is strange and offputting, as the pitch of Ozzy’s voice is manipulated in the mix, giving him an otherworldly sound at times.

But there’s nothing wrong with Bill’s own soft vocals (aside from being mixed too low), as he proves on the standout tracks “(Mobile) Shooting Gallery” and “Pink Clouds An Island”.  He often layers his vocals, thickening them up, but it’s a pleasing effect  “Pink Clouds” is a particularly great track, featuring some nice unusual percussion and vocal bits.

Jack Bruce’s “Light Up the Candles (Let There Be Peace Tonight)” is a beautiful song with a great little guitar melody that weaves in and out, but Jack really delivers on the vocal.  If you hate lyrics about world peace, avoid this album!  “Snakes and Ladders” is another standout track, perhaps the closest thing to a straightforward rock song, although Marco Mendoza’s fluid bass keeps it slightly off-kilter.

Ozzy returns to sing lead on “Jack’s Land”.  I heard a while ago that a reissue of this album was being planned, sans the two Ozzy tracks.  What a shame that would be.  Must be due to rights.  “Jack’s Land”  is a driving song, made all the more powerful with Ozzy behind the mic.  Once again, his voice is manipulated for effect.

The core riff of “Living Naked” could have found a home on many a Sab platter, but the song is otherwise very different from anything Sabbath have done.  This flows directly into “Music For A Raw Nerve Ending”, one of three songs written solely by Bill.  While there is a chugging guitar audible beneath the layers of vocals, piano and bass, it is not the driving force of the song.  Bill’s hypnotic vocal is.  And this song melds directly into “Tall Stories”, which continues the key hooks, adding Jack Bruce, even more hooks, and a soulful female backing vocal. There’s even a frickin’ didgery doo!

“Sweep” (also written solely by Bill) is a bright, fast little number, perhaps the most mainstream track on the album.  Bill’s speedy little drum pattern propels the song forward, all punctuated with an oddball guitar solo by Richard Ward (any relation?).   While the album is loaded with great tracks, it closes with one of the best, “Along the Way”, followed by Bill’s haunting “goodbye”.

There’s nothing straightforward about this album, but there’s plenty to be enjoyed.  Bill clearly had plenty of ideas to get off his chest, and often he chooses to load many ideas within a single song.  I remember it was one of the first major releases of 1990 and it definitely started the year off correctly.  (Thankfully, Bruce Dickinson followed it with his excellent solo album a couple months later!)

5/5 stars

Forgotten Treasures – Ignored Albums of the 1990s – LeBrain’s List Part 5

Whoops!  I forgot these.  Thanks to the Heavy Metal OverloRd for pointing at least one of these out.

I really should have included these in my list of 88 albums that went under-appreciated in the 1990’s.  I loved these, still do, and my life wouldn’t be the same without them.

In alphabetical order:

BLUE RODEO – Just Like A Vacation (up there with Sloan as one of my fave live albums of all time)
FISH – Kettle of Fish 88-98 (my introduction to his solo music, a great set!)
HELIX – B-Sides (a misnomer: no B-sides included, but all great tracks that didn’t make albums)
GEORGE LYNCH – Sacred Groove (pure smoke!)
SANDBOX – Bionic (I guess Mike Smith makes significantly more money playing Bubbles on Trailer Park Boys)
SANDBOX – A Murder In The Glee Club (brilliant, brilliant concept album on insanity. Genius!)
REEF – Glow (I think these guys were pretty big in the UK but unknown here)
ROCKHEAD – Rockhead (see my review for all the details)
SLOAN – Between The Bridges (can’t believe I forgot my fave Sloan studio record!)

THIN LIZZY – Dedication: The Very Best Of (the song “Dedication” was my intro to Lizzy!)
BILL WARD – Ward One: Along The Way (I have a review forthcoming, one of the best solo Sabs ever)
THE WHITLAMS – Eternal Nightcap (Aussie band, saw them open for Blue Rodeo, blew me away)
ZAKK WYLDE – Book of Shadows (thanks HMO! Liked it so much I bought it twice)

I really hope I didn’t forget any more.  Embarrassing.  Check these out…all great albums front to back!

Most Unrightfully Ignored Albums of the 1990s – LeBrain’s List Part 1

In alphabetical order, here’s Part 1:  88 albums that meant the world to me in the 1990’s but never got the respect I felt they deserved.  When appropriate, I’ll pop in with comments.  Part 1!  Enjoy!

  • Aerosmith – Nine Lives (better than Get A Grip)
  • Armored Saint – Symbol of Salvation (John Bush lead vocals, nuff said)
  • Barstool Prophets – Last of the Big Game Hunters (from Ottawa Ontario Canada, great album)
  • Big House – Big House (from Edmonton Alberta, long forgotten hard rock classic)
  • The Black Crowes – Amorica (my favourite)
  • Black Sabbath – Cross Purposes (bleak gooder from the Martin-era Sabs)
  • Blue Rodeo – Nowhere To Here (psychedelically delicious)
  • Blue Rodeo – Tremelo (acoustically psychedelically delicious)
  • Bon Jovi – These Days (their most mature albeit darkest work to date)

  • Gilby Clarke – Pawnshop Guitars (the all time best GN’R solo album)
  • Alice Cooper – The Last Temptation (fans love it in hindsight, but it sold poorly in 1994)
  • Corrosion of Conformity – Deliverance (I was hooked upon hearing “Clean My Wounds”)
  • Coverdale Page – Coverdale Page (unrightfully ignored? well, most just disrespected)
  • Cry of Love – Brother (guitarist Audley Freed plays his Fenders like bluesy butter)
  • Deep Purple – Slaves & Masters (I have a soft spot for this ballady Deep Rainbow disc)
  • Deep Purple – The Battle Rages On (there are some strong forgotten tracks here)
  • Deep Purple – Purpendicular (one of the best records of their career)
  • Def Leppard – Slang (ditto)
  • Bruce Dickinson – Balls To Picasso (I believe I’ve discussed these enough in my in-depth reviews)
  • Bruce Dickinson – Accident of Birth 
  • Bruce Dickinson – The Chemical Wedding
  • Dio – Strange Highways (it took a while to grow on me, but at the time it was criminally ignored)

Part 2 of 4 coming tomorrow…