bonus tracks

REVIEW: Queensrÿche – Queensrÿche (2013 Japanese edition with bonus tracks)

QUEENSRŸCHE – Queensrÿche (2013 Avalon Japanese import)

RYCHE2013_0004I purchased and reviewed the domestic “deluxe edition” of Queensryche (2013) in July of this year.  I initially gave it a 3.25/5 stars, but I have since revised that score to 3.5/5.  The album continues to appeal to me greatly months later, which is more than I can say for most Queensryche discs since Promised Land.  At the end of that review, I cryptically added, “Oh, and the live bonus tracks absolutely smoke.”

Since nobody likes a tease, I’ve decided to focus on all four live tracks for this review.  For the very reasonable price of $32 USD plus $3 shipping, I had a sealed copy of Queensryche sent to me from Japan, so I now have all four live tracks.  If you want the short report:  They’re good enough that Queensryche should consider releasing a full live CD/DVD.  I’d buy it based on these four tracks.  But nobody comes to mikeladano.com for the short version.

“Queen of the Reich” is the first song I ever heard from the original  Queensryche, as I suspect is true for most of the band’s fanbase.  Right from the opening scream, I feel that this is the band that represents Queensryche.  Every note is nailed, as is every scream.  On this song Todd La Torre can do no wrong, but not just that.  I would say that his versions are, in general, fresh sounding.  He is reverent to the originals, but I also hear his own voice.  I must also commend Scott Rockenfield.  His drums are heavy as fuck, and his bass drum precisely punctuates every beat.

“En Force” is a welcome surprise.  In 2001, Eddie Jackson told me that it was considered in the running for the Live Evolution album but did not make the cut.  The good news is the guys still know how to play it!  This has never been my absolute favourite track from The Warning, but to hear it live with all the screams intact?  That’s something I never thought would happen again.

“Prophecy” is a difficult song, and although Todd doesn’t sing it album-perfect, I have to ask myself, who else these days can sing these Queensryche songs like this?  Not too many singers.  I just hope Todd doesn’t blow out his voice.  I’m sure this kind of singing takes its toll.

Last is the classic “Eyes of a Stranger”.  This is the only bonus track not from the stone ages of the Ryche, the only representation of Operation: Mindcrime.  It is actually this track, in many respects, that shows off the talents of Todd La Torre.  It is another side of the spectrum, and Todd pulls this off as well.  Look, I know Geoff Tate’s the original, etc. etc.  I get that.  Focused on the here and now, this is how I’d like to hear Queensryche sound.  Heavy, slightly progressive rock music with shredding vocals.  That’s what I like, and Queensryche deliver on these four bonus tracks.

Lastly, a word about Parker Lundgren.  I remember when Kelly Gray joined the band, on Live Evolution he lent a different sound to the band.  It was good, just different.  Parker fits much more seamlessly.   He doesn’t attract attention to himself by playing things differently, he played it the way you remember it.

Yeah, so I bought the album twice.  You knew I was going to.  For the bonus tracks:

5/5 stars

More RYCHE:

REVIEW: Queensrÿche – Queensrÿche (deluxe edition 2013)

QUEENSRŸCHE – Queensrÿche (2013 deluxe edition)

So after all the hubbub and commotion and he-says she-says, both Queensryches have finally released their albums.  The consensus is pretty clear:  fans prefer the original band to the original singer.  The sales figures speak for themselves.  Queensryche has more than doubled the sales numbers of Frequency Unknown, and charted in the 20’s rather than the 80’s.  The judge that will settle the case of who gets the Queensryche name in November said that the market would decide.  If that’s indeed the case, Tate can look forward to a solo career.

In the meantime Michael Wilton, Scott Rockenfield and Eddie Jackson carried on with Parker Lundgren and Todd La Torre, and basically did what fans have been asking:  revert to an earlier sound.

Instead of going through this album song-by-song, I thought I would try something different.  Instead I’d like to just talk about what I like and don’t like about Queensryche.  You can feel free if you disagree if you like.  Uncle Meat couldn’t bring himself to review the album.  He hated it so much he rated it 0/5 stars.  He said that the hiring of a Tate clone only makes Queensryche look like a bunch of douchebags.  His opinion was that this act alone put Tate on top, even if he did release the dreadful Frequency Unknown.  He asked me to say this on his behalf:

“This is like the winner of the Queensryche Karaoke contest.  Worst album of the year, of any genre.”

So there’s that.  I respect the criticism about the Karaoke contest.  But lemme tell you folks, even if La Torre’s Tate is uncanny, it’s also welcome to my weary ears.  I like hearing a Queensryche album where the singer is actually hitting the notes.  I’ve heard Tate fans talk about electronic processing on La Torre’s voice.  Well, that’s pretty much rooted in the 1986 Rage For Order sound.

If I had to nail Queensryche down to a specific era, it would be Warning-Rage-Empire in that order.  Not terribly original, no.  I’ll let it slide though, and for this reason:  when a band like Queensryche, who have musically been adrift at sea for a long time (barring the odd triumph like American Soldier), they need to re-ground themselves and regain the faith and trust of the fans.  Priest did something similar with their Angel of Retribution album.  Various songs sounded pretty bang-on for specific eras of the band.  And you know what?  That worked for me.  It was what I needed.  They saved the double concept album for the next record.

So, if Queensryche can progress from here, I’ll be happy and forgive them for the lack of originality.  I’ll let it slide for one album.  I’m also a little disappointed in the brief running time of 35 minutes: 9 short songs plus 2 intros.  None of the tracks are longer than 4 1/2 minutes.

QR2013 PICKI find pretty much all the songs to be of equal quality.  That is, all of them are good, some of them are better than good, none of them are poor.  I’ve waited to listen to this album 5 or 6 times before I tried to review it.  After that many listens, none of the songs are particularly jumping out at me more than others.  But none are turning me off.  All  have moments of greatness here and there, sometimes in the guitars, other times the drums, or the vocals.  La Torre is definitely stunning at times on this album.  It’s also fantasic to actually hear Scott Rockenfield playing the drums on a Queensryche album, and sounding like Scott Rockenfield.  He has a unique sound, one of his own, as does bassist Eddie Jackson.

As for the new boy Parker Lundgren?  Sure, he played on some of Dedicated to Chaos, but now you can actually hear him.  He meshes better with Michael Wilton than anybody else the band has had since Chris DeGarmo.

Which brings me to my final point.  I still miss DeGarmo.  This is nothing against Michael, Scott, Eddie, Parker or Todd.  DeGarmo had some kind of magic.  Look at all of Queensryche’s hits.  See who wrote most of them.  Queensryche absolutely miss DeGarmo, more than they do Tate.

In closing, I enjoy Queensryche a lot more than Frequency Unknown, or many albums since Promised Land.  Do I like it more than Rage?  Warning?  The EP?  No.  It’s good, no mistake, but it’s not at that level.  Whether they are capable of ever getting there again remains to be seen.  My attention is peaked; I’ll definitely check out the next album, which the band have already started writing.  In fact I’m looking forward to the next one, and hopefully the next one after that.

Oh, and the live bonus tracks absolutely smoke.

3.5/5 stars

FYI:  The Japanese edition contains an additional bonus track, which is “Eyes of a Stranger” performed live by the new lineup.  All four live tracks are taken from the same gig.  Reviewed separately.

REVIEW: Ozzy Osbourne – Speak of the Devil / Talk of the Devil (1983)

 

OZZY OSBOURNE – Speak of the Devil (1983 Epic)

After Randy Rhoads died, Ozzy really seemed to have gone into a tailspin. He just seems to have been completely miserable at the time and he really tries to bury the albums he made in this period. Speak Of The Devil, a live album featuring Brad Gillis (Night Ranger) on guitar, was not even included on Ozzy’s 2002 reissue program and went out of print.

Ozzy owed his label a live album, and had actually recorded one too (Randy Rhoads Tribute).  With fresh wounds from the loss of Randy, Ozzy didn’t want to do a live album at all.    So a compromise instead; Speak of the Devil (Talk of the Devil overseas) consisted entirely of Black Sabbath songs.  At the same time, Sabbath was releasing their own double live album, Live Evil.  This direct competition poured fuel over an already volatile feud.

SPEAK OF THE DEVIL_0003I always hate to compare Ozzy’s versions of Sabbath songs with the originals. Ozzy’s have always sounded different because of the guitar players he’s chosen to use over the years. These Gillis versions are about as authentic as Ozzy’s been, until the fortuitous discovery of Zakk Wylde five years later.  Gillis is a flashier player than Iommi, but without Randy’s intricate classical bent.

You absolutely cannot argue with the track list (from the Ritz, in New York). This is Sabbath boiled down to its black core. These are the desert island songs, and I love that “Never Say Die” and “Symptom of the Universe” were included.  Through the classics, Ozzy sounds tremendously drunk.  Colossally smashed, not quite completely out of his fucking head yet, but close.  Still lucid, not yet totally annihilated.  His voice takes on an angry shade when he starts reminiscing about the the groupies at the old Fillmore East (“The Wizard”).  (Sounds like a naughty word was awkwardly edited of out this ramble, too.)

I do love a moment when, just before breaking into the aforementioned “Wizard”, Ozzy says to somebody (a roadie?) “Hey, what’s happenin’ man?”

The vocals sound like they’ve been sweetened in the studio.  They’ve been double tracked, or manipulated to have that effect.  I’m normally not a fan of that kind of thing, but it’s still a great listen.  There’s some annoying feedback at points…it doesn’t bother me too much, hell, when I first heard this album (on cassette) in 1991, I couldn’t even hear the feedback, for the shitty fidelity of cassette tape.  I’m sure Ozzy considers the album to be sonically embarrassing, that seems to be his modus operandi.

Of note, “Sweet Leaf” did not manage to make the original CD release, but has been restored to this version, its CD debut.  It was on the original cassette version, a cassette-and-LP-only “bonus track” at the time.  (Aaron, that means you gotta buy remastered or LP.)

Band lineup: Osbourne/Gillis/Sarzo/Aldridge/Airey.

4.5/5 stars

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REVIEW: ZZ Top – La Futura (Best Buy edition, 2 bonus tracks)

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ZZ TOP – La Futura (2012 Best Buy edition, 2 bonus tracks, American Recordings)

Unfortunately I didn’t get this album until January of 2013.  As such, it didn’t make my Top Five of 2012 list.  If I had got it sooner, would it have made the list?  Probably.  It did make lots of lists.  It made Every Record’s top 10 of 2012.

I love this album.  I’ve played it every day since I got it!  From mournful ZZ blues (“Over You”) to skunky funky ZZ blues (“I Gotsta Get Paid”) to trademark anthemic ZZ rock (“Flyin’ High”), this album has pretty much everything I love from ZZ Top!

I first heard the single, the aforementioned “I Gotsta Get Paid” (a rewrite of a rap song called “25 Lighters” by somebody named DJ DMD) on the Mandy Grant Show, on 107.5 Dave FM.  I fell for it immediately, but I was wary of buying the album at first.  After all, most ZZ discs since Eliminator and even Afterburner didn’t do too much for me, even though they all have tunes worth putting on a road tape.  Maybe the difference is that, on La Futura, ZZ Top are working with Rick Rubin?  Or maybe it’s that they haven’t recorded a studio album in almost a decade?  I don’t know, except to say that ZZ Top absolutely nail it on La Futura.

The overall sound is both slick and dirty at once, a balance that they haven’t always hit in the past.  Frank Beard’s drums sound absolutely perfect, the way you want a real drum kit to sound, no goofy samples here!  Of course, the Reverend Billy F. Gibbons’ guitars are always greasy goodness, and full of dirty soul.  What sets this album apart is a rediscovered ability to write memorable, catchy blues rock songs.  “I Don’t Wanna Lose, Lose, You” is a perfect example of the kind of rock tune that ZZ Top are known for, groovy and instantly memorable.  “Chartreuse” and “Consumption” are the same, just awesomely great Top tunes as memorable as some of their best from the days of yore.  “It’s Too Easy Mañana” is a perfectly bluesy mess of guitars, bass and drums, while “Big Shiny Nine” is another trademark upbeat Top rocker.

My favourite song, that I keep coming back to, and can’t get out of my head, is “Flyin’ High”.  It’s just an awesome song, melodic as hell, and worthy of single status.  That’s my pick for second single right there.  What a riff, what a song!  Back in ’83, this would have been a smash hit.

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I shelled out for the US Best Buy edition, which has two bonus tracks.  Shipping and taxes all-in, I paid $35 for “Threshold of a Breakdown” and “Drive By Lover”.  Both are great tunes, but it’s especially worth having “Drive By Lover” because it’s the only song on which bassist Dusty Hill takes the lead vocal.  I’ve always been a fan of bands that have two lead singers, and I’ve always liked Dusty’s voice.

My only beef is the packaging.  What you see is what you get:  A simple cardboard case, no booklet.  You get liner notes but no lyrics or anything else particularly special for buying a physical edition.  Too bad.

4.5/5 stars

Note:  The first four tracks were previous released on the iTunes only Texicali EP.  But if you prefer physical product, like I do, this is a no-brainer way to go!

REVIEW: Sloan – The Double Cross (2011)

SLOAN – The Double Cross (2011 CD and iTunes editions)

This is an album that grew on me.  The last number of Sloan albums (everything since Between the Bridges basically) failed to grow on me.  Or, I failed to devote the time necessary to them.  Whomever is at fault…I never got into them.

Then, I got stuck in traffic one night on the way home from work.  There’s a certain “sweet spot” in the tri-cities.  If there’s an accident right where the 401 meets highway 8, it has the potential to tie up traffic in the tri-city area.  So, I took the long way home and listened to Sloan’s The Double Cross all the way through.  Twice.

The album grew from a 3.5/5 to a 5/5 in those two listens.

Two tracks stand out immediately: Chris’ “Follow he Leader” and Patrick’s “Unkind”. Both are incredible songs. Both remind me of what made me go nuts for Sloan a long time ago. Both have really immediate choruses, but both also really capture a vibe. You’ll know what I mean when you hear them.

I also quite like “Shadow Of Love” which sounds new wavy to me, like something Elvis Costello would have written. Little bit of moog on there. I also quite like Patrick’s “I Gotta Know”, a melodic punk-like rocker. Jay’s “Beverly Terrace” is like a disco song, no kidding, and it’s great. I also like Jay’s “The Answer Was You”. The closer “Laying So Low” is quite good as well, a slower one which ends the album on a bittersweet note.

There are two bonus tracks worth grabbing: iTunes had “Then Again”.  It is my third favourite song on the record overall, a Chris song with a dark almost heavy metal vibe (although the song is not a metal song). The iTunes pre-order only track, “Jesus Loves Me”, is a Patrick rocker with a heavy distorted riff like something Weezer might have done.

For best results, play loud. In traffic.

(Don’t like the cover art though. I love a lot of Sloan covers like One Chord and Navy Blues, and you can see they’re going for that two-colour-portrait look here, but the gold and purple are kinda putrid. Not really a cover that jumps out at you at the record store. But then again, who browses record stores anymore? Sigh.)

5/5stars