brighton rock

#766: The Blue Tape (1991)

GETTING MORE TALE #766: The Blue Tape (1991)

This blue Scotch tape has seen a lot of use over the years.  It was my first blank tape, 120 minutes.  This cassette was well loved.  Back in ’83, it contained open-air recordings of songs like “Dirty Deeds Done Dirt Cheap” and “The Mighty Quinn”.  At some point in history (early 1991) I must have recorded over it.  Let’s have a listen.

Play ►

I have a feeling I know what it is now.  Sounds like something I recorded for a girl!  It would have been for my long distance crush Tammy.

This tape was never anything more than a cheap cassette, and it sounds awfully horrendous today.  The contents, however, are still identifiable.  The reason I never sent it to her was that it didn’t pass the sound quality test when I played it back.  That was the shitty thing about cassettes.  You could pour hours into making something, and then abandon the entire project.

I’m writing this in real time as I listen.  If I’m right about my original intentions with this cassette, then I know that I’m going to find a specific song buried somewhere in the track list.  Let’s find out.

Side 1

1. Tesla – “Love Song”

The acoustic intro to the song made a perfect run-in for this lovey-dovey tape.  I’ll spare the identity of the poor girl who this was made for, but she knows!  This Tesla ballad is still utterly perfect.  Off to a good start.

2. Kiss – “Shout It Out Loud”

Whew, I sure am glad it’s not all ballads.  This track took me by surprise.  I’m glad I used a classic Kiss rocker as the second track, instead of pandering for romance with “Reason to Live”.  Good for me!

3. Cheap Trick – “The Flame”

I read a lot of hate for this song today.  In the 80s, it was my favourite Cheap Trick and it’s still in my top five.  It may be a ballad but like the Tesla one, it’s utterly perfect.  This tape is now clearly made for a girl.  I’d never do 2/3 ballads for my opening trio otherwise.

4. Warrant – “Thin Disguise”

Here I go again with the rarities!  She loved Warrant but there is no way she had this song unless she had the cassette single for “Cherry Pie”.  I did — I collected that stuff even back then.  Turns out the B-side “Thin Disguise” is one of the best Warrant tracks, even today.  It’s an acoustic/electric killer.  Jani wrote some incredible songs in his time.  This is one.

5. Warrant – “I Saw Red (Acoustic version)”

Another rarity, this time from the “I Saw Red” cassette single.  I think this simple acoustic track (just Jani and a guitar) is better than the bombastic A-side version.  Even then, I was trying to impress a girl with my music collection — how comical is that?

6. Kiss – “Reason to Live”

Ahh shit, there it is!  That is hilarious.

7. Cinderella – “Nobody’s Fool”

OK, I’m getting a little sick of the power ballads now.  The cool thing is, I know for a fact that I taped this off a cassette that she gave me for Christmas called Rulers of Rock.  I wanted to show that I appreciated the gift by including this song.  Kind of like when your favourite aunt gave you a sweater and you had to wear it when she was over to visit.

Enough with the ballads though.  Let’s get a rocker next.  Let’s hope for a rocker.

8. Kim Mitchell – “Easy to Tame”

Well, it’s not a ballad, but it ain’t a rocker either.  Kim Mitchell was a good way into a girl’s heart in the late 80s and early 90s.  Everybody loved “Patio Lanterns”.  “Easy to Tame” was kind of like it’s cooler, lesser known cousin.

9. Paul Stanley – “Hold Me, Touch Me (Think Of Me When We’re Apart)”

Jesus fuck!  I went full ballad.  This was probably my favourite ballad of all time back then.  Stanley’s guitar solo is flawlessly written and executed.  And I got three Kiss songs right there on side one.

10.  Kiss – “I’ll Be Back”

Four!  Four Kiss songs!  What a wild inclusion, too.  This is a brief, very quick, Beatles tune done a-cappella for Kiss eXposed on VHS.  I dubbed this from the video for a “soundtrack tape” that I made, and then recorded it here tape to tape.  Just a filler between two other songs, but fuck…that’s cool.

11. Killer Dwarfs – “Doesn’t Matter”

At least this ballad has balls.  We played this song a lot the previous summer.  Bob had the cassette for Dirty Weapons, and he loved this song.  A couple years later it was still good enough to include on their next album Method to the Madness.  It’s still great.

12. Triumph – “Let the Light (Shine on Me)”

I’m getting steadily more and more disgusted with myself as the ballads play on.  This one was recorded from the 7″ single, but at this point I don’t care and I just want the side to be over so I can flip the tape.

13. Quiet Riot – “Don’t Wanna Let You Go”

I’ll let myself off with a warning here, because this electric song is still pretty great.  Truthfully, I included it hoping she’d like it, as Quiet Riot wasn’t really her thing.  I was feeling nostalgic for the early 80s, the simplicity and quality of the Metal Health era.  You didn’t need a ballad to have a hit then, and indeed “Don’t Wanna Let You Go” isn’t a single.  Even in this shitty tape, Carlos’ guitar sound incredible.

14. Slaughter – “Fly to the Angels (Acoustic version)”

I put this on because she loved Slaughter but didn’t have a CD player, and this was a CD bonus track.

Side 2

I need a break from all the balladeering, but I have a feeling the mush will be just as relentless.  On the whole of side 1, there was only one track that you could call a rocker!

1. Judas Priest – “Out in the Cold”

Here it is!  Yes, I sure do remember making this tape.  The main motivation was — get this — to trick her into liking Judas Priest.

She hated Priest.  Meanwhile, we were in the Painkiller era and I was riding a Priest high.  I planned to write this song on the cover as:

1. Exciter – “Out in the Cold”

I used an alias (disregarding the thrash band with the same name because I know she wouldn’t recognize it) because I wanted her to hear this awesome Priest song with no preconceived notions.  I wanted her to love it.  I never found out since the cassette sounds so terribly bad and I never sent it, but this proves that I remembered my intentions correctly.

This sheds a new light on all the balladry.  I was trying to really lull her in.  I figured I needed a tape with nothing but the best soft songs in the world to really get her with the mighty Priest.  It’s all coming back to me now.

2. Frehley’s Comet – “It’s Over Now”

I didn’t think she would know this one, but I hoped she’d like it.  I was a big proponent of the second Frehley disc, appropriately called Second Sighting.  I always thought this song should have been a huge, huge hit.  I was hoping she would agree.  Unusually for a Frehley song (but wiser from a commercial ballad point of view), it has both lead vocals and lead guitar by Tod Howarth.

3. Frozen Ghost – “Promises”

This one takes me completely by surprises.  It’s a great song, but I didn’t have it back then.  My sister did — I must have poached it from her collection for this tape.  Bob played this a lot in the car over the last couple summers, so our whole gang would remember it fondly.  She would have been in the car when we were rocking Frozen Ghost.  Lead singer Arnold Lanni later went on to become quite a successful producer.  Guitarist Phil X made it even bigger, now touring the world with Bon Jovi!

4. Lee Aaron – “Only Human”

I don’t think this is one of Lee’s finer moments, but I thought she’d like it, so on it went.

5. Winger – “Miles Away”

Putrid.  Just awful.  Fast forwarding.

6. AC/DC – “Moneytalks”

Holy shit!  Finally a rock song.  AC/DC were huge in ’90-’91.  I couldn’t have gone wrong with AC/DC.  Then why the fuck didn’t I include more?  “Who Made Who”.  “You Shook Me All Night Long”.  Everybody likes those songs.  Holy shitballs.

7. Motley Crue – “Home Sweet Home”

Tammy had Dr. Feelgood before I did, but I don’t know if she would have Theater of Pain back then.  There was no such thing as a Motley greatest hits (can you imagine such a world?) so I thought this would be nice for her to have.

8. Van Halen – “Dreams”

OK, probably not a ballad.  Very keyboard-heavy.  Very easy to enjoy, and Van Hagar were still cool as fuck.

9. Van Halen – “Dancing in the Streets”

Some folks that are not necessarily Van Halen fans really like their version of “Dancing in the Streets”.  It’s probably better than Bowie/Jagger, at least.  I’m pleased with myself for including both Sammy and Dave on this tape, and one after the other no less!

10. REZ – “Shadows”

Woah!  Deep cut.  This was a tape, of a tape, of a tape, of a tape.  You can imagine what it sounds like today.  Bob and I loved this song by the Christian rock band REZ, formerly Resurrection Band.  You can see that I snuck in a few unfamiliar songs like this, hoping she’d get into them.  This one is pretty easy to like.  Total shock to find it here.

11. Kiss – “Hard Luck Woman”

Kiss Count:  five.

12. Brighton Rock – “One More Try”

This also comes as a surprise.  Then I think to myself that my music collection wasn’t very large back then and I would have to pull a few obscure ones out.  If I remember the details clearly, Tammy had MTV and so didn’t necessarily hear as much Canadian content like Brighton Rock.

13. AC/DC – “You Shook Me All Night Long”

Ah, good.  What’s interesting to me about this is that at this point of the tape, the right channel is completely inaudible.  So all I get is Angus (no Malcolm), Brian, and maybe half of Phil Rudd.

To my surprise, that is the last song.  Usually I snuck something short and goofy at the end of a tape.  “You Shook Me All Night Long” does make a good final song….

Wait!

I didn’t erase the tape to the end!  There is something left at the tail.  Older contents; older than 1991.

It’s “On the Road to Rock” by Kick Axe!  It is a mystery how that song got on this tape in the first place, as I didn’t own it back then and don’t even own it now.  I must have recorded it off someone.  Who, I have no idea.  Perhaps my next door neighbour George had it.  It was him or Bob, but I’ll never know for sure.  George is gone now and Bob wouldn’t remember.

Knowing when I made this tape, and all the motivations behind it doesn’t forgive it for being a piece of shit. I did a shitty job here folks! Too many ballads, not enough variety. It’s a real slog to listen to without a fast forward button. At least half of those ballads could be axed, and replaced with something else that I had in my collection at that time.

Usually when you make a tape for someone, you give it away and never hear it again. In this case I had the rare chance to play back a mix tape that I made 28 years ago and never sent. It’s just as bad as I feared though not without some surprises and the odd cool inclusion.

That blue Scotch tape, an ancient C-120, goes back to at least 1983 making it 36 years old at minimum.  120 minute tapes are never any good, and this one was always particularly cheap.  Now that I’ve satisfied my curiosity, I will never play this tape again.

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#604: Heavy Vinyl is a Tactile Experience

GETTING MORE TALE #604: Heavy Vinyl is a Tactile Experience

Now that vinyl is back in a big way, you may have noticed more and more heavy vinyl in your local record store.  180 gram vinyl records are very popular, particularly for reissues.  You’ll notice the front cover stickers touting the weight, but what does this all mean?

As it turns out, not very much.  Heavier weight vinyl is a preference, but not one that particularly pays off in improved sound quality.

Typical records are pressed on 120 grams on vinyl.  It starts as vinyl pellets, which are melted and expertly pressed between two plates.  A record is plenty thick enough to accommodate grooves pressed into both sides.  Thickness is not the issue.  Sound quality more depends on other factors.  Virgin plastic, not recycled, is preferred by connoisseurs.  The quality of the presses, the experience of the engineers, and of course the mastering of the music for vinyl are all critical.  Thickness, not so much.  The groove in a record depends more on surface area in order to get a good sound, and that comes from width.  Sound issues arise when a side of a record is so long, that the grooves need to be squeezed onto that 12″ diameter.  Then you lose clarity and distinction.  A thick record might cut down on vibration from the turntable, but a good platter will do the same job.

200 gram vinyl.  Notice the thick edge.

Heavy vinyl feels amazing in the hand. Like buying a heavy-duty vehicle, you feel the weight and sturdiness and associate it with quality.  Generally, you would be correct.  When a label presses a release on 180 gram vinyl, it’s often the case that this is some special reissue.  Perhaps it’s been specially re-mastered for vinyl, or manufactured in limited quantities.  Sometimes these come in special gatefold packaging.  If the remastering is done well and not overdriven like a lot of modern releases, chances are you’ll be getting a good sounding record.

120, 180, 200 grams…how heavy can these things get?  Is there an upper limit?  I asked Gerald McGhee, vice-president of Precision Pressing in Burlington Ontario.  He also sings in Canadian band Brighton Rock.

“You can go higher.   200 is in vogue right now.  140 is standard,  and 180 is getting more traction, but very little difference in sound quality,” says McGhee.

In theory you could take vinyl to absurd limits, but what would be the point?  Maybe if you’re Blink 182, you could do a special 182 gram release.  (Make sure I get my cut for the idea if you do.)  If you as a consumer buy heavy vinyl, you’re doing it mostly because you enjoy it for reasons other than sound.  Perhaps you buy them because you are used to getting a good mastering job with such releases.  Perhaps, like me, you also enjoy the satisfying feeling of handling such a record.  Perhaps you just like to collect variations.  But if you are not one of those, you may just want to save the extra few bucks and buy a cheaper version.

 

REVIEW: Brighton Rock – Take a Deep Breath (1988)

BR TADB_0001BRIGHTON ROCK – Take A Deep Breath (1988 WEA)

Legend has it that Brighton Rock hated this album. Singer Gerald McGhee was on record saying that record company pressure forced his band to soften up the songs and his singing style. Yet, Take A Deep Breath is actually an excellent 80’s rock album, with unusual quality. Everything you loved about 80’s rock is here.

Brighton Rock’s sound was different from the crop of hair bands at the time. They always had a classier feel in their commercial rock. Witness, from the first LP, “We Came to Rock”. The synth strings made it different, a little more refined. Johnny Roger’s tasteful keyboard parts have always provided an interesting background texture to their vocal and guitar melodies. Gerald McGhee’s vocals were emotional and he had a powerful range. On this album, he doesn’t scream (that record company pressure), but that’s OK. It works out fine with these songs. His voice is strong enough, he didn’t need to show off how high he could go.

Strong songs:

  • “Can’t Stop The Earth From Shaking” (poppy, catchy and upbeat rocker)
  • “Outlaw” (dark and moody, great keyboards providing background texture)
  • “Rebels With A Cause” (guitars upfront, a good groove)
  • “Power Overload” (another guitar rocker with a great shout-chorus)
  • “Who’s Foolin’ Who” (best song on the album, sounds like we have some fretless bass here, a moody dark rocker)
  • “Love Slips Away” (dark and moody ballad, second best track here)
  • “Unleash The Rage” (the dark, metallic song that sounds more like the rockers on the first album)

Drivel:

  • “One More Try” (the unfortunate first single, a ballad…look at those doe eyes!)
  • “Ride the Rainbow” (the pop song Gerald says he wished he never wrote)

As you can tell, dark moods dominate Take A Deep Breath. You could probably tell that by the cover. Hugh Syme (best known for his work with Rush, although he’s also done Iron Maiden, Megadeth, Queensryche, and dozens more) did the picture of the little boy with the gasmask in the post-nuclear landscape. Because of this dark feel, Take A Deep Breath is unlike most of the pop rock records out at the time. Its darkness allows it to stand up to scrutiny today. When Brighton Rock ditched keyboardist Johnny Rogers so they could “heavy it up” for their next album Love Machine, it didn’t work. They lost that special quality and became just another band trying to sound like it was from LA.

Don’t listen to Gerald McGhee: Take A Deep Breath was an album for him to be proud of, not embarrassed by. It was the high point of this band’s discography.  Heck, Jack Richardson produced it — the same guy who recorded Universal Juveniles and the better Guess Who albums.   There is a level of quality here underneath the keyboards that is audible, even today.

4/5 stars

REVIEW: A World With Heroes – A KISS Tribute for Cancer Care – A 40th Anniversary Celebration (2013)

Part 7.5 in my series on Ace Frehley, sorta!  Plenty of Ace related coolness here.  For the last part of the Ace series, 12 Picks, click here.

A World With Heroes – A KISS Tribute for Cancer Care – A 40th Anniversary Celebration

Cancer sucks.  Kiss rules.  Agreed?  Buy this CD.

Mitch Lafon executive produced this sucker, and I suspect that means a hell of a lot of work.  I have never in my travels discovered a cooler Kiss tribute album.  Do you really need to buy another Kiss tribute album?  Do you?  Yes, you do.  Why?  For the following reasons:

  • IMG_00000937Profits benefit the Vaudreuil-Soulanges Palliative Care Residence in Hudson, Quebec.
  • Obscure track selections.
  • Rare Kiss related gems, such as two Peter Criss Band demos with Phil Naro.
  • New Brighton Rock!  Finally.
  • Superstar performers including Mark Tornillo of Accept, Russ Dwarf, Don Dokken, Bonfire, Sean Kelly, Vinny Appice, L.A. Guns, Doro, and many more.
  • Members of the Kiss family including Eric Carr, Peter Criss, Frehley’s Comet (minus Frehley), Bob Kulick and Phil Naro.

I can’t say enough good things about this compilation.  Upon first sight, it had enough rarities from artists I liked, as well as Kiss obscurities, to make it a must-have.  Hearing it, I’m blown away repeatedly.  It is a heady brew of hits and deep, deep cuts.  Since there are 51 tracks in total, I can’t go into too much detail.  I’ll point out some personal favourite moments.

I’m a huge fan of the Revenge album, and I’m a huge fan of Accept.  Hearing Mark Tornillo do his thing through “Spit” was awesome.   I think the man’s vocal cords must be made of steel or something for him to sing like that.  I also loved “Sure Know Something”, although I don’t know Chris Buck & Anthony Cardenas Montana.  It’s a slinky version, very true to the original but with a Rod Stewart vibe.  Jeff Paris does a pretty authentic “Shout Mercy” and I give him full points for doing a Monster tune, the newest Kiss song on A World With Heroes.

I’ve loved Brighton Rock since I was a kid, but I never expected them to unplug “Creatures of the Night”.  This twist takes a moment to get used to, but their haunting arrangement is very original and cool!  “Larger Than Life” from Alive II is revisited by Brian Tichy and friends, and they do it pretty straight to the original, almost lick for lick.  It’s great.  I love that Ron Young from Little Caesar sings “Little Caesar”, a nice wink and a smile there.  A band called Shredmill contribute their original song “Outerspace”…which was later covered by Ace Frehley on his Anomaly album (giving himself a writing credit).  Shredmill’s version is more Danzig, where Ace’s was more Ace.

On the second CD, surprises and highlights continue.  Ron Keel and friends from Tesla and Cinderella knock it out of the park on “Rock N’ Roll Hell”, with a nod at the start to Keel’s own “The Right To Rock”.  Rick Hughes of Quebec metal masters Sword helps blow the doors off “The Oath”, a favourite from The Elder.  The L.A. Guns guys (Phil Lewis included) tackle the difficult “Master & Slave” from Carnival of Souls, and it smokes.  They do it authentic to the grungy original but with Phil’s snarky vocals.

As a Killer Dwarfs fan, I’m always pleased to hear Russ Dwarf’s nasally twang, and he turns in a decent “Hard Luck Woman”.  (Meanwhile, another bunch of L.A. Guns guys did their own version on disc one.)  Bonfire contribute a live version of Paul Stanley’s unreleased song “Sword & Stone”, from their Live at Wacken CD.  I don’t really know who American Dog are, but I love that they covered the Paul Stanley version of “God of Thunder”, not the Gene Simmons take from Destroyer.  They do it the speedy rocked-up way that Paul originally demoed.  Jim Crean does justice to “Magic Touch”.  He’s almost Joe Lynn Turner style on this one.

A WORLD WITH_0001The second CD ends with two takes of “Beth” (Chris VanDahl sounding like the hoarse Peter Criss on Alive II, and Phil Naro).  This is in addition to Michael Lardie’s (Great White) version on disc one.  Naro’s is easily the best of the three.

But wait, that’s not all, folks.  iTunes are selling a 51 track version of A World With Heroes, including 11 exclusives.  Thankfully, you can buy these exclusives separately if you already bought the CD (like I did).  Once again, highlights are many.  Doro contributes a 2013 re-recording of “Only You”, which she had a previous hit with back in 1990.  Russ Dwarf returns with an outstanding “God Gave Rock and Roll To You II”.  There are two previously unreleased demos by the Peter Criss Band with Phil Naro.  These feature Peter on drums, but believe me, you can hear that it is the Cat Man and no one else.  In addition, there’s a third song from this period, but recorded by Phil in 2013.  There is also a second version of “Larger Than Life”, this time by somebody called Robot Lords Of Tokyo.  I don’t know who Robot Lords Of Tokyo are, but I love “Larger Than Life” and I have no problem with another version of it.  This one’s done quite differently, and heavier too.

But wait!  There’s still more!  Pledgers who pre-ordered the CD got four bonus tracks.  I missed the boat on these, and you can’t get them anymore.  I’m bummed about that, but for the sake of completion, the four bonus tracks are:

  1. ‘Calling Dr. Love’ – Performed by: Crash Kelly
  2. ‘Comin’ Home’ – Performed by: Sudden Flames
  3. ‘Heaven’s On Fire’ – Performed by: The Feckers (ft. Irene Slade)
  4. ‘I Was Made For Lovin’ You’ Performed by: Alain Pernot

I’d love to have these, especially Crash Kelly, but alas.  The project is still awesome and worth your coins.  Especially if you’re a self respecting Kiss fan.  Get it.

5/5 stars

EDIT:  I now have the tracks.  Crash Kelly’s is awesome!  Fun and awesome.

Disc 1:

  1. ‘Psycho Circus’ – Performed by: DDRIVE (Phil Naro, Don Mancuso, Dave Sessions, Jt Taylor & Bobby Bond)
  2. ‘Spit’ – Performed by: Ken Dubman, Jimmy Callahan, Scott Metaxas, & Mark Tornillo
  3. ‘Deuce’ – Performed by: Bill Leverty, Kevin Valentine, John Regan, & Russ Dwarf
  4. ‘Sure Know Something’ – Performed by: Chris Buck & Anthony Cardenas Montana
  5. ‘Detroit Rock City’ – Performed by: Ron ‘Bumblefoot’ Thal, Rex Brown & Brian Tichy
  6. ‘Eyes Of Love’ – Performed by: Eric Carr, Benny Doro & John Humphrey
  7. ‘Shout Mercy’ – Performed by: Jeff Paris, Troy Lucketta, Eric Brittingham Jeff Labar
  8. ‘Creatures Of The Night’ – Performed by: BRIGHTON ROCK
  9. ‘Larger Than Life’ – Performed by: Rex Brown, Brian Tichy & Mark Zavon
  10. ‘Cold Gin’ – Performed by: Don Dokken & Tommy Denander
  11. ‘Love Gun’ – Performed by: Tony Harnell, Mark Kendall, Scott Snyder, Sean Michael Clegg, Kevin Valentine & Tommy Denander
  12. ‘Little Caesar’ – Performed by: Ron Young, John Regan & Tommy Denander
  13. ‘Hard Luck Woman’ – Performed by: Chris VanDahl, Stacey Blades & Adam Hamilton
  14. ‘Outerspace’ – Original demo later covered by Ace Frehley on his Anomaly album – Performed by: SHREDMILL (David Askew, Jesus Mendez Jr, Jaime Moreno)
  15. ‘Goodbye’ – Performed by: IMPERIA & BOB KULICK (J.K.Impera, Matti Alfonzetti, Tommy Denander & Mats Vassfjord) – Additional Guitars by Lars Chriss
  16. ‘See You Tonight’ – Performed by: TODD FARHOOD & MYSTERY (Todd Farhood, Michel St-Pere, Sylvain Moineau, Jean-Sébastien Goyette, Francois Fournier & Benoit Dupuis)
  17. ‘Beth’ – The Grand Piano Version – Performed by: Michael Lardie
  18. ‘Tomorrow’ – Performed by: DRESSED TO CHILL (Matt Bradshaw, Rav Thomas & Rhys Lett)
  19. ‘Anything For My Baby’ – Performed by: SLAVES ON DOPE (Kevin Jardine, Jason Rockman, Seb Ducap & Peter Tzaferis)
  20. ‘Unholy’ – Performed by: Fred Duvall, Glenn Belcher, Mark Slaughter (Guitar Solo), Rob Zakojc & Russ Dwarf

Disc 2:

  1. ‘Breakout’ – Performed by: Tod Howarth, John Regan & Kevin Valentine
  2. ‘Rock N Roll Hell’ – Performed by: Ron Keel, Troy Lucketta, Eric Brittingham & Jeff Labar
  3. ‘Nowhere To Run’ – Performed by: DRUCKFARBEN (Phil Naro, Ed Bernard, William Hare, Troy Feener & Peter Murray)
  4. ‘The Oath’ – Performed by: Rick Hughes, Chris Buck & Bob Richards
  5. ‘Master & Slave’ – Performed by: Adam Hamilton, Scott Griffin, Stacey Blades & Phil Lewis
  6. ‘Calling Dr.Love’ – Performed by: BURNING RAIN (Keith St John, Doug Aldrich, Sean McNabb & Matt Starr)
  7. ‘I Stole Your Love’ – Performed by: S.U.N. (Brian Thomas Tichy, Sass Jordan & Tommy Stewart) With Derek Sharp (Of The Guess Who)
  8. ‘Reason To Live’ – Performed by: Johnnie Dee & Derry Grehan of HONEYMOON SUITE with Michael Foster & Bill Leverty of FIREHOUSE
  9. ‘Hard Luck Woman’ – Performed by: Fred Duvall, Glenn Belcher, Rob Zakojc & Russ Dwarf
  10. ‘Forever’ – Performed by: Terry Ilous, Sean Kelly With Jeff Paris.
  11. ‘Sword And Stone’ – Taken From Bonfire Live In Wacken – Performed by: BONFIRE (Claus Lessmann, Hans Ziller, Chris Limburg, Uwe KöHler, Harry Reischmann)
  12. ‘God Of Thunder’ – Performed by: AMERICAN DOG (Michael Hannon, Steve Theado & Keith Pickens)
  13. ‘She’ – Performed by: RAZER (Chris Powers, Chris Catero, Jordan Ziff, Paul Sullivan, Eric Bongiorno & Chuck Alkazian)
  14. ‘New York Groove’ – Performed by: SLAVES ON DOPE (Kevin Jardine, Jason Rockman, , Elizabeth Lopez & Peter Tzaferis With Marty O’Brien)
  15. ‘Magic Touch’ – Performed by: Jim Crean, Phil Naro, Vinny Appice, Steve Major & Stan Miczek
  16. ‘Tears Are Falling’ – Performed by: Willie Basse, Bruce Bouillet, Scott Warren & Mike Hansen.
  17. ‘Rock N Roll All Nite’ – Performed by: Harley Fine, John Regan & Atom Fellows
  18. ‘Shandi’ – Performed by: Dani Luv, Scott Griffin & Matt Starr
  19. ‘Beth – Bonus Track’ – Performed by: Chris Vandahl & Scott Griffin.
  20. ‘Beth – Bonus Track’ – Performed by: Phil Naro, William Hare & Ed Bernard

iTunes exclusives:

  1. ‘No, I’m Not Afraid’ (Previously Unreleased Peter Criss Band Demo from 1991) – Performed by Peter Criss and Phil Naro
  2. ‘Wait For A Minute To Rock N’ Roll’ (Previously Unreleased Peter Criss Band Demo from 1991) – Performed by Peter Criss and Phil Naro
  3. ‘Back On The Streets’ (2013 Mix originally from Return of the Comet) – Performed by Richie Scarlet, John Regan, Tod Howarth, Arthur Stead & Steve Werner (The Comet Band)
  4. ‘Only You’ (2013 Recording) – Performed by DORO
  5. ‘God Gave Rock N Roll To You II’ – Performed by Russ Dwarf
  6. ‘I’m An Animal’ (2013 Mix originally from Return of the Comet) – Performed by the Comet Band
  7. ‘Let Me Go Rock N’ Roll’ – Performed by The Oddfathers
  8. ‘Surrender In The Name Of Love’ (Written by Peter Criss & Phil Naro) – Performed by 24K featuring Phil Naro and Mladen Alexander
  9. ‘Love Gun’ (Tommy Denander Guitar Solo Mix) – Performed by Tony Harnell, Kevin Valentine and Tommy Denander
  10. ‘Larger Than Life’ (2013 Remaster – Robot Lords Of Tokyo version) – Performed by Robot Lords Of Tokyo
  11. ‘Cold Gin’ (2013 Remaster from L.A. GUNS’ 1998 Wasted EP) – Performed by L.A. Guns

Gallery: A World With Heroes

This arrived in the mail today.  Haven’t even taken off the shrink wrap yet! Thanks @mitchlafon!

A World With Heroes – A KISS Tribute for Cancer Care – A 40th Anniversary Celebration.  That’s a buttload of songs, people! (I love that Ron Young of Little Caesar SINGS “Little Caesar”.)

REVIEW: Brighton Rock – Brighton Rock (EP)

BRIGHTON ROCK – Brighton Rock (1985 Flying Fist EP)

I first turned onto this band in the 10th grade.  MuchMusic kept playing the video for “We Came to Rock”.  It had a pop rock vibe to it, but the singer erased any accusations of being pop.  The screams!  The unholy screams!  Yeah!  That was definitely hard rock territory!

The singer’s name is Gerald McGhee and the band is Brighton Rock.  There’s a connection to the Record Store Tales, which is that later on McGhee started a music distribution company called Isotope Records and we used them as a supplier once in a while.  My boss told me that Gerry still had the hair.  (According to M.E.A.T Magazine he was also one of two Canadian singers to audition for Motley Crue in 1992, the other being Sebastian Bach.)

The selling feature of this band for me was the incredible voice of McGhee.  I’d never heard screaming like this before!  I remember my highschool classmates couldn’t handle it, the screams were too much for them.  But it’s not gratuitous; McGhee throws in screams strategically at key points to blow you to the wall.

Not that McGhee is the only talent in Brighton Rock.  Also notable is guitarist Greg Fraser, who ended up in Helix in 1993, and today fronts the Frase Gang with Brighton Rock bassist Stevie Skreebs.

BRIGHTON 5Before they released their excellent debut album Young, Wild and Free, Brighton Rock completed a four song EP, which is what we’re talking about today.  It’s no Young, Wild and Free, but we’ll be talking about that album (and Take A Deep Breath) in the weeks to come.   The EP Brighton Rock is a less-honed taster, but something I’d sought to own for a long time.  It’s never been released on CD, and contains one song (“The Fools Waltz”) that isn’t on any Brighton Rock album.  Bob had this on cassette when we were kids, but I finally recently picked up a sealed vinyl on eBay for dirt cheap.

Brighton Rock and their debut album contain the same opening song:  “Young, Wild and Free”.  This early version is musically identical but lacks the oomph.  Michael Wagener produced the album, and no doubt helped by his incredible work with Accept, got way more intense screams out of McGhee.  The EP however is produced by somebody named Steve Vaughan (with one track by Jack Richardson).

The second track is “Assault Attack”, which as the title implies is a combat zone of hooky guitars and thunderous toms.  Miles away from the ballady stuff like “One More Try” that the band would later become known for.  Song three is “Barricade”, which has a really cool and tricky sounding guitar solo by Greg Fraser.  It’s a heavy rocker., but the closing song “The Fools Waltz” eases up on the pace a tad.  It would be a stretch to call it a ballad.  It’s more like a Canadian radio rock song.

Of note:  the Brighton Rock EP is the only release with original keyboardist Martin Victor.

3/5 stars

REVIEW: Rockhead – Rockhead (1992)

ROCKHEAD – Rockhead (1992)

  • Bob Rock – guitar
  • Steve Jack – vocals
  • Jamie Kosh – bass
  • Chris Taylor – drums

A lot of Rock-haters (people who hate Metallica’s output from 1991-2003) have no idea that the man is quite the musician himself. Canadians remember the Payola$ and Rock & Hyde, but then there was Rockhead. Bob Rock found a great Canadian punk rock vocalist named Steve Jack, who as it turns out, was also a great screamer. Some of the screams on this album are unreal — check out “Bed Of Roses”, “Heartland”, and “Chelsea Rose” for some awesome vocals.  Face it, Canada has some great screamers (James LaBrie, Gerald McGhee, Sebastian Bach!) but Steve Jack was a contender.

This album was born during the the difficult Motley Crue sessions (not to mention a Bon Jovi album), while Bob was going through a divorce.  This comes out in the song “Warchild”.  In fact it ACTUALLY comes out during that song:   Bob can be heard yelling and throwing stuff around the studio at one point, which he recorded after a painful phone call.

I don’t find there is a weak track on this album, and plenty of Bob’s buddies show up.   Art Bergmann, Billy Duffy, Paul Hyde, Jon Bon Jovi & Richie Sambora all contribute songwriting skills.  Duffy and Sambora also contribute solos.   From the screamy Aerorock of “Bed of Roses” to the metal of “Heartland” to the acoustic Zeppelinesque “Angelfire”, every single track is worth a listen.  It’s a diverse album actually, running the gamut from light to dark and embracing different sides of rock.   Boozy, bluesy, epic, acoustic, you name it.  Its roots are firmly planted in the 1970’s, but if this had come out in 1989, it could have spawned 5 singles.

Sonically if you like Bob Rock, you will like this.  It’s right in the ballpark of that Motley Crue/Keep the Faith sound he had going on during that period.  Big big drums, layers of guitars, a lil’ bit of keyboards here and there, but mostly, lots and lots and lots of guitars.

4/5stars