DEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)
There are very rare circumstances under which I will pay for a download from iTunes. I’ve made my case for physical product here over the years many, many times. When it’s a band that I obsessively collect, like Deep Purple, I make an exception. Bombay Calling is an interesting live release. It says “Official Bootleg” right there on the cover art, but I’m not really sure what constitutes an official bootleg anymore. I look at this as the soundtrack to a DVD that Deep Purple released in 2000, also called Bombay Calling. That’s essentially what this is — the audio to Bombay Calling, the DVD. In contains the entire show.
This concert was recorded on April 18 1995, which eagle-eyed fans will realize is well before thePurpendicular album. Bombay Calling was recorded not long after “the banjo player took a hike” and Purple carried on without Ritchie Blackmore. Joe Satriani stepped in for a short while, but it was Dixie Dregs guitar maestro Steve Morse that took the Man in Black’s place permanently. This concert was recorded at the very start of Morse’s tenure, and features a few songs they would drop from the set a year or two later. It also features a brand new tune they were working on called “Perpendicular Waltz”, later changed to “The Purpendicular Waltz” on the album.
There is one earlier concert available from this period, which is Purple Sunshine in Ft. Lauderdale Florida, exactly two weeks prior. That one is truly is an official bootleg, taken from audience sources and released on the 12 CD box set Collector’s Edition: The Bootleg Series 1984-2000. The setlists are slightly different. When they hit India for this concert, a new song called “Ken the Mechanic” (retitled “Ted the Mechanic”) was dropped, as was “Anyone’s Daughter”. They were replaced by long time favourites “Maybe I’m a Leo” and “Space Truckin'” from Machine Head.
Special treats for the ears on Bombay Calling include Steve Morse’s incendiary soloing on “Anya” (which would be dropped from the set in 1996). His feature solo leading into “Lazy” is also excellent, and of course very different from what Ritchie used to do. Jon Lord’s keyboard solo is among the best I’ve heard, and even features a segue into “Soldier of Fortune” from Stormbringer. The solo segments that Deep Purple did often allowed them to play snippets from songs from the David Coverdale period of the band, and this one was unexpected and brilliant.
I love a good, raw live performance captured on tape, and Deep Purple don’t muck around. This one is kind of special, coming from that transitional period when Steve Morse was just getting his feet wet. Considering how different he is from Ritchie Blackmore, this smooth switcheroo is quite remarkable. The band had changed, but into something just as good. How many other groups can make that claim?
3.5/5 stars
Since you can’t take a picture of a non-physical product, here are pictures of the 2 CD set that I burned from the iTunes download!
Out of the Cellar was my first Ratt album, acquired in a trade from next door neighbour George. Considering how big Ratt were at the time, I expected it to be better. In the 80’s, I felt like Out of the Cellar was a handful of singles padded out by filler. I haven’t played the whole album in years (at least five), so this review is coming from a fresh perspective. Dusting off the CD, I note on the credits the name of producer Beau Hill — never one of my favourites.
One of the aforementioned singles, “Wanted Man”, opens the album on an up note. The cowboy motif has been popular in hard rock at least since David Lee Roth wore buttless chaps. Tough, slow and menacing is “Wanted Man”. Everything about it is classic hard rock. Finger-blurring solos, thick backing vocals (courtesy of Juan Crocier mostly), and a big chorus are all it takes in the world of Ratt. “Wanted Man” has always been a high point from Out of the Cellar, and it remains just as cool today.
“You’re in Trouble” kinda smells funny, as rock songs with funky bass often do. Great chorus, but the rest of the song fails to generate any sort of fist-pumping. This is easily forgotten since the third track is the big one. “Round and Round”…what is it about this song? It’s still irresistible today. Why? Everything clicks. It is the perfect formulation of Robbin’s riffing, Warren’s picking, and Steven’s sneer. Bobby and Juan keep the pulse tough and punchy. It’s just one of those magical songs from that era that still has the goods.
Moving on, “In Your Direction” is suitable for an album track. Ratt referred to their sound as “Ratt N’ Roll”, because according to them, it was their own sound unlike other bands. That may be so, but unfortunately Ratt N’ Roll is pretty limited as far as genres go. If you cross “Wanted Man” with “You’re In Trouble”, you get something like “In Your Direction”. Ratt albums have always suffered from too many soundalike songs. Smoking solo though — very Eddie-like. “She Wants Money” is pretty good. These old melodies are coming back, as are old memories. “She Wants Money” is one of the strongest non-singles on Out of the Cellar.
Frustratingly, “Lack of Communication” is a good song that lacks a good chorus. “Lack of communication, back off!” Something’s not clicking there, which is too bad because the rest of the song was really decent. What we need now is another single. “Back For More” was always outstanding for a Ratt song. The acoustic intro was the only soft moment, on an album composed 100% of rockers. “Back For More” is punchy and memorable, a pretty great example of Ratt N’ Roll because it doesn’t sound too much like the other songs.
Stormy guitars and cool Pearcy vocals keep “The Morning After” rocking ’til dawn. “I’m Insane” ain’t too bad, another nondescript pedal-to-the-metal Ratt N’ Roller. “Scene of the Crime” is another fairless faceless Ratt song, which closes the album. It’s a fairly limp ending, and there’s nothing about the production that really aids or abets the album.
Listening to Out of the Cellar today is much the same as it was in the 80’s. It has enough high points to give credit where credit is due, but given the chance to listen to it or a “best of” CD, you’re going to go with the compilation. It’s too bad Ratt couldn’t have tightened up some of these songs a bit first, in the writing stage.
MAX WEBSTER – High Class in Borrowed Shoes(1977 Anthem)
It’s only the second Max Webster album, but the band were so tight and perfect that they got three radio classics off it. “Diamonds Diamonds”, “Gravity” and the title track are all three radio staples, and “On the Road” a live classic that Kim Mitchell occasionally plays unplugged. Every fan has a favourite Max album, and I think I probably know a couple who would put High Class in Borrowed Shoes as numero uno.
The album opens with the impressive “High Class in Borrowed Shoes”, a blaster that sounds to me like a Canadian Van Halen! Max had tamed some of their wackier tendencies (“Toronto Tontos”, anyone?) and focussed their chops. Not that the new Max (now featuring legendary drummer Gary McCracken) was normal by any definition. Just listen to the lullaby-like “Diamonds Diamonds”. Great song, but very different for a rock band. Its dreamlike mood is heightened by the surreal lyrics by Pye Dubois. Not to mention there are only six lines to the words!
“Gravity” would make my top five Max tracks in a heartbeat. “What do I know? I sat under a cloud. I looked up, afraid to look down.” Kim sounds like a little boy speaking the words, to great effect. The chorus is a big one, backed by a Kim’s riffing. I have no idea what this song is about, but to me the line “Forget that fear of gravity, get a little savagery in your life,” says everything. Don’t be afraid to take chances. As Pye’s friend Neil Peart once said, just roll the bones. That’s what it means to me, anyway.
Proving he has always been capable of tender ballads, “Words to Words” is one of Kim Mitchell’s first. The keyboards of Terry Watkinson keep it just a little left of center, but Kim’s acoustic work is impeccable and excellent. Pye Dubois’ lyrics are magical and stirring. It’s hard to overstate just how quality this song is. However ballads are usually best followed by scorchers, and that’s “America’s Veins”. Killer solos, smoking drums, and a chorus built for the concert stage: it’s here in one complete package.
“Oh War!” is an incredible monument of rock. AC/DC did a song with a similar vibe called “Little Lover”, but “Oh War!” is a completely different animal. The gonzo solos are more in the “Z” section of the rock aisle, as in “Zappa”. And check out the words! “‘Cause I say fuck you instead of thank you, your choice under your breath.” Yes, that’s what Uncle Kim, Canada’s favourite king of the summertime, just said! OK, so it wasn’t going to get on the radio with those words…but damn, it should have been. This song could have been almost as big as “Battle Scar” had it been.
I have a tape here of Kim Mitchell doing “On the Road” live in the MuchMusic studios, acoustically, on their Intimate and Interactive show. This is what you might call “campfire rock”, but that sells it far too short. “On the Road” is more than a song that would sound good played live around a fire, it has genuine soul that you can feel. It’s an incredible song, and once again, I wonder why Max Webster wasn’t friggin’ huge. “Rain Child” is next in line, which I would describe as a slow burner. Terry Watkinson’s keys take center stage, never intruding. “Rain Child” is a classic album track, and perfect for winding down the album.
Max Webster went mad on the last track, “In Context of the Moon”. This is the second of four “Moon” songs on the first four records: “Coming Off the Moon”, “Beyond the Moon”, and “Moon Voices” are the others. “In Context” can’t be described easily, because it spans many styles and tempos in just five measly minutes! How?! You have to play this one a few times just to get everything that is happening. It’s certainly one of the most challenging pieces of music Max have recorded. The four musicians must have rehearsed the shit out of this one. Anyway, at all times, it smokes. Whether it’s the bright intro guitars, or the metal riffs that follow them, or the sheer madness (including bass solo) that ensues, “In Context of the Moon” is always riveting. It’s just non-stop even though by the time you get to the end of it, you’ll wonder how you got there!
Final note: My good buddy T-Rev, who has guest written here a couple times before, met Gary McCracken after he moved to Sarnia. He was working at Fastenal when in came a guy to pick up an “order for Gary McCracken.” T-Rev pondered a bit before enquiring, “I hope you don’t mind me asking, but were in a band called Max Webster?” Yes, he had. It was that Gary McCracken, and he was cool. I love little stories like that. Gary McCracken was Trevor’s biggest influence as a young drummer!
Popoff’s awesome book
There is nothing more to be said in just a single review. For the whole enchilada, get the book from martinpopoff.com! And be sure to get High Class in Borrowed Shoes for your collection.
1986 was the year it all went down. If you were a Van Halen fan, it was time to choose.
Of course, nobody really had to choose between Van Hagar and David Lee Roth. It’s not like every fan had only $10 to spend on albums that year. Fans did choose anyway, and even today almost 30 years later, we still argue about who’s best: Diamond Dave or the Red Rocker?
No matter who you sided with, there is no question that David Lee Roth stormed into 1986 with a killer new band and album.
Steve Vai! That’s enough right there to make for an incendiary band — just ask David Coverdale. Before Little Stevie Vai was a household name, he had earned the respect of Frank Zappa who hired him on after Joe’s Garage. He made his Zappa debut on Tinseltown Rebellion, before being snagged by Graham Bonnet in 1985 for Alcatrazz’s Disturbing the Peace. In that band, he had the unenviable task of replacing a Swedish guitar player you may have heard of called Yngwie J. Malmsteen. Needless to say, Steve Vai was already experienced in filling big shoes by the time David Lee Roth made contact.
Billy Sheehan! A lot of people think he’s the world’s greatest bass player, period. Eight finger lead bass, baby! Three albums with Talas didn’t do much in terms of sales, but the material was strong enough that one song was re-recorded for the Roth album.
Gregg Bissonette! Once you learn how to properly spell his name, you will recognize Bissonette on loads of album credits. Joe Satriani come to mind? How about Spinal Tap? For your information, Gregg Bissonette is still alive, and is still the current Spinal Tap drummer.
Combine those three virtuosos with the greatest frontman of all time, and you have best new band of 1986.
Van Halen’s 5150 came out in March, going to #1. That’s a hard act to follow. Eat ‘Em and Smile, however, ending up standing the test of time. I would argue that even though it’s not Van Halen, it’s still the best Van Halen album since 1984….
As if to say “Eddie who?”, the album opens with Steve Vai’s trademark talking guitar. I’m talkin’ about-a-“Yankee Rose”! Here’s the shot heard ’round the world indeed. Lyrically, musically, and instrumentally, this song truly is the spiritual successor to classic Van Halen. David Lee was still in prime voice, and does he ever pour it on! Sassy as ever, Roth sounds exactly how he should: the showman in the rock and roll circus. And let’s not forget Billy and Gregg. Sheehan’s slinky bass on the outro is space age groove.
“Shyboy” is an atomic bomb. Billy brought in this song from Talas, but there is no question that Dave’s version is vastly superior. I have no idea how Vai makes his guitar create these sounds. When he goes into syncopation with Billy on the fastest solo of all time, your head may be blown clean off. Please, do not attempt to listen to “Shyboy” in the car, without testing it at home first. As Steve’s guitar flickers from left to right, Billy’s bass is the fastest, baddest groove on record. “Shyboy” is of such high quality that I do not think any self-respecting rock fan can live without it. Virtually every trick that Steve had at the time was in this one song.
One thing that was special about Van-Halen-with-Dave was their fearlessness in doing odd covers, such as “Big Bad Bill” or “Oh Pretty Woman”. Dave took that with him, and included oldie swing covers like “I’m Easy”. Horn laden and with Steve’s expert licks, it should be no surprise that they nail this one. It’s much in the spirit of Dave’s solo EP, Crazy From the Heat, only better.
Perhaps the most outstanding song on Eat ‘Em and Smile would be “Ladies Nite in Buffalo?” Dave has always said he loves disco and dance music. This is the most perfect melding of that world with rock. Vai is rarely so funky, and there is no question that Dave has the vibe right. Smooth and steamy, “Ladies Nite in Buffalo?” is a tune perfectly in synch with activities of the nocturnal persuasion. Who else but Dave would be perfect to deliver this message?
“Goin’ Crazy” was a great track to make into one of Dave’s typically high flying music videos. It’s party rock time, with a tropical vibe. “Goin’ Grazy” worked particularly well when Dave re-released it in Spanish, as “¡Loco del calor!”. I used to consider this tune a bit of a throwaway, but it has certainly endeared itself over the years. Another meticulously perfect Vai solo doesn’t hurt, and Billy’s bass popping helps end side one on an up note.
Now there is a story here that needs to be told. Billy Sheehan was in Canadian progressive rock band Max Webster for “about three weeks” according to lead singer Kim Mitchell. Upon joining Dave’s band, he introduced them to Kim Mitchell’s solo track “Kids In Action”, which they decided to cover. Bill called Kim up to ask him for the lyrics, because they couldn’t quite make them all out. Kim supplied the words, and Dave recorded the song. However, it was dropped at the 11th hour, for another cover — “Tobacco Road”. David Lee Roth’s version of “Kids In Action” has yet to be released or even bootlegged. Not that I am complaining about “Tobacco Road”, another old cover! Yet again, the reliably awesome Steve Vai just sells it. There is no question that the whole song just smokes, but getting to hear Stevie playing this old blues? Pretty damn cool.
That’s nothing. You thought “Shyboy” was fast? Check out “Elephant Gun”! Billy’s fingers didn’t fall off, but mine would have. “I’ll protect you baby with my Elephant Gun”, claims Dave. Nudge, wink! Steve Vai’s been known to write blazing fast songs, and “Elephant Gun” is so fast it’s almost showing off. Wisely though, things get slow and nocturnal once again on “Big Trouble”. That’s a title Dave recycled from an old unused Van Halen song. (That song became “Big River” on A Different Kind of Truth.) Steve’s guitar melodies and solo on this are particularly celestial. Roth uses his speaking voice, spinning a tale as only he can. “Bump and Grind” is a perfectly acceptable album track, a sleaze rocker as only Dave can do. If I am interpreting the lyrics correctly, Dave is a dance instructor in this one. “Shake it slowly, and do that Bump and Grind”.
Much like “Happy Trails” ended Diver Down on a jokey note, Dave ends his first solo album with a cover: “That’s Life”, the song that Sinatra made famous. Coming from the guy who did “Just a Gigolo”, we know he can do that kind of thing very well. The first time I heard the album years ago, I shrugged and said, “Another one?” Now, older and fatter, I sez it’s all good! Zop-bop-doop-zooby-dooby-doo indeed. Funny thing though. When I think of Diver Down, I think of a fun but fairly shallow album of half covers. When I think of Eat ‘Em and Smile, I don’t question the integrity of it. I don’t know why I seem to hold that double standard.
In this writer’s humble opinion, Eat ‘Em and Smile was David Lee Roth’s finest moment as a solo artist. It was not nearly as well known as 5150, OU812, or any of Van Hagar’s albums, and that is almost criminal. The talent in this band, pound for pound, outweighed anybody else going at the time, including Van Halen. Shame they couldn’t make it last.
What an odd album this is, considering where the Scorpions went a decade later. Young kids from West Germany finding their musical feet, Scorpions seemed to be a psychedelic band at the start. Their major asset was the 17 year old guitar prodigy Michael Schenker. Throughout Lonesome Crow, it is Schenker’s sparing solos that hint that Scorpions may in fact be a rock band. Throwing down the wah-wah hard, Schenker hadn’t found his direction yet either, but the talent was clear.
Also obviously gifted was 24 year old singer Klaus Meine. Although his thick accent probably didn’t help gaining international appeal, he sure could wail. The one single scream on opening track “I’m Going Mad” revealed that perhaps there was a rock star here in cocoon form.
Some fans have developed great love for Lonesome Crow over the years. When I first found the album in 1990 (a cassette reissue at a Zellers store), I thought at the time that it was perhaps the worst album I had ever bought. My stance has softened considerably over the years, as I’ve managed to penetrate its foggy haze. I have friends who have offered great praise to Lonesome Crow after ingesting certain intoxicants.
There are indeed some stellar musical moments. The song “Action” for example boats a jazzy walking bassline and some stellar playing. Bassist Lothar Heimberg only ever appeared on this one Scorpions album, and the bass is one of the biggest noticeable differences to later Scorpions records. You just don’t hear busy, walking basslines like this on the rest of their catalogue. Drummer Wolfgang Dziony (also on his only Scorpions album) accompanies him appropriately.
Klaus should grow this beard back.
The factor that makes Lonesome Crow difficult to penetrate is the tendency towards long, meandering (often directionless) psychedelic rock jams. “I’m Going Mad” (though it has no vocals for almost 2 1/2 minutes) is pretty instant, and “In Search of the Peace of Mind” has its moments too. Other songs like “Inheritance” are head-scratchers. One of the most interesting (but also difficult to penetrate) songs is the 13 minute title track. I’m sure a more seasoned band could have trimmed the fat a bit. In general, the album has several flashes of brilliance, but you have to slog through long meandering slow jams to get there. Producer Conny Plank, he of many Krautrock releases, allows the Scorpions to run wild with their imaginations.
Lonesome Crow isn’t a bad album. One reason it’s unlike other Scorpions records is that they broke up shortly after. When a new Scorpions formed, the only members remaining from this album were Klaus and rhythm guitarist Rudolph Schenker. Michael Schenker was noticed by UFO, who snagged him from the fledgling Scorpions. When the band folded, Klaus and Rudolph joined Dawn Road featuring another smokingly talented guitarist named Uli Jon Roth. Dawn Road was then renamed Scorpions, and together the new lineup began embarking on a harder rock and roll journey. With Roth’s help, and a growing songwriting duo of Klaus and Rudolph, great things were ahead.
“1980 will be a year long remembered. It has seen the end of Max Webster, and will soon see the end of Led Zeppelin.” — Darth Vader
All good things must indeed come to an end. If there was one band — just one band! — out of the Great White North that truly deserved better things, it was Max Webster. Much like their soul mate, Frank Zappa, Max Webster had successfully inserted humour into complex progressive rock songs. The big difference was that Max tended to keep it to guitar-bass-keyboards-drums. Their musicianship was unimpeachable. Much like Bubbles shouted out “Geddy Lee! Neil Peart! Alex Lifeson!” to emphasize the awesomeness of Rush, I shout “Kim Mitchell! Terry Watkinson! Gary McCracken!”
Maybe it was the skinny balding front man in the tights, the weird but deep lyrics, or the goofy keyboards. One way or another, Max Webster never saw the success that their friends Rush did, and Universal Juveniles would be the last Max record. Genius keyboardist Terry Watkinson was out of the band, although he did play on the album. Kim Mitchell folded the band mid-tour after the record, unable to hack it any longer.
Kim’s smoking chops open “In The World of Giants”, perhaps the world that Rush occupied and Max failed to enter. Max sound stripped back, with minimal piano and keyboards. What a song though. Surely “In the World of Giants” is one of Max Webster’s most breakneck rock songs, albeit with the complexity of riff and licks that you would expect. At the same time, do I sense a certain amount of fatigue, between the grooves?
There’s no detectable tiredness on “Check”, which will wake you right the fuck up! There’s nothing like a good, joyous, loaded-with-all-the-guitar-fixin’s Max Webster romp. Want some shredding? “Check this out!” At only 2 1/2 minutes, “Check” is all it needs to be — in and out, the mission of kicking ass all complete. Yet Max Webster was not about simply rocking, so “April in Toledo” brings some funk. The classic refrain of “I wanna run to Niagara, I’ll cry and cry in the dark” is joined by gleeful guitars, to create the picture perfect mixture of Max confection perfection. I’m still sitting here scratching my head wondering how Kim got that weird guitar sound in the solo so perfect, but I’m soon distracted by another awesome chorus.
“Juveniles Don’t Stop” is a Max party anthem; not as memorable as “The Party” itself, but still good to crank with some cold ones. Don’t get too loaded though — you don’t want to miss the double barrelled blast that is “Battle Scar”. What could be more epic than a duet with Rush vocalist Geddy Lee? Oh, how about doing the whole song with Rush — a double trio! That’s two bass guitars opening the song. That’s Neil Peart and Gary McCracken providing the dual beats. (You sure can tell when it’s Neil doing a drum roll, that’s for sure!) That’s Alex Lifeson accompanying Kim Mitchell in a legendary guitar team-up. Geddy Lee, in peak voice, provides the vocal chills necessary to top off such an epic alignment. Truly, “Battle Scar” is not just an important song for Canadian rock, but a track that any serious rock fan should seek out and own. You simply owe it to yourself to do so.
There’s some sneaky understated goodness in “Chalkers” but I find it to be one of the less memorable tracks. It’s notable for containing the phrase “universal juveniles” in the lyrics, lending it for the album title. “Drive and Desire” is a bigger song, a sizeable rocker with a nice bluesy vibe. McCracken’s drums on this one are purely delicious. Even better is the slow mournful “Blue River Liquor Shine”. It foreshadows some of the songs on Kim’s excellent solo EP, Kim Mitchell. A proud achievement, “Blue River Liquor” does indeed shine with Max classics of the past.
“What Do You Do With the Urge” is a wreckless Max party rocker, just in time to set us up for the final Max Webster song — the last one ever, sadly. “Cry Out for Your Life” lurches like a wounded soldier crawling to the warmth of safety. Loads of Max class abound, but there does seem to be less glee, less shimmer. Perhaps the end was inevitable. Although Kim and the gang turned in another jaw dropping Max Webster record, something was wrong and it sounds somewhat forced at times.
Kim Mitchell had tremendous success with his solo career in Canada. Anthems such as “Go For Soda” have been immortalized in our memories, and on our TV sets. Who can forget the moment in Season 7 of Trailer Park Boys, when Bubbles goes to “rock a piss”, and Ricky responds, “You go rock a piss, I’m gonna get ‘er going with the Mitchell!” Then: Bubbles peeing to the tune of “Go For Soda”, bopping his head in time with the music! Just classic. On the more sentimental side, Kim appealed to the adults in the crowd with “Patio Lanterns” and “Easy To Tame”. He really aimed to please everybody….
…Except the fans of old, goofy Max progressive rock. Universal Juveniles is its capstone.
Back in May/June, we took a detailed look at the entire Aerosmith Box of Fire set (1994), including the original Aerosmith’s Greatest Hits(1980). What we didn’t inspect was the expanded 1997 reissue of Greatest Hits, now dubbed Greatest Hits 1973-1988, including an unreleased track.
Since this CD is based on the original Aerosmith’s Greatest Hits, it contains all the original songs. Because of the greatly expanded tracklist (from 10 to now 17 tracks), it is the preferred listening experience. The title is misleading: If it truly was the greatest hits from ’73 – ’88, wouldn’t “Angel” be included? “Dude”? “Rag Doll”? Yes, but this is the Columbia Records music, not the Geffen stuff. Casual fans don’t know that. Casual fans might see the title and say, “Oh cool…this will have some of the 80’s music on there.” No, it doesn’t.
“Chip Away The Stone” was released on CD for the first time on 1988’s Gems album, and there are a lot of fans out there who would name this as a favourite. Putting it on the expanded Greatest Hits is what we in the reviewing world might call a “no-brainer”. It elevates the album to a whole new level.
“Seasons of Wither” is a beautiful one from the early days, an acoustic number just a little different than your typical “ballad”. Fantastic song. “Big Ten-Inch Record” is loaded with horns and soul and sounds like classic Aerosmith. Be glad these tunes were added, among others. They’re all still great today, and not overplayed on radio or in concert. Of course you still get the songs you know, such as “Dream On”, “Same Old Song and Dance”, “Sweet Emotion”, and all that good stuff.
One unreleased song is present: A live version of “One Way Street”. This is actually a more recent recording from 1994 (so what’s this 1973-1988 nonsense?), and was also on a Walmart exclusive EP called Made in America in 1997. “One Way Street” is a debut album classic, and oh so very welcome here. It was recorded for radio broadcast, and the setting sounds intimate. Steve’s harmonica work is the high point of this great little-known song.
I used to advise fans to pick this up instead of the old, cheaper Greatest Hits. Today you can find it for under $5 if you know where to look. The price has dropped considerably since I paid almost $28 for it on US import!
ALICE COOPER – The Alice Cooper Show(1977 Warner Bros.)
The Alice Cooper Show is far from a perfect example of Alice in the mighty 1970’s — for a much better live album experience, pick up Billion Dollar Babies (the deluxe edition) which contained a live album recorded by the original Alice Cooper band. Having said that, the band here are not slouches. Dick Wagner and Steve Hunter were great guitar players who defined the late 70’s period of Alice. However, the albums were starting to slide — Go To Hell and Lace & Whiskey were more notable for ballads like “You And Me” and “I Never Cry” rather than idiosyncratic Cooper rockers or horror tunes.
The recording of this album is fine, but the record is far too brief. Aside from the fact that there are too many ballads (time-wise, over a quarter of this album are ballads!), a lot of the songs are truncated versions. “Sick Things” for example is less than a minute as it segues into “Is It My Body”. Likewise, there is an “I Love the Dead”/”Go to Hell”/”Wish You Were Here” medley where I wish I could have had more. Then again, Alice has always done medleys of tunes, since he has so damn many.
I have nothing negative to say about the singing or performance. The band were outstanding, featuring some of the best players Alice has shared the stage with. They even featured Canadian bassist Prakash John who was previously in the original band Bush with Dominic Troiano (R.I.P). It’s hard to say exactly why The Alice Cooper Show doesn’t completely click. Certainly the medleys and song excerpts make it feel like an overly rushed affair, and even considering that, it’s missing too many great tunes. “Elected”, “No More Mr. Nice Guy”, and “Welcome to My Nightmare” would have been perfect.* Perhaps Warner should have shelled out for a full-on 2 LP set? But Alice was a fading property in 1977, with an infamous stint in rehab to follow.
This record fails to deliver what Alice was really about. The album cover gives it all away. It looks rushed, with truncated images of Alice and his live show. Serious fans will need it to complete the collection. Otherwise, stick to the Billion Dollar Babies deluxe package for a seriously awesome live 1970’s Alice experience.
3/5 stars
* Looks like a lot of those songs were dropped from the set in ’77.
RECORD STORE TAKES MkII: Getting More Tale #414: Get the Firehouse!
Initially, I wanted to do a post called “Miscellaneous Mailings”, with all sorts of fan club and fanzine paraphernalia. Once I started digging through said bags and boxes of postal paraphernalia, I realized I had enough Kiss curiosities here just to do a post on them alone.
Canada’s Firehouse Magazine’s claim to fame was being the longest running Kiss fan club in world. Based out of Surrey BC, I first became aware of Firehouse via Len, a customer of mine at the Record Store. They had an actual mail order service where you could buy Kiss bootlegs, both audio and video. That must have really chapped Gene’s ass. We all know how much Gene likes fansites and fanzines….
Len gave me the Firehouse catalogue which I used to buy a live tape and some back issues. There are plenty of cool things inside these books to drool over. News about concert dates, new releases, chart positions and set lists were regular. There are even exclusive interviews! The Sept./Oct. 1996 issue features the Ace man himself! I really like the personals ads in the back. “Hey Kissexy female Kiss fans of all ages! I will answer all!”
Other neat things I found in the bag o’ mail: bumper stickers, an official Kiss catalogue, and the sales chart from Canada’s The Record magazine, showing Kiss’ Psycho-Circus debuting at #2 on the top retail albums! The only thing that held it back was the Armageddon soundtrack, which jumped to #1 after 16 weeks on the charts. Take a look for yourself, and bask in the nostalgia of a period that boasted such luminaries as Spice Girls and Backstreet Boys on the charts.
Lastly, and certainly not least: an unsigned letter from “Gene Simmons” to my mom, who put the Kisstory II book on her credit card. Gene was apologizing for a manufacturing delay that had caused the book to be several months late. He assured my mom that her credit card would not be charged until the book shipped. How kind of him! I thought this was amusing, so I kept the letter! I’m sure my mom appreciated hearing it from Gene personally.
RECORD STORE TALES MkII: Getting More Tale #413: Just for the record, Meat’s gonna put it down
By special request of Aaron at the KMA, yesterday I ranked all the Marillion studio albums in order of preference (see #412: Just for the record, I’m gonna put it down). It’s not an easy thing to do, because any band with two distinct phases (and lead singers) is going to have lovers and haters of both, as well as fans who can accept both equally.
During Sausagefest weekend 2015, I discussed my already-completed list with Uncle Meat, who also wanted to take part. He has his own feelings about Marillion’s discography. In fact he only listed six albums. Meat is very much a “Phase One” fan, a follower of Fish who had a hard time accepting the changes that occurred afterSeasons End. It’s important to note that Seasons End was mostly written (musically) with Fish. After that album, the band had to come up with new material for the new singer, and that is when they started to write very differently from before. It’s not Steve Hogarth’s fault, in Meat’s eyes, just the way the band wrote for and with him.
Here are Uncle Meat’s top Marillion albums, without commentary. He’s going top down:
1. Misplaced Childhood (1985)
2. Clutching at Straws (1987)
3. Fugazi (1984)
4. Script For A Jester’s Tear (1983)
5.Seasons End (1989)
6. Vigil In A Wilderness of Mirrors – Fish (1990)
How’s that for a “Big Wedge”? More Marillion tomorrow!
DEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)
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