classic rock

REVIEW: The Cult – Sonic Temple (1989)

By special request of reader Wardy!

THE CULT – Sonic Temple (1989 Polygram limited edition hologram cover)

The Cult went into 1989’s Sonic Temple with nothing but promise.  New hotshot producer Bob Rock had struck it rich with Kingdom Come the year before.  Critics raved about his drum sound and other Zeppish tendencies on that album.  The Cult themselves were following up the incendiary Electric album, a stripped back record produced by Rick Rubin.  Anticipation ran high.  Considering that Robert Plant was quoted as saying that “Led Zeppelin is being continued by The Mission and The Cult”, I think a few people expected Sonic Temple to be the second coming.

Some fans hoping for another Electric or even another Love were disappointed by the mainstream rock direction of Sonic Temple.  Mainstream though it may be, Sonic Temple burns with the same middle finger up attitude of old Cult, just with the edges sanded off and sound enhanced by Bob Rock.  Rock’s production is similar to that of Dr. Feelgood released the same year.

You couldn’t ask for a better double-whammy than the opening salvo of “Sun King” and “Fire Woman”.  Even though The Cult were able to score a major hit with “Fire Woman” it’s still a tough little song based on a killer Billy Duffy guitar hook.  Both songs have aged well, as has “American Horse”, a slow Cult stomper.  I love the interplay on the verse riff between Duffy and bassist Jamie Stewart.  Stewart, a member since the band became The Cult, departed after this tour and moved to Canada.  Here he produced a few up and coming bands such as Gut-Sonic.  I think Jamie Stewart was the underappreciated Cult member.  His grooves (with session drummer Mickey Curry*) are a part of Sonic Temple‘s drive.

The big hit ballad was the dramatic “Edie (Ciao Baby)”.  Here they really benefit from Bob Rock’s lush rock production values.  Strings and acoustics ring crisp.  Add in a howlin’ Ian Astbury chorus and you have one hell of a song.

“Sweet Soul Sister” was the third single (after “Fire Woman” and “Edie”) and another killer Cult song it is. You can really hear Bob Rock’s touch on the layered vocals for better or worse. It’s a touch that I find dated today, but the bare organ intro is magical! Unfortunately it gets dicey after “Sweet Soul Sister”.

I wouldn’t call any of the songs that follow “Sweet Soul Sister” poor or filler. None of them lack hooks or massive Billy Duffy guitars. Yet compared to the first side of the album, everything from “Soul Asylum” onwards fails to ignite like that. There are certainly lots of memorable moments, such as the breakneck “New York City” featuring an Iggy Pop cameo. It’s a good song, and so is “Soldier Blue” and the rest of the tunes…just not as good as side one. (By the way, if any song on Sonic Temple recalls Led Zeppelin, it the massive “Soul Asylum”, which is basically The Cult’s “Kashmir”.)

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My copy of Sonic Temple is a limited edition with mirrored hologram cover. I bought it from this guy Todd, who worked at the HMV store at the mall. A buddy of mine had a crush on his sister, or something, and that’s how I knew him. He treated me right when I shopped at his store, and I returned the favour when he sold his stuff to us. That’s how I got this, and also how I got the Sonic Temple Collection 3 CD set complete with mail-away box.

I still like Sonic Temple today, but I only love side one.

3.75/5 stars

*Eric Singer played on the demos, released as part of the Rare Cult Demos box set.  Ex-Tori Amos drummer Matt Sorum appeared in the music videos and played on the tour, where he fatefully met Guns N’ Roses, and the rest was history.

REVIEW: Ozzy Osbourne – Prince of Darkness (2005 Sony box set)

PRINCE OF DARKNESS_0001OZZY OSBOURNE – Prince of Darkness (2005 Sony)

Let’s pretend that you’re involved with Ozzy Osbourne’s management or record label.  When it comes time to release that first “definitive” box set, I’m sure you’d have your own ideas for making it the best box that Ozzy could release.  Ozzy Osbourne in 2005 had eight mostly great studio albums, numerous live records, and more rarities than you could shake a stick at.  They certainly had a lot of music to choose from.  I greeted the eventual release of Prince of Darkness with great excitement at these rarities…but tremendous disappointment at the overall listening experience.

A 4-CD box set is a lot of listening and in order to keep it riveting from end to end, you have to pick the right tracks and sequence them for maximum firepower.  Somebody at Sony’s box set department didn’t get my memos on that, obviously, because Prince of Darkness is one of the most annoying box sets to listen to in its entirety.   They decided to do two discs “anthology” style, with live and rare tracks mixed in.  The third disc is a questionable collection of Ozzy collaborations.  The final CD is the worst of all:  covers that Ozzy recorded and later released on their own album, Under Cover!  A CD that was released only months after Prince of Darkness itself — with additional bonus tracks to milk it further, forcing the completist to buy it again!

PRINCE OF DARKNESS_0004I have so many complaints about this set that I felt it best to list them all off in point form.

1. Never, ever start your box set off with a live track.  Even if that live track is “I Don’t Know” from Randy Rhoads Tribute.

2. Because this set was released in 2005, you are hearing the re-recorded bass and drums on all the songs from Blizzard and Diary…not the classic original versions.

3. Same with the tunes from Bark at the Moon.  These are the remixed versions found on the 2002 reissue of that album.  There are only two songs from that album anyway.  “Bark” itself is an unreleased live version.

4. Two CDs is not enough space to represent Ozzy’s album output in a box set, especially when you include the studio albums, live albums and rare tracks too.  The early Randy Rhoads material makes up the bulk of disc one, leaving the Jake E. Lee years under represented.  There are no songs from The Ultimate Sin at all, only the three live tracks originally for the Ultimate Live Ozzy EP.

5.  There are a few baffling exclusions, such as “Miracle Man” (first single with Zakk) and “I Just Want You”, in favour of also-rans such as “Spiders”.

6. The collaborations disc is a total mess.  “Purple Haze” is just a Hendrix cover from the No Rest For the Wicked era, by Ozzy’s band.  It’s not a collaboration, just a cover they did for the Make A Difference Foundation CD called Stairway To Heaven/Highway To Hell.  It’s a real challenge to listen to this whole CD in one sitting.  One moment you’re rocking out to a killer version of “N.I.B.” with Primus, the next you’re barfing through a piece of crap with Tony Iommi and Wu-Tang Clan.  From Was Not Was to Miss Piggy, at least the CD is diverse, and it does collect a lot of Ozzy’s singing from albums I don’t have.  I already had the Miss Piggy track but not the cover of “Stayin’ Alive” by Dweezil Zappa! Nor did I have “I Ain’t No Nice Guy” by Motörhead, from the mediocre March ör Die.  This disc is too jokey and not at all consistent.

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7. Even though the third disc collects a variety of tracks from a number of CDs, I am certain that Ozzy fans who buy this kind of box set already had some of them.  Including “Psycho Man” by Black Sabbath (not even a single remix version) from the Reunion CD (2008) is odd.  Many Ozzy and Sabbath collectors already have the Nativity in Black CDs, where the Primus and Therapy? tracks come from.

8. “Nowhere to Run (Vapor Trail)” by DMX, Ozzy Osbourne, Ol’ Dirty Bastard, The Crystal Method and Fuzzbubble is edited!  This track was from the South Park album and still features Isaac Hayes’ introduction, as “Chef”.  For reasons I cannot explain at all, the swearing and “n” words are blanked, and there were a lot of them.   It’s also missing ODB’s rant at the end, which itself was edited off later versions of the South Park CD.  (I have an earlier version with the rant intact.)

9. The packaging leaves a hell of a lot to be desired.  Inside the box which is just book-style, you will find a nice big booklet that just sits loose inside.  There is no way to secure it in, so it’ll fall out any time you pick it up!

10. Speaking of that booklet, the liner notes suck.  Ozzy has a brief note about each song, but not necessarily any useful information.  For example, regarding that South Park track, all we’re told is that Ozzy bit the head off Kenny.  Nothing about how that random assortment of artists was assembled.  The book is padded out with lyrics and shoddy credits that aren’t very accurate.  “Bark at the Moon” live for example was recorded in 1982-1983 according to the notes.  Come on, guys!  Not good enough for a box set.

11.  The entire fouth CD sucks.  You can read my review of the expanded Under Cover version of it here.  (Long story short: 1/5 stars.)  The only difference is that the box set includes Kelly Osbourne’s duet with daddy, on “Changes”.  This song was only included on the Japanese version of Under Cover but not the regular domestic.

Fortunately, Prince of Darkness is not a total bust.  Some of the unreleased tracks are real treasures, such as the demo of “S.I.N.” called “Won’t Be Coming Home”.  I prefer this to the album version from No More Tears by a long shot, as I do the twangier “I Don’t Want to Change the World”.  I also love the demo for the emotional ballad “See You On the Other Side”, which features previously unheard saxophone accompaniment.  I appreciated that they included the live version of “Perry Mason” from the Ozzfest 1 CD, which enabled me to sell off that pretty crappy album.

It’s easy to bitch and complain (don’t I know it?) but if I were to make a 4 CD Ozzy box from the same period, I would have done it very differently.  The covers CD would be axed completely and the rarities set aside to a disc all their own.  The first two “anthology” discs would be strictly studio versions, and original studio versions at that, with only a sprinkle of tracks from Randy Rhoads Tribute.  I would try to squeeze in more rare tracks from B-sides and EPs, and I would definitely try to mix them in with the collaborations so that you’re not left listening to so many of those novelty tunes in a row.

Buyer beware — Prince of Darkness is not the feast you were hoping for. This is a poorly executed package. When you have an artist like Ozzy Osbourne, you really gotta screw up bad to put out a set that is this hard to listen to. Prince of Darkness is going back on the shelf, for a good long while.

2/5 stars

REVIEW: Kim Mitchell – Rockland (1989)

KIM MITCHELL – Rockland (1989 Alert)

This album was huuuuge in 1989. In Canada, summer time is Mitchell time. Cottages, brewskies, BBQ and Mitchell. That’s what it was all about! Shakin’ Like a Human Being was also a huge success for Kim, but he expressed a desire to use less keyboards and programming. Kim recorded in the US this time, and for budget reasons, did not bring along lyricist Pye Dubois with him. Pye had been in the studio with Kim for every album prior, and this caused a rift between the two that took years to heal. This was the last time they collaborated until 1994’s Itch.

The pseudo-title track, “Rocklandwonderland” refers to the “concert bowl” at Canada’s Wonderland.  “Listen to the music, listen to the voices, listen to my guitar,” sings Kim, although the song is a little light on guitar. “Rocklandwonderland” was a big hit for Kim, and although it’s not a heavy rock, his guitar playing on it is stellar. Perhaps he shouldn’t have followed a slow rock tune with a ballad, although “Lost Lovers Found” is a hell of a ballad, with just a hint of twang. Some felt that Rockland was too soft compared to Kim’s progressive rock past, but a Kim ballad has more integrity than most. Kim’s backup singer extraordinaire, Peter Fredette, is present here and he also serves to class up any song by several notches.

Other ballads on the record include “Tangle of Love”, which is quirky and experimental but not great. “O Mercy Louise”, which has a rocking chorus, is a fine song with cool lyrics. The “big one” however was the single “Expedition Sailor”. This introspective acoustic song is sparse and effective. Kim’s buddy Rik Emmett from Triumph drops by to play an excellent solo on classical guitar. “Expedition Sailor” is top drawer stuff.  (The music video received a remix, which you can get on Kim’s Greatest Hits album.)

The “big” song on the album, still getting airplay today, is the anthem “Rock N’ Roll Duty”.  The tougher direction of the song is exemplified by a “live” style music video in a seedy bar.  As a fan I really wanted Kim to come out with a tough rocking tune, with a killer chorus, and he did.

“I’m just doing my rock n’ roll duty,
Creating a buzz buzz buzz,
Some say I’m in it for the money,
Man, I’m in it for love love love!”

The phrase “I’m just doing my rock n’ roll duty,” is now commonly heard among music fans in Canada. The song just hits the spot, and the riff is now synonymous for summer in my mind.

Other highlights on Rockland include the joyful “The Crossroads” which opens side two. The guitar-heavy “This Dream” is another favourite. I could always identify with the lyrics. It’s just a stellar song, an also-ran that could have been a fourth single. The record is rounded out by “Moodstreet” and “The Great Escape”, two decent but unremarkable tunes.

MVP:  Drummer Lou Molino, a near legend in these parts.  Curiously, when you Google images of Lou Molino, you will also get hits for Lou Ferigno.

Overall I was pleased with the direction of Rockland, going a bit more raw and rocking. Unfortunately with the exception of a few tracks like “Rock N’ Roll Duty”, it feels very tame. Except for quirky moments within guitar solos, it doesn’t possess enough of Kim’s humour and idiosyncrasies. It feels as if it’s on a leash, but it’s also not straining to get off it. It feels like Rockland hits the mark in many respects, but plays it too safe.

3/5 stars

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REVIEW: KISS – Unholy Kisses (1992 bootleg)

UNHOLY KISSES_0002KISS – Unholy Kisses (Audience recorded bootleg, 1992 Flashback)

“You know who we are, let’s kick some ass!”

That’s how Paul Stanley introduced the legendary Kiss on their stripped-down 1992 club tour, April 23 1992 in San Francisco.  The Revenge album was a “reboot” of sorts, out of necessity.  New drummer, new attitude, and a return to the producer (Bob Ezrin) who helped make them huge.  A return to the clubs without the lights, stage show, and costumes helped Kiss transition into the 90’s.  If this one bootleg CD is any indication, then the club tour was a huge success.

Eschewing their normal opening routine, the band entered to the sound of “Love Gun”, but heavier than ever.  Many fans consider the Simmons/Stanley/Kulick/Singer lineup to be among their best, and this live bootleg proves why.  In fantastic voice, Paul leads this devastating lineup to demolish the clubs in their wake.  Full of adrenaline, “Love Gun” is faster than its studio counterpart, and Bruce Kulick creates his own individual guitar solo that fits the track.

Gene’s next on “Deuce”, the new lineup infusing it with menace.  The CD, though obviously a bootleg, sounds great.  Even though the drums are a bit distant you can hear that Eric Singer has come into the band paying homage to the drum parts he inherited.  Then Paul takes a moment to tell the audience that they’ve been so fired up about the way Kiss have been sounding, that they just got to come down to San Fransisco and play.  A rough opening to “Heaven’s On Fire” is a mere hiccup after they get going on the hit single.  For the first time you can clearly hear new guy Eric Singer singing background vocals.

“You ready to hear something old? One of those Kiss klassics?  Bruce – let ’em have a taste.”  Then the shocked audience picked up their jaws as Kiss slammed through “Parasite” for the first time since 1976.  Returning to songs like this was critical for a band who spent the 80’s largely ignoring the deep cuts.

UNHOLY KISSES_0001One thing I love about bootleg CDs is the chance to overhear some audience chatter.  “Shout it Out Loud” however is marred by one nearby fan who keeps singing “You got to have a party,” even when that’s not the current part of the song!  Minor beef, as “Shout it Out Loud” rocks and is another song that was tragically ignored during most of the 80’s.

“How many of you people have Kiss Alive?  Gene must know this one.  Gene’s got Kiss Alive.  Goes like this!”  There begins “Strutter” (also from the first Kiss album) and the crowd goes nuts.  “Dr. Love” follows, with Eric Singer showing off some fancy footwork on the double bass drums.

Fans who were shocked by these old tunes must really have lost their minds when “I Was Made For Loving You”, heavy as hell, tore through the club.  “I Was Made For Loving You” was re-imagined as a chugging metal track and in the club environment, it’s only more raw and aggressive.  Then Paul lets another bomb drop when he introduces “100,000 years” from the first album.  “Oh my God!  I don’t fucking believe it! I do not fucking believe it!” says one nearby fan, obviously excited by this rarity.  It’s incredible how well Bruce and Eric adapted to the sound of old raunchy Kiss.

But what of new Kiss?  The band weren’t ready to start unveiling all the new songs, as Revenge hadn’t even come out yet.  They did roll out two: the first single “Unholy”, and album cut “Take it Off”.

“We got a new album about to come out,” begins Paul.  “And I’ll tell you something, this album is the shit.  I’ll tell you, this album is our fuckin’ Revenge and when you hear the album you’ll know what I’m talking about.”  Indeed, as promised the new songs kick ass, though “Unholy” is kind of awkward in the live setting.  “Take it Off” is more like Kiss.

It’s all oldies from here.   Aside from the new Revenge songs, the most recent track that Kiss played here was “Heaven’s On Fire” from 1984!  (Note: this CD is not the full concert and 1985’s “Tears are Falling” was also played that night.)  I think it’s safe to say that Paul and Gene understand some of the errors in direction they made over the last 10 years, and successfully steered the ship back on track.  “Firehouse” and “Cold Gin” from the first album are present. “I Stole Your Love”, “Detroit Rock City”, and “I Want You” close the CD.  “I Stole Your Love” with the backing vocals of Eric Singer is top-notch!

The songs played that night that aren’t on this CD are “God of Thunder”, “Lick It Up”, “Got Gave Rock and Roll to You II” (its live debut), “Rock and Roll all Nite” and the aforementioned “Tears Are Falling”.  Too bad this is only a single CD bootleg, but bootlegs were so expensive that a double would have cost at least $60-80.  If it was a double, I never would have bought it and heard what I have of this awesome show!

4.5/5 stars

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CD KISStitics

Songs:

  • 5 from Kiss (1974)
  • 2 from Destroyer (1976)
  • 2 from Rock and Roll Over (1976)
  • 2 from Love Gun (1977)
  • 2 from Revenge (1992)
  • 1 from Hotter Than Hell (1974)
  • 1 from Dynasty (1979)
  • 1 from Animalize (1984)

#392: Tyler and LeBrain episode 5 – The Final Chapter

WHITE FLAG

RECORD STORE TALES Mk II: Getting More Tale
#392: Tyler and LeBrain episode 5 – The Final Chapter

It is time to admit defeat!

Check out the whole series:

#334: Tyler and LeBrain episode 1 – Nickelback
#339: Tyler and LeBrain episode 2 – Monster Truck & More
#343: Tyler and LeBrain episode 3 – The French Invasion
#345: Tyler and LeBrain episode 4 – Return of the Monster Truck

#391.5: Mail from Cataraqui

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RECORD STORE TALES MkII: Getting More Tale
#391.5: Mail from Cataraqui

I got mail!

The only thing sweeter than the arrival of an Amazon order, or that of imported Transformers toys from China, is surprise mail from a fellow music lover. This time that music lover is Geoff over at the 1001 Albums in 10 Years blog. Geoff sent me a cryptic email a few weeks ago about some things he found that I might be interested in having for my collection:

“Mike,
I picked up a couple practically-free musical treasures at our local Value Village this week.
I’m not sure if they’ll actually play, but when I saw them I thought they’d be neat assets in the LeBrain collection!”

What a guy! I love surprises!

There are a few major audio formats that have no representation in my music collection. If I can’t play it, as a collector I generally don’t seek it out. As a music geek however, I love odd formats and releases. There are certain bands that I would collect just about anything from, and the big one is Kiss. Geoff knew this. Now I can add 8-track to the formats I own of Kiss Alive! This is definitely getting a place of honour in LeBrain’s displays of treasure. Probably right next to that weird Def Leppard Pyromania cassette that Aaron found for me at Sonic Boom.

Also in the package, and presumed worthless by Geoff, are two 45’s. According to Geoff’s accompanying letter, the records “you would be able to play, but are too damaged to do so!”

Fooey. My USB turntable only cost $50. Let’s give it a shot.

Both singles are records I didn’t have before. Twisted Sister’s “We’re Not Gonna Take It” / “You Can’t Stop Rock ‘N’ Roll” has a different B-side from the 12″ single that I do have. The 7″ has the studio version of “You Can’t Stop Rock ‘N’ Roll” instead of the live. And it played fine! It was dusty but cleaned up fine.  Score!

The Kiss single, for “I Was Made For Lovin’ You” / “Hard Times”, was not as fortunate.  It is massively warped.  I measured the warp at 1/4 inch at its largest point.  But get this…it played!  It didn’t sound the greatest, but it played!

In his letter, Geoff says “Thought they still work as collectibles or conversation starting coasters.”  Well, Twisted Sister and Kiss Alive! are officially entering the LeBrain Library.  As for “I Was Made For Lovin’ You”?  Though it plays, I don’t think I will play it again.  I think this might make an excellent wall decoration, however!

Thanks Geoff!  I’ll find something funky and cool to send in return.

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REVIEW: Deep Purple – Who Do We Think We Are (1973, 2000 remaster)

DEEP PURPLE – Who Do We Think We Are (1973, 2000 EMI)

Five solid years of work had taken their toll on Deep Purple.  Relations between the band members (particularly Gillan and Blackmore) were frayed, especially since all the touring behind Machine Head and Made in Japan.  There was all sorts of bad blood, including management disputes and illness (hepatitis for Ian Gillan).

The band settled in Rome with the Rolling (truck) Stones mobile studio, but found that the vehicle could not enter the premises, as the stone arch in the drive was not tall enough for the truck!  Several weeks of work in Rome resulted in only one usable track, “Woman From Tokyo” which was released as a single.  [See below for a cool 1998 CD reissue of “Woman From Tokyo” (2:56 edit)/”Super Trouper”!] Another song, the excellent “Painted Horse”, was rejected because Blackmore didn’t like it.  It wasn’t even released as a B-side.

A few months later the band re-convened in Frankfurt Germany to finish the new record.  Perhaps due to sheer fatigue, they settled into a simpler, bluesy sound without the experimentation that marked albums like In Rock and Fireball.  The only really progressive moment on the album was a breakneck synthesizer solo on “Rat Bat Blue”.

The resultant album, Who Do We Think We Are, is generally considered the weakest of the original MkII studio quadrilogy.  That still makes it better than many bands’ best albums.  That aside, it is obvious by listening to it that Deep Purple were not putting as much in, and getting less out.

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“Woman From Tokyo” is still a great Deep Purple track, very similar to the direction of Machine Head: straightforward, and slamming.  It has a mellow, dreamy bridge before it assails you once more with its inimitable guitar riff.

It’s too bad that a song like “Mary Long” hasn’t been a perennial concert favourite.  This scathing attack on two British social campaigners teases the prudish!  “When did you lose your virginity, Mary Long? When will you lose your stupidity, Mary Long?”  Glover’s bass groove carries the song, a real driving tune.  Absolutely monstrous in the car.

“Super Trouper”, less than three minutes long, feels incomplete.  It feels like it needed a chorus, although it is still heavy and a Purple sledge.  Closing Side One, “Smooth Dancer” is Ian Gillan’s underhanded attack upon Richie Blackmore.  Black suede was his favourite clothing:

Black suede, don’t mean you’re good for me
Black suede, just brings your mystery
I want to be inside of you
But you’re black and I don’t know what to do

You’re a smooth dancer
But it’s alright, ‘cos I’m a freelancer
And you can never break me though you try
To make me think you’re magical

Even though Ian’s not fond of Richie at this point, it’s important to hear the line “I want to be inside of you, but you’re black and I don’t know what to do.”  Ian would have loved to be able to connect with Richie, but was simply unable to get inside the man in black.  Glover too has stated that Ian was frustrated by his inability to connect personally with Richie.

WHO DO WE THINK WE ARE_0006“Rat Bat Blue” (named for Ian Paice’s drum pattern that is the foundation of the song) is a great unsung classic.  Funky and hard-hitting, “Rat Bat Blue” could have been a classic had it been released by a band that still wanted to be a band.  “Rat Bat Blue” is my favourite on the album!  (Note: the first time I bought the original CD at my own store, I ran into a manufacturing flaw – a moment of silence near the end where Ian sings, “Aaaaalright.”  The CD with the defect just has “Aaaaaa” and then a second of silence!  My boss would not let me exchange it.)

The final two songs (on a seven song record!) are both a bit slow.  “Place in Line” has some swinging jamming blues to it, and “Our Lady” has gospel flavors and an incredible organ solo.  Neither would be remembered as Deep Purple classics, although “Our Lady” is very special.  Notice there’s no guitar solo, either.  Jon does all the serious work.

The remastered edition has some cool bonus tracks.  There are several 1999 remixes, with Roger Glover assisting at the mixing console.  Like prior Deep Purple remixes, you can hear additional guitar and other bits that weren’t there before.  They are great companion pieces to the album tracks, particularly the smouldering “Rat Bat Blue”.  There are also two snippets from the writing sessions: an unheard bridge from “Woman From Tokyo” and a bit of a deleted intro from “Rat Bat Blue”.  An eleven-minute instrumental “first day jam” is interesting because it has no guitar.  Roger Glover was late to the session, so that’s Blackmore on bass!

Finally, the rare outtake “Painted Horse” is restored to CD.  You could get it previously on the posthumous Power House compilation CD, but once placed on the album, it’s clearly one of the best tunes.  Why it was disliked is beyond me.  Maybe it’s Ian’s falsetto vocal or harmonica.  I think they just serve to make the song more unique.  This remastered version sounds loads fuller than the one of Power House.  I also love Ian’s lyrics.  “Why did the carpenter die?”

For the geeks, I’m sure you will enjoy the fully loaded CD booklet, with another essay by Glover, remembering times good and bad.

I like Who Do We Think We Are enough for a solid rating, but I’m not sure it that accurately reflects how Deep Purple fans at large felt about it.  If Machine Head, Fireball and In Rock are all 5/5 stars, then Who Do We Think We Are can be justified at:

4/5 stars

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REVIEW: Trapeze – You Are the Music…We’re Just the Band (1972)

TRAPEZE_0001TRAPEZE – You Are the Music…We’re Just the Band (1972 Threshold)

Trapeze in ’72 was:

  • Glenn Hughes (future Deep Purple) – bass & vocals
  • Mel Galley (future Whitesnake) – guitar
  • Dave Holland (future Judas Priest) – drums

Due to the fame that this trio found fame separately elsewhere, Trapeze will be on interest to fans of classic British 70’s rock. Trapeze are a funky soul rock band — picture some of the funkier moments that Deep Purple were into when Tommy Bolin was in the band, and you are in the general ballpark.  The very first track “Keepin’ Time” easily could have been on Purple’s Come Taste the Band.  Not only is a high quality funk-rock song, but Mel Galley has some serious chops going on!


Personal highlights on this CD for me are the ferocious funk of “Way Back To The Bone”, the soul of “What Is a Woman’s Role”, and the solid rock of “Feelin’ So Much Better Now”. I also need to single out the track “Loser” as a great little lost funk rock gem. One thing is clear to anyone upon first listen: These guys could PLAY. Particularly with Holland and Galley, what they did later really was only the tip of the iceberg that is Trapeze. Hughes is in fabulous voice, at the very peak of his vocal powers, and this is essential listening for fans of the man that the Japanese call “The God of Voice”.

3.5/5 stars. A pleasantly perfect example of great 70’s soul/funk/rock!

REVIEW: Van Halen – OU812 (1988)

Review by special request of reader Wardy!

OU812_0001VAN HALEN – OU812 (1988 Warner)

Those who were displeased with 1986’s 5150 album were optimistic about the next Van Halen.  “I heard it’s supposed to be heavier like old Van Halen,” were the whispers in the highschool halls.  “More like the stuff with David Lee Roth.”  Even though Van Hagar plotted their own course with tremendous success, there were and always will be factions that prefer Diamond Dave.  It is all but impossible to review a Van Hagar CD without asking, “is it as good as the classic records?”

I like OU812, a lot. It’s probably my favourite Van Hagar album and I’ve liked it since it came out. It is a little harder than 5150, and it does sport old school Van Halen shuffles like some from the days of old.  I would often argue that where Sammy Hagar fumbled in Van Halen is in the lyrical department.  But few of his lyrics on OU812 outright suck, and some are pretty cool.  Eddie’s guitar tone was beefier than it was on 5150.  Most importantly, the band were all fired up and still writing great rock songs and ballads.

Keyboards remained on the new album, as heard on opener “Mine All Mine”.  The context now was a harder rock song, and they work effectively.  Hagar turns in a surprisingly penetrative lyric regarding religion and self reliance.  “You got Allah in the East, Jesus in the West — Christ, what’s a man to do?” sings Sammy, never one to mince his words.  The breakneck track serves as an excellent starter for the new Van Halen.

“When It’s Love” kills the momentum momentarily.  It was a huge hit and also happened to be Van Halen’s first actual “music video” since David Lee Roth quit the band years before.  As far as ballads go, it’s edgier than “Love Walks In” or “Dreams”, although I don’t think it’s as good as either of those.  Thankfully the boys chase this with the weird-titled “A.F.U. (Naturally Wired)”.  This blazingly fast Van Halen shuffle isn’t too dissimilar from the style of song the band used to do with Dave.  Eddie, of course, knocks everybody down with his impossible licks.  Meanwhile, drummer Alex Van Halen gleefully enjoys the odd beats and searing tempo.

One of the best Van Hagar songs of all time closed side one, and it’s the song that loaned its name to an award-winning tequila:  “Cabo Wabo”.  A laid back summer classic, I challenge even the most cynical fan to not tap their toes during “Cabo Wabo”.  Hell, feel free to air-drum along.  Eddie lays down some juicy chords in that trademark brown sound.

“Source of Infection”, side two’s opening song, is barely a song at all.  I have always been convinced that Sammy ran out of time and didn’t have any lyrics written for this song so he just went in and sang stuff.  We know that Van Halen were indeed rushed in the studio.  I think “Source of Infection” is evidence of that, as there are barely any words to it.

Hey!OU812_0002
Alright!
Woo!
How ’bout ‘cha now, come on!
Oh yeah!
Dig it! That’s right
Is everybody ready? Let’s go!

(Movin’ up and down) Up ‘n down
(Round and round) Oh, round and round
(Movin’ up and down) In ‘n out
(Round and round) Yeow!

Crank it! Blow out!
Uh! Ouch!
Help me
Now flip on over
Oh baby, you know that I like it
(Woop! Woop! Woop!)

I think I’ve made my point.

It’s actually a smoking track, one of the heaviest Van Hagar blazers ever recorded, but to call it a “song” would be too generous and misleading.

I’ve been on record here for trashing Van Hagar ballads in the past, but I really like “Feels So Good”!  It’s the bright upbeat one.  Eddie’s keyboard sound on it is unique.  You have to give Eddie credit as a keyboardist, because that is so overshadowed by his guitar playing.  Eddie has always manufactured cool keyboard hooks, and accompanied them with an identifiably unique keyboard tone.  “Feels So Good” continues that tradition.  Top that with an Eddie solo complete with two-handed tapping and tricks, and you have a flawless Van Hagar pop rock track.

The country-flavoured “Finish What Ya Started” is one of the best top 40 hits about blue balls that I can think of.  I suffered from a high level of burnout from this track in ’88-’89, due to its saturation on radio and MuchMusic, but you can certainly hear why radio went for it.  The blue balls theme probably went right over their heads, and it’s accessible with plenty of incredible guitar hooks.  You just don’t hear Eddie playing like this often.  I also have to praise Alex’s snare drum sound here, so full and authentic.

“Black and Blue” was actually the first single, although no video was made for it.  It’s a slower Van Halen blues groove, but I don’t think it holds up particularly well after repeated listens.  (I caught hell for playing this album at work once, because Sammy sings “Bitch sure got the rhythm,” on this song.)  And unfortunately I don’t think “Sucker in a 3 Piece” is particularly awesome either.  It’s probably the weakest track on the album, although I remember one kid at school thought it was the best one, so there you go!  “Only Eddie Van Halen could come up with ‘Sucker in a 3 Piece’,” he praised.  I don’t see what his fuss was all about.

There was a CD bonus track on this, a rare novelty back in 1988.  I already had “A Apolitical Blues” on the flipside of the “Black and Blue” single.  For the first time since Diver Down, a cover (Little Feat) on a Van Halen album! Granted, only on the CD version, but still.  On MuchMusic, Eddie explained how this song was recorded about as low-tech as you can get:  four guys, two microphones, one room.  It sounded great on that scratchy old 45, but it’s not as memorable as a Van Halen cover can be.

Interesting and sometimes annoying factoids about the albums:

1. No producer is listed anywhere in the credits.  There is only “Recorded by Donn Landee”.

2. The tracks are irritatingly and purposely listed in the wrong order on the back cover, and in the lyric book.  They are alphabetical.  Who does that anymore?

4/5 stars

Final note:  A rare 3″ CD single with a remix of “Finish What Ya Started” and the album version of “Sucker in a 3 Piece” found its way into our store.  It came in with no packaging, so I bought it and stuck it in with my CD of OU812 as “disc 2” in a 2 CD case.  The remix version is notable for not being audibly different from the album version in any detectable way!

REVIEW: Van Halen – Tokyo Dome Live in Concert (2015 – LeBrain’s review)

For another perspective, check out Tommy Morais‘ review of this CD, here!

NEW RELEASE

VAN HALEN – Tokyo Dome Live in Concert (2015 Warner)

I’d like to begin this review by diving head-on into the thick of it.  Everybody’s been talking about Dave’s voice.  It’s all anybody seems to talk about regarding the new Van Halen Tokyo Dome Live in Concert CD.  Even Sammy Hagar, always eager to open his mouth and opine on all things Halen, had this to say:

“I’m trying to tread lightly on the whole thing.  Every time they do something, I’m like, ‘Oh my God, can these guys do anything worse to their reputation and to the level of the music of the band?’”

Sammy couldn’t be more wrong (or bitter sounding).

Newsflash:  the new Van Halen is good!

Sonically, this CD is monstrous.  The bottom end sounds so good, and what a bottom end it is!  Lil’ Wolfgang Van Halen has become quite a bassist, which surely comes as no surprise.  His vocals with pa Eddie keep the melody grounded while David Lee Roth freestyles it.  No, he doesn’t sound like Michael Anthony, but surely you knew that by now.  I have always loved Mike’s backing vocals.  But Mike’s not coming back to Van Halen, and if you miss Mike that much, Chickenfoot have two excellent albums for you to pick up.

TOKYO DOME

The setlist: in a word, phenomenal.  All seven DLR-VH albums are mined for hits and deep cuts.  This means that you get to hear tracks like “Romeo Delight”, which I bet you never thought you’d hear live again.  “I’ll Wait”, “Ice Cream Man”, “Beautiful Girls”…almost all of my favourites are here!  But what really blew my mind was “Hear About It Later”, one of my desert island tracks, from Fair Warning.  I understand that the setlists were often decided between Dave and Wolfie, and you sure can’t find much fault in their choices.  The only one I didn’t particularly care for in the live setting was the recent single “Tattoo”, with its taped backing vocals.  It’s kind of an oddball Van Halen track as it is.

Now, Dave’s vocals:  They are what they are.  There are moments he’s out of breath, wheezing, and missing notes.  They are fewer than you’d expect.  I think one thing that didn’t help this album’s early reputation was that they released some questionable preview tracks.  Dave’s vocals on “Panama” are not as hot as they are on something like “Ice Cream Man”.  Definitely, he does better on some songs than others, but he succeeds in injecting every line with that Dave “charasma”.  He cheats his way around certain melodies, and speaks where he used to sing, but other singers his age do the same thing.  Rob Halford changes the vocal melody live quite often.  So, given that age and time do things to the human voice, and given that Dave is a smoker, you cannot compare Roth in 2013 to Roth in 1983.  (Let’s just hope that some day, we get a CD/DVD set of that US Festival, eh?)  And keep in mind: Roth’s so-so vocals are only proof that this album is live, no tampering in the mix (unlike the live album they did with Sammy which was heavily re-recorded).

Last, but certainly not least: Edward Van Halen himself.  It seems kind of pointless to say “he’s playing awesome”, but I do think it’s important to get it out there.  He’s had health scares, and he definitely hit a low point back in 2003.  His singing and playing here is awesome.  There is nobody in the world who sounds like Eddie Van Halen, though there are many who have tried.  In a blind taste test, 100% of Van Halen fans chose Eddie.

Filler:  Alex’s drum solo “Me & You”, a tropical jazz inflected moment that simply does not fit the show.  But the guys are getting up there and a mid-show drum solo gives Dave and Eddie a chance to rest for a few minutes.  In every other way, Alex Van Halen is awesome on this album.

I recommend any serious Van Halen fan to ignore the hype (and Sammy) and pick up Tokyo Dome Live. It’s cheap (about $13-15), it sounds excellent (it’s self-produced) and it has all the songs you want.  After all, we didn’t spend all these years moaning that we wanted Dave back in the band, only to bitch and complain about the live album, did we?

4/5 stars

VH LIVE_0001