classic rock

GUEST REVIEW: Van Halen – Tokyo Dome Live in Concert (2015)

NEW RELEASE review by TOMMY MORAIS

“Better late than never or too little too late?”

VH LIVEVAN HALEN – Tokyo Dome Live in Concert (2015 Warner)

It came especially late, but alas we finally have a live Van Halen album featuring David Lee Roth. Tokyo Dome Live in Concert was recorded on March 22 2013 during VH’s last tour. It’s not the band’s first live album as there has been a live Van Hagar release, but it’s the first with Diamond Dave which fans had been asking for, for decades now. This lineup features the Van Halen brothers (of course) Alex and Eddie with David Lee Roth, and Wolfgang Van Halen au lieu of original bassist Michael Anthony. One has to ask “why a live album at this point late in their career?” but it’s better late than never l suppose. Van Halen’s classic lineup and first six albums with DLR from 1978-84 have touched and inspired generations. It’s all-time classic rock, and there are plenty of masterpieces and classics to be found. The band knows this too, as they perform the songs that everyone wants to hear from those six albums along with a few from the current lineup’s 2012 output A Different Kind of Truth.

The setlist is incredible! I mean seriously look at it (they open with “Unchained”) and tell me that it’s not damn well near perfect. All the hits are there along with favourites and that’s one of the album’s strengths and main appeal. I don’t think l would’ve taken anything out. I wouldn’t have added much more either. Anyone who complains is just nitpicking. I would’ve wanted to see “You And Your Blues” from ADKOT instead of “Chinatown”* but that’s about as picky as l can be. Everything l could’ve asked for is here. Two discs and 25 songs (one is a drum solo) at this price is excellent. Those things l can’t complain about.

Now let’s address the elephant in the room. Yeah THAT one! Roth’s singing. Sometimes he completely leaves out lines, his timing is off or at the very last second, and occasionally he’ll almost talk instead of singing. To his credit he’s getting up there in age and moves a lot during live performances, it’s not getting any easier for him and l know criticism of his voice will be harsh towards this release. I’m trying not to be too harsh, while remaining objective. Granted he doesn’t sound great and there some not so good moments, but Diamond Dave was never truly an amazing singer to begin with. Less so live. He was always known to be the charismatic and energetic frontman and no one could touch him.

One of my favourite moments has Dave being Dave, during the beginning of “Pretty Woman” where he goes: “I know that song! (pause) I know that song! (pause) I fucking love that song!”  On some songs he sounds good, some tolerable and some…awful.

People have mixed feelings to say the least about Wolfgang replacing Michael Anthony. I think it hurts them not to have Anthony around because his backing vocals were truly the band’s secret weapon and they improved Dave’s overall sound, something Wolfgang simply cannot do (he does sound a little better now), but he does get the job done on the bass guitar. The backing vocals are not awful, and they try their best (“You Really Got Me” is a good effort) but they could have used Anthony’s presence.  Alex Van Halen has lost nothing with the years and plays incredible.  The “Me & You” piece is amazing. Eddie does what he does best, and surprises us at times adding things here and there being the player we know he is. I can’t say that they really live up to their past glory, but very few bands can and at the end of the day it’s a fun performance.

The sound is very raw and bare-bones, it doesn’t sound like it was overdubbed at all which is one of Tokyo Dome‘s best qualities. I think they were going for a bit of a bootleg sound, not too much as clearly this exceeds a bootleg, but Van Halen wanted a real raw, gritty and heavy feel. Now the audience is essentially nowhere to be found. I own lots of live albums and this has got to be one of the quietest crowds l’ve heard for Van Halen (and a rock concert for that matter). I can only assume they turned them down during the mixing.

On a side note, I think it was a missed opportunity to film the show and have it released as a CD/DVD package**.  I think it would have helped gather even more interest in the band and Tokyo Dome. I’m just glad we finally have some new Van Halen out, and a live one with Dave.

Is it perfect? No. Does it have it’s flaws? Yes. Could it have been more? Well l think if you don’t expect too much out out of Van Halen you will find much to enjoy. The guys are a little older, Dave’s voice has aged and it’s 3/4 of the classic lineup but they can still deliver a good performance and entertain you. Some will completely rip on Dave’s voice and l get it (STOP CHEWING GUM WHILE YOU SING!), it’s the main reason l’m giving Tokyo Dome 3 stars. It does make you long for a proper live release from the early 80’s. The musicianship though, is very good and the setlist incredible.

3/5 stars

*LeBrain disagrees.  I like both songs, but “Chinatown” trumps “You and Your Blues”!

**LeBrain agrees.  I don’t know why that wasn’t done.

For LeBrain’s review, click here!

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REVIEW: Bon Jovi – “Born To Be My Baby” (7″ single)

I thought it would prudent to post a mini-review today, lest some of you thought I had lost my mind earlier.  What’s the date again?

BON JOVI – “Born To Be My Baby” (1988 Polygram 7″ single)

This single is a beauty.  I bought this 45 at the Zellers store at Stanley Park Mall in Kitchener when I was a young fella.  It doesn’t have any exclusive tracks — not even single edits which were very common on Bon Jovi 7″ singles.  Instead it came in a collector’s package with cardboard picture sleeve, and three postcards.

The postcards are interesting to me for a reason.  Look at the group photos of the band.  Jon’s face is always obscured.  These pictures from the New Jersey period represent a brief time when Jon was trying to give the band more face time.  Check many photos from that era — his back is often to the camera while the others look straight ahead.  I read a quote in a magazine where Jon was pissed that people only knew Richie Sambora as “the guy in the cowboy hat”.  He was trying to give them attention and I think that’s cool.

The two tracks on the single are two of my New Jersey favourites!  “Born To Be My Baby” was always a cool groove.  I enjoy listening to Tico Torres’ drums on this track.  Understated but perfect.  But “Love For Sale”?  Shit, I think that’s the best tune on New Jersey!   Proof of the talent of this band, drunk or sober.  Hard to imagine it was just something that happened and got recorded.  It actually makes me a little sad today — sad that Jon and Richie have now broken up this amazing chemistry.

Fun single though!  Glad to have kept it all these years.

4/5 stars

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#381: There’s Only One Way to Rock

A shout-out to Geoff at 1001albums for the inspiration.

RECORD STORE TALES MkII: Getting More Tale
#381: There’s Only One Way to Rock

Back in 1981, the philosopher Samuel Roy Hagar announced that there is “only one way to rock”. He made his case on the song “There’s Only One Way to Rock” from Standing Hampton, a song that he later performed in Van Halen. An except of Sammy’s argument is below:

STANDINGI’ve heard it called by different names
All over the world, but it’s all the same
Now there’s so many ways to make love
A million ways I been thinking of, oh yeah

But there’s only one way
There’s only one way to rock, yeah

While Hagar is normally quite convincing, I have to disagree with him on this matter. In fact I was able to think of at least five ways to rock while on my lunch break. I am sure you can think of many more. How many ways to rock are there? Here are five of my personal favourites!

1.THERES ONLY ONE WAY TO ROCK_0001

2.

THERES ONLY ONE WAY TO ROCK_0002

3.THERES ONLY ONE WAY TO ROCK_0003

4.THERES ONLY ONE WAY TO ROCK_0004

5.THERES ONLY ONE WAY TO ROCK_0005

 

REVIEW: Dio – Angry Machines (1996)

DIO – Angry Machines (1996 Spitfire)

I have never liked Angry Machines.  Right from the moment it came out, to today, I do not like Angry Machines.   It’s not because I don’t like this Dio lineup.  I’m quite fond of the Strange Highways record, which features the same band (Jeff Pillson – bass, Vinny Appice – drums, Tracy G – guitars).  Given my fondness for that previous record, and the awesome cover art emblazoned upon Angry Machines, I was looking forward to this album.  Now, all these years later, even cranked to max volume it has failed to grow on me and remains my least favourite Dio album by a fair margin.

When Dio gets his hands on a treacherously slow heavy metal song, he can sometimes wring great things from it.  Angry Machines, however, is bogged down with many agonizingly slow, soundalike trudgy songs.  The opener “Institutional Man” almost resembles Born Again-era Sabbath at times for sheer slow chug, but it lacks any sort of hooks.  Ronnie is bellowing as incredibly as he always has, but he’s grasping for a melody to hang his powerful voice on.  The saving grace is a razor sharp guitar solo by Tracy G.

Thankfully “Don’t Tell the Kids” is a speed metal rocker.  I didn’t expect Ronnie to take it to Motorhead tempo, and that’s cool.  Lack of hooks is the problem again, so you’re left with little but the smoking instruments to carry you through.  MVP: Vinny Appice who has never sounded so lively!

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The disc gets stuck in the mud after “Don’t Tell the Kids”.  The atonal “Black” doesn’t do anything for me, although I do admire the stripped-back production (by Ronnie and engineer Wyn Davis).  I dig Jeff Pilson’s bass hook on “Hunter of the Heart”, and the chorus is pretty good, but the song is mostly forgettable.  Then is the slow and boring “Stay Out of My Mind”, a real snooze.  A 7-minute snooze with an extended keyboard segue!  Continuing with the mind control theme, “Big Sister” isn’t much to write home about either, except in terms of Vinny’s relentless sticks.

“Double Monday” has cool acoustic segment, very unlike typical Dio.  Unfortunately this one section does not save the song which is otherwise dreary and grating.  Up next, I enjoy the vintage groove of “Golden Rules” but again there’s not much of a song here.  Same goes for the penultimate track “Dying in America”.

You may already be familiar with the best song on Angry Machines, a piano ballad called “This is Your Life”, that was re-released on the 2014 tribute album of the same title. When I reviewed that excellent CD, I had this to say of “This is Your Life”:

Fittingly, the album ends on a ballad: Dio’s own somber “This Is Your Life”, performed by the man himself in 1996. I did not like the Angry Machines album, but if there was one song I would have picked as a highlight it would be “This Is Your Life”. Performed only by Dio and Scott Warren on piano, it is unlike anything else in Dio’s canon. The lyrics speak of mortality:  “This is your life, This is your time, What if the flame won’t last forever? This is your here, This is your now, Let it be magical.”

The always lucky Japanese fans received a bonus track with the cool title of “God Hates Heavy Metal”.  Although I am intrigued I have not been motivated enough to search it out.

2/5 stars

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#379: Aaron’s Black Crowes B-sides

THE BEST FUCKING COLLABORATION WEEK EVER

This series is “twice as hard”!  Aaron at the KMA and myself are both taking a look at an old CD-R of Black Crowes B-sides, that he made for me umpteen years ago.  Enjoy!

Aaron:  Black Crowes B-Sides

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RECORD STORE TALES MkII: Getting More Tale
#379: Aaron’s Black Crowes B-sides

Aaron has been a generous doner of Black Crowes music to Chez LeBrain for a long time now.  Witness, Record Store Tales Parts 260 and 262, in which he provided copies of the Crowes’ Sho’ Nuff box set, and the CD single for “Kicking My Heart Around”.  One of the most thoughtful items he ever gave me was a custom Crowes B-side CD, culled from his own library of tunes.  The Crowes have a lot of singles and rare tracks, and my collection is still to this day woefully incomplete.  The disc he made me covers a ton of songs that aren’t on albums.

There were quite a few tracks on this CD that I didn’t know the origin of.  I found out that the first three tracks are from the “By Your Side” CD single, which I still don’t own physically.  The opener, an acoustic version of “Horsehead” with a distorted lead vocal, is killer.  It sounds live in the studio, which to me is proof that you don’t have to spend weeks and months and years in the studio to make music.  “Horsehead” don’t need no frills.  “Grows A Rose” and “Peace Anyway” are from the same CD single, but sound more like the By Your Side album.  These are streamlined blues/rock tracks, but man “Grows A Rose” sure does smoke!  “Peace Anyway” is a soulful Crowes also-ran that could have been on the album as well.

“It Must Be Over” is from the “Kicking My Heart Around” single that Aaron gave me.  It’s a midtempo track much in the vein of the By Your Side album but not quite as catchy.  It’s a fine B-side though.  “You Don’t Have to Go” is really strong, but it could use more of that organ from Eddie Harsch.

Back to the olden days, “Don’t Wake Me” is an ass-kicker with plenty of that juicy slide guitar. This track was later reissued on the remastered Shake Your Money Maker album; I don’t know where it was originally from.  For fans of that old Crowes sound before they really started to experiment, this is for you.  The acoustic version of “She Talks to Angels” is available on the same remaster.  It sounds like an old Stones ballad and it’s flawless in this incarnation.

“99 lbs” and the slow version of “Sting Me” are also available today on the Crowes remasters.  I can’t believe how much “99 lbs.” kick ass for a B-side.  I know it’s a blues cover, but that’s about all I know about this amazing steady rocking tune.  Steady until the end that is, where it speeds up to a breakneck pace.  “Sting Me” is one of those tracks that caused a huge battle between the brothers.  One of them liked the slow version as heard on my Aaron Mix, and one preferred the fast album version.  This resulted in one of those physical confrontations that involved a mike stand being used as a projectile.  (I prefer the fast.)

As a B-side from Three Snakes and One Charm, “Just Say You’re Sorry” is surprisingly catchy and straitghforward.  I love Rich’s watery sounding guitar tone.  “Mellow Down Easy” is from the same period, this being a Willie Dixon classic.  I don’t think the Crowes really did anything for it.  Either way, it’s on the remastered Three Snakes, although “Just Say You’re Sorry” is not.

“Rainy Day Woman #12 & #35” is a bit of a gimmicky joke cover as far as I’m concerned.  It comes from a pot compilation of some kind.  “Pimper’s Paradise”, a Bob Marley cover, is a more successful experiment.

Aaron closed his CD with four live tracks in a row:  all four are from Air studios in London, circa 1994.  The four tracks sample the first three Crowes albums quite splendidly.  “Remedy” in particular strikes me as awesome.  The vocal is completely different from the album version which was only two years old.  You can’t say the Crowes are content to leave things be.

Man, you just gotta give Aaron a 5/5 for making this CD.  What a guy!

Monday: QUIET RIOT – Metal Health
Tuesday: DANKO JONES – Born A Lion

GUEST REVIEW: Europe – War of Kings (2015) by Tommy Morais

It’s been two years since Tommy Morais contributed a review here.  It is with great joy that I celebrate Tommy’s return, and that of the rock band Europe!  Please join me in welcoming back Tommy, a great reviewer originally from the province of New Brunswick, Canada.

NEW RELEASE review by TOMMY MORAIS

 

“Europe establishes itself as a modern classic rock band”

WAR OF KINGSEUROPE – War of Kings (2015 UDR)

After the bluesy affair that was Bag of Bones, the band Europe returns to a heavier sound and approach on War of Kings and ultimately, a more Europe-sounding album. The band has essentially transformed itself from its glam metal roots to essentially become a modern classic rock band. I’ve always been a fan of albums like Wings of Tomorrow and Out of This World, just as l am a fan of Last Look At Eden and their recent albums. If anyone cares to listen there’s more to this band than “The Final Countdown”, the occasional hit song and power ballads. For anyone who’s been keeping track, they know that the last few Europe albums have been very enjoyable and saw them release some of their best music thus far in their career (Last Look At Eden, Start From The Dark, Secret Society).

The title track opens up, and it’s every bit as epic sounding as you expect it to be.  It’s a raunchy, slow down and dirty metallic number. Europe makes it clear from the get-go that they’re going in a heavy direction. “Hole in my Pocket” is a more light and upbeat track, and whereas the first track sounded more metal this one is more energetic AOR rock (with a blistering John Norum solo). “Second Day” is one of the highlights for me: the lyrics and the feel of the song are inspiring and Joey Tempest’s voice sounds like some part deep on him is aching and it’s brilliant. “Praise You” is a slow tempo rocker, not-quite ballad with a bluesy feel (Norum’s playing is just magnificent here) with hard rock tempo changes… this track really surprised me! “Nothin’ To Ya” is in a similar vein as the title track in that it goes for an epic feel but there’s orchestration on in the background that makes it interesting.

“California 405” is a cool mellow, almost easy-listening song. “Days of Rock ‘N’ Roll” is probably the closest sounding thing to a “The Final Countdown” here, and that is based on the joyous riff it possesses. Another solid rocker.  “Children of the Night” is a dark sounding tune with some excelling guitar playing, something almost fit for the late great Ronnie James Dio. “Rainbow Bridge” has an exotic sound; it makes me feel like l’m about to enter some place like Morocco.  It’s this album’s “Kashmir”, very different and very cool.  “Angels (With Broken Hearts”) could almost be considered a ballad but it’s really a slow, here-comes-the-heartache piece with the music doing the biggest talking. “Light Me Up” is not bad at all, but it’s my least favourite song on War of Kings and not the best way to end the album.

For what it is I quite enjoy War of Kings, and it offers a solid collection of songs. Joey Tempest’s voice has aged like a fine wine where you can tell he’s comfortable and confident in his abilities, and this is possibly the best he’s ever sounded in all honesty. John Norum is a very talented guitar player and he has his shining moments in his riffs and solos, and puts a little blues out there as well. Europe are competent musicians and it certainly comes across as such, and maybe even more so now that they have moved past the “glam” and “hair” metal tags. I feel like since their comeback in the early 2000’s they’ve truly become a modern classic rock band in sound and spirit (don’t worry they still love and play the classics and hits live).

While it’s true that you only get one first impression, l wish more people would give Europe a chance, because they’re not the same band they were during the 80’s and they’ve become better musicians as time passed by. I think a lot of classic rock fans who didn’t like Europe during their most successful years especially might enjoy this a lot more than they’d ever think. Maybe some were hoping for a nostalgia trip but the keyboards and power ballads are not to be found here, this is a more mature Europe and a very fine one at that. For that reason l think some would like this a lot more. And if you were a fan all along then what are you waiting for? Pick this up and give it a spin. I praise Europe for giving us a true great hard rock record in 2015.

4/5 stars

#375: VH Predictions FAIL!

RECORD STORE TALES MkII: Getting More Tale
#375: VH Predictions FAIL!

I like to think I’m such a know-it-all. Higher-than-thou, my musical knowledge trumps yours, etc. However when I’m wrong (it happens frequently), sometimes I’m colossally wrong.  Below is an example of me being completely, 100% totally wrong.  Although I’m glad I was.  When the Van Halen reunion with David Lee Roth was announced, I believed it would not last long.  I took the time to write out this list below.  With the live album coming, and the hot rumours of another tour, this is a great time to showcase one of my most colossal failures as a clairvoyant.

VH

Date: 2007/02/08 07:10

TOP TEN REASONS WHY THE =VH= VAN HALEN REUNION TOUR WILL GO DOWN IN FLAMES

10. Wolfgang Van Halen on bass means that there are three Van Halens in the band vs. one Lee Roth. David will feel outnumbered at every turn.

9. Wolfgang Van Halen, a 15 year old kid, is an untested property. Will it sound like the same band without the very recognizable Michael Anthony on bass?

8. No new songs, no new album, just another greatest hits (the third and most obvious rip off for your money). [NOTE: at the time Van Halen were planning to release a “best of DLR-era” CD, which was thankfully cancelled.]

7. David Lee Roth’s voice has been utterly destroyed since about 1991.

6. Eddie Van Halen is but a shadow of the man he once was. A raging alcoholic surrounded by yes-men, his guitar playing hasn’t touched upon brilliance in almost a decade. Throw his 15 year old son into the alcoholic tour and you have recipe for disaster.

5. Roth and the VH brothers haven’t gotten along in decades. The fact that the brothers recently attempted–and failed at–a reunion with Sammy Hagar before this indicates that this is a last-ditch effort to save the band. Not exactly the kind of motive to make a reunion happen.

4. Roth will say and do what he wants, much to the chagrin of the ultra-controlling VH brothers.

3. Alex VH’s spinal problems, while not heavily discussed, are probably only getting worse with time.

2. 40 dates isn’t much of a tour for a band of this stature.

1. Classic VH = Edward Van Halen, Alex Van Halen, David Lee Roth, and Michael Anthony. Without Anthony, this is not classic Van Halen. This is in effect the fourth version of the band. VH-IV, if you like. That isn’t what I wanted to see on tour this summer.

I am glad to be have been proven wrong on this one. Van Halen has defied the odds and my predictions. I couldn’t be happier about it.

REVIEW: Judas Priest – Metalogy (2004 box set)

Would you care for an Epic Review with your morning tea?

JUDAS PRIEST – Metalogy (2004 Sony 4CD/1DVD limited edition box set)

Q: Who would release a box set dressed up in faux-leather and studs?
A: Who else? PRIEST!

This five disc set (4 CD/1 DVD) compiles a generous sampling of Judas Priest’s music over the decades, from Rocka Rolla (1974) to Demolition (2002). While the tracklist is far from perfect in my eyes (where’s “Rocka Rolla”, “One For the Road”, the studio version of “Victim Of Changes”, “The Ripper”, etc?) it does provide some previously unreleased live versions (both B-sides and never-before-released) and a completely unreleased demo. It’s not a bad set. Just not the one I would have made personally given the opportunity.*

IMG_20150301_071946With insanely great fortune, I got this box set (a limited edition by the way; reissues lack the DVD) in mint condition but used at my own store! One of my favourite sellers, a customer named Conrad sold it to me only a short time after release.  I don’t know why and I don’t care.  I was just glad to have it affordably.  I loved the packaging and there was that unreleased demo that I was eager to finally hear.    Also, Metalogy was the first anthology style box set from Priest and I wanted to hear how it played out.

The unreleased song is the awesome hard rock track “Heart of a Lion”, demoed for Turbo back in ’85. You may have heard this one in re-recorded form on Halford’s live album Insurrection. It was also recorded back in the 80’s by a young band called Racer X, starring Paul Gilbert (Mr. Big) on guitar, and a drummer by the name of Scott Travis! It was a surprise to me that “Heart of a Lion” was not released on the Priest Re-masters series; obviously they were deviously saving it for something later, like this box set.

Some of the live versions are exclusive to this set. Two newly released versions included a 1981 radio broadcast of “Green Manalishi” (unfortunately, meaning the studio track isn’t on here). There is also an unreleased broadcast version of “Love Bites” from ’86.  In addition to these, there are a few live tracks taken from old single B-sides. Unfortunately I already have all Priest’s B-sides, on a Japanese compilation called Priest Live & Rare.

The biggest weakness with this box set is that it tragically loses steam right at the end. In 2002 when the last original Priest music had been recorded, Rob Halford had yet to rejoin the band and Ripper Owens was still the current singer. The box ends with four Ripper tunes, and not necessarily the best ones. “Jugulator” is an undeniable inclusion, but there is a feeling of anticlimax. Leaving an exciting and unheard track like “Heart of a Lion” for last would have ended set on an up note.  (Perhaps Priest could have included some Ripper-era rarities to add some value and excitement — there were a few songs available.)

METALOGY_0002Judas Priest Live (DVD)

The limited edition DVD, cleverly called Judas Priest Live, has since been released on its own. This is the old Judas Priest Live video, also known as Live Vengeance ’82, from the Screaming for Vengeance tour (Memphis Tennessee).  It’s one of those music videos that you probably remember seeing back in the day. It’s quintessential early 80’s live Priest — all black leather and shiny studs. The setlist leans heavily on Screaming and British Steel, with classics throughout.  The stage is pretty bare, just some girders and a Screaming for Vengeance flag in behind.

This concert has been remixed for DVD, in both stereo and 5.1 surround.  I have read some complaints from fans that guitar overdubs were added to some tracks.  I listened intently but could not conclude one way or the other that any tampering was done.

A pre-recorded “Hellion” acts as intro music; Priest emerge onstage amidst lasers and smoke to play “Electric Eye”.  Halford is  the caricature of himself, bearing a bullwhip, and looking something like the biker from the Village People.  Nevertheless, a young Rob Halford slowly and deliberately commands the stage, powerful voice cracking but getting the job done.  Tipton and Downing are on the flanks, tearing into “Riding on the Wind” next.  The pulse of Ian Hill and Dave Holland, plain is it may be, is metronomically precise.  The video is shot and edited to my taste; lots of closeups although the light flaring is distracting.  (J.J. Abrams did not direct the video though!)  KK Downing makes some of the best “guitar faces” this side of Nigel Tufnel.

“Heading Out to the Highway” brings the speed down from the breakneck pace.  This mid-tempo classic has long been a favourite, although at the time it was only a year old!  Three songs in, and Priest had not yet played anything from British Steel or before!  The confidence in their new material is refreshing.  Rob treats us to some hilarious dancing, but I admit I’d kill for a leather vest like that, with the bird from Screaming emblazoned on the back!  Fear not though, as “Metal Gods”, a British Steel classic, is next.  Rob’s robot dance gets my nod for “favourite moment of the concert”.

Back to new songs, the sharp guitars and robotic pulse of “Bloodstone” gets fists pumping in the air.  The cameras are not wasted on audience shots (I’d rather see the band), but you can see the crowd digging the new material as much as the old.  They really like “Breaking the Law” though, which has a blazing intensity.  Then it’s back to the stone ages:  KK Downing’s guitar showcase “Sinner”.  This killer song loses something with Holland on drums, but it’s more about KK anyway.  His solo is resplendent, but Rob nails the screams!  “Desert Plains” is faster than the Point of Entry version but more powerful.  This is one that Dave Holland is well suited to, and the Hill/Holland pulse is fully apparent.

IMG_20150228_184258Here’s something you don’t hear at Judas Priest concerts anymore: Rob screaming at the crowd, “Are you high?  Sing yeah!”  As a kid, I naively assumed Rob meant high on the music, the adrenaline of the concert, and I’m sure that’s the answer he’d give to the press if asked about it. As a cynical adult, I’m sure he meant “Are you high?” as in “Are you high?”!

All the way back to Sad Wings, “a little Victorian melodrama for you,” it’s “The Ripper”!  Some stage bombs help out with the drama, and Rob sinks his teeth into the words. It’s an absolutely metal-perfect ode to Jack himself.   “Diamonds and Rust” is an unexpected treat, as glimmery as it was on Sin After Sin.

Rob takes a moment to tell the crowd that there are cameras all over the place because they’re making the very first “Judas Priest movie”, and possible live album.  Still waiting on that live album today, Rob!  Back to the new album, it’s “Devil’s Child”, which Rob imbues with a strange monotone during the verses.  This exact version was released as a bonus track on the remastered Screaming For Vengeance.  As such it’s familiar to me and I enjoy the vocal twist.  “Screaming for Vengeance” continues the onslaught of new songs, concluded by the chugging fan favourite “You’ve Got Another Thing Comin'”.

Closing the set with “Victim of Changes” is a suitably dramatic end.  “Victim” is spot-on, and Rob is as animated as he gets.  Headbanging away, Downing and Tipton are at his sides, while Ian Hill stands bolted to the stage, swaying his bass back and forth hidden behind a cloud of smoke!  This brilliant version has all the twists and turns you expect, and that end scream is so satisfying even if Rob misses the note by several notches.

“The Green Manalishi” rears its leather-studded head in the encores, but not before the big hit, “Living After Midnight”.  And let’s not forgot Rob’s boring “Oh yeah!” chant-along.  Thankfully this version of “Green Manalishi” is a killer (as is the 1981 live version on CD 1 of this box set).  “What you sayin’ Memphis?” screams Rob, before KK and Glenn dig in to their trademark solos.  “Green Manalishi” remains to this day an example of a song improved as a cover version, with all due respect to Peter Green.

It ain’t over ’til the bike comes out, and it does on “Hell Bent for Leather”.  Rob sits reclined on his Harley, bullwhip back in hand, commanding the masses.  After dozens of power chords and crashed cymbals, it’s finally over — 95 minutes of Judas Priest fury, at the height of their 1980’s power.  Not bad for a little bonus DVD (video quality issues aside), and worth picking up separately if you feel so inclined.

In closing

Review the track list yourself, see what you have and what you want, amd buy accordingly. I can tell you that this set was worth it for me for “Heart of a Lion” and the unreleased live material.  The DVD was gravy.

4/5 stars

* foreshadowing!

#372: Top Five Reasons Why I Love Kiss

KISS ARMY FRONT

RECORD STORE TALES MkII: Getting More Tales
#372: Top Five Reasons Why I Love Kiss

A while ago I recorded this segment for a proposed podcast over at KingCrimsonProg.  The podcast hasn’t come together yet, for the moment anyway, but I’ve decided to use my segment right here because it’s a subject of interest.  Listen to the embedded video below to hear my Top Five Reasons Why I Love Kiss!

REVIEW: Spinal Tap – This is Spinal Tap (soundtrack remastered)

SPINAL TAP – The Original Soundtrack Recording from the Motion Picture “This is Spinal Tap” (1984, 2010 Universal remaster)

In true Spinal Tap fashion, it turned out that I reviewed their albums in the wrong order.  I went backwards, and the soundtrack to the motion picture This is Spinal Tap is the last Tap album for me to scrutinize.  Though Spinal Tap is a parody band made of actors Michael McKean, Christopher Guest and Harry Shearer, it is easier to just refer to them as David St. Hubbins, Nigel Tufnel, and Derek Smalls.

If you happened to go through life without owning a single soundtrack album, then you must reverse that situation immediately.  All self-respecting rock fans must be able to laugh at the absurdities of their favourite genres, and Spinal Tap represent every mis-step that legendary rock bands ever took.  Spinal Tap forced real life rockers such as Judas Priest and Ronnie James Dio to laugh at themselves; a healthy undertaking.  Even though some artists didn’t see the humour in the movie This is Spinal Tap, others did and were quick to claim that certain scenes were actually based upon them!

The single/video “Hell Hole” opens the album, a rare Nigel lead vocal with David St. Hubbins on the chorus.  According to the helpful liner notes, this track was from Tap’s then-new reunion album, Smell the Glove.  Scorching guitar from St. Hubbins and Tufnel; slamming drums from Mick Shrimpton and spot-on organ by Viv Savage: it’s all here.  And let’s not forget the band’s secret weapon Derek Smalls on bass and backing vocals, thickening up the mix like a good brown gravy….

I always think of “Tonight I’m Gonna Rock You Tonight” as the song on which something is all but guaranteed to go wrong, live.  In the studio it’s a taut rocker with explicit lyrics:  “You’re sweet but you’re just four feet and you still got your baby teeth, you’re too young and I’m too well-hung but tonight I’m gonna rock ya!”  Lock up your daughters, but you don’t want to miss this scorching classic from 1974’s Intravenus de Milo.

“Heavy Duty” is a concert classic, originally from Bent for the Rent (1976), but to me it has long overstayed its welcome.  It is a mere skeleton of a song with not enough raw meat.  It does ask an important question in the lyrics, “Why waste good music on the brain?”  Interesting inquiry David; something to get the metal masses thinking.  For fans of Nigel Tufnel’s signature shredding, you will find much to love in his solo for “Heavy Duty”.  Moving forward to 1977, we are next treated to the title track from Rock and Roll Creation, Tap’s misguided collection of rock and roll psalms.  Thankfully the track “Rock and Roll Creation” itself boasts one of the band’s strongest choruses, though it is certainly hard to forget the scene in the movie when Derek fails to escape his pod.

The liner notes say that “America” is previously unreleased (I did not know that).  It was barely in the film.  This duet between Nigel and David boasts some heavy riffing, but not much in terms of melody.  Lyrically the song recounts the experience of Spinal’s visits to America, “pretty womens everywhere, Brady Bunch and Smokey Bear!”

Side one of the soundtrack closes with “Cups and Cakes”, a pre-Tap single from 1965 when they were still known as The Thamesmen.  This is a Tufnel creation about having tea.  Predating Sgt Peppers by two years, obviously the Beatles must have taken inspiration from “Cups and Cakes” for their own songs.  Strings and trumpets create the backing music while nary a rock instrument can be heard.

The legendary “Big Bottom” (from Brainhammer, 1973) was given some legitimacy when Soundgarden decided to cover it (as a medley with Cheech and Chong’s “Earache My Eye”).  In this track all the axemen play bass — there are no guitars!  Opening side two with a song that is all bass and no guitar was probably a genius move.  I just can’t explain why.  I’m just assuming. Unfortunately when Soundgarden covered it, they did it with guitars, failing to capture the mighty bass necessary to sing a song about bums.

“My baby fits me like a flesh tuxedo, I’d like to sink her with my pink torpedo”

From 1980’s poorly reviewed Shark Sandwich is the riffy “Sex Farm”.  Though Shark Sandwich might be considered one of Tap’s worst, “Sex Farm” is one of their most enduring anthems.  Readers of my regular feature here, Record Store Tales, may recall that my good friend Uncle Meat got written up at work for playing this song in store.  Supposedly somebody called in to complain about the lyrics.  This is Spinal Tap is his favourite movie of all time.  “I realize there is some innuendo,” says Meat.  “‘Plowin’ through your beanfield’…I just, you know, the thought of someone allegedly being so offended by Spinal Tap…” he trailed off.  (You can see the story in video form here, as this very CD was one of the Top Five Albums that Got Us in Shit at the Record Store.)

The best tune on 1975’s The Sun Never Sweats was undoubtedly “Stonehenge”, and I would argue that it remains the greatest Spinal Tap song of all time.  It is hard to encapsulate this opus in mere English.  Tap take us on a trip back in time with both Tufnel and St. Hubbins sharing lead vocals.  The mandolin break at the end is one of Tap’s most famous musical moments, as it is there that things often seem to go wrong in concert, regarding the giant Stonehenge prop that is supposed to appear on stage.

In my last year of high school, my mom bought me this soundtrack on cassette.  That helped enable a group of my friends to do a Spinal Tap “air band” at our school’s annual air band competition!  Lacking a mandolin player, they instead snagged one of our math teachers who played banjo, and had him come out on stage dancing in lederhosen.  Absolutely brilliant.  I’m glad to have participated in it in my own small way of lending the tape.  Bringing Spinal Tap to the highschool masses?  There must be an award for that.

The album comes to an end with two oldies-but-goodies.  Back to the Thamesmen days, it’s 1965’s “Gimme Some Money”, the flip side to “Cups and Cakes”.  The drummer was John “Stumpy” Pepys (Ed Begley Jr.), a “tall blonde geek with glasses” according to David.  Pepys died in a bizarre gardening accident.  This artifact from their skiffle period is best remembered for Nigel’s cool guitar solo.  “Go Nigel, Go!”  Then finally it’s “(Listen to the) Flower People” from the cumbersome titled Spinal Tap Sings “Listen to the Flower People” and Other Favourites (1967).  The drummer on this track was Eric “Stumpy Joe” Childs, who sadly choked to death on vomit (not his own) in 1974.  What is especially interesting about this track is Nigel’s use of the sitar, a full two years after George Harrison did on Rubber Soul.  Spinal Tap were exploiting the hippy movement and this track was one of their greatest successes.

The remastered CD comes with two bonus tracks!  The non-album single (1984) for “Christmas With the Devil” is presented in two mixes, one from the A-side and one from the B-side.  Prior to this, the only version of “Christmas With the Devil” available on CD was the re-recorded one on 1992’s Break Like the Wind.  The original single version(s) remained obscure until 2000, when Universal released them here.  Now finally having them all, I must say I prefer the 1992 version best.  The original does have a little more pep in its step, and there is a Christmas message from the band at the end.  The “scratch mix” of the single is not much different.

All joking aside, it’s crucial to remember that these guys (the actors) were not musical slouches.  Michael McKean was nominated for an Oscar award, for his music in 2003’s A Mighty Wind.  The musicianship is there and it’s intentional humorous.  You can hear musical jokes in the solos of Christopher Guest.  As a result, the soundtrack is not only funny but also timeless.  A good song is a good song is a good song, and some of the tracks here are actually really good when you break them down.  “Tonight I’m Gonna Rock You Tonight”, “Sex Farm” and especially “Stonehenge” are all really good songs when it comes down to it!

In the real world, all the songs were written by the trio of Guest, McKean and Shearer with director Rob Reiner.  The drums were handled by R.J. Parnell of Atomic Rooster, who played Mick Shrimpton in the movie.  On keyboards is David Kaff (Rare Bird) otherwise known as Viv Savage from the film.  (Rare Bird are probably best remembered as the band who originally did “Sympathy”, later covered by Marillion.)  The album was self-produced.  There is no questioning the chops of the musicians involved.  It’s hard to create a musical joke of album length that is still fun to listen to 30 years later.

4/5 stars