The entire Dio-era catalogue of Sabbath has now been reissued so many bloody times! First there was the original CD issues, then the Castle remasters in 1996, then the Dio years boxed set (The Rules of Hell), and now these deluxe editions. I’m feeling lightly pillaged. But buying these is optional…unless you’re a die-hard like me. If you’re not, stick to the Dio box. If you are a die-hard, plunge forward.
The big reason to buy this set is the Live at Hammersmith Odeon bonus disc. Folks, when Rhino announced this live album in 2007, I jumped on it immediately. The CD sold out immediately, only 5000 copies were ever made. Limited and numbered (I got #3723), even if it sucked it was bound to be worth a fortune in the future right? Well not necessarily. Now it’s been included as a bonus disc. (It’s also seen a vinyl reissue.) So, for me this sucks — my Rhino issue is no longer as desirable to collectors. For you, it’s awesome. Now you can have this blistering live album, way better than Live Evil!
All the other expected perks are here, including bonus tracks: the soundtrack version of the title track, and a B-side (“Die Young”, live) from a 12″ single. It also has extensive liner notes that cover the recording, the tour, and the Hammersmith disc. Throw in some photos and a great remastering job, and you have (hopefully!) the last copy of Mob Rules that you will ever need to buy.
Mob Rules itself is very much a brother record to Heaven and Hell. You have that big dramatic epic (“The Sign of the Southern Cross”), the speedy opener (“Turn Up The Night”) and everything else in between (“Voodoo”). It’s not quite up to the lofty standards of H&H, although it does follow the blueprint quite closely. I find the closer (“Over & Over”) to be the weak link in an otherwise pretty damn strong chain.
I think the title track, “The Mob Rules”, is probably one of the greatest heavy metal songs ever written. Furiously paced, with Dio’s pipes in fine form, it an energized trip. “The Sign of the Southern Cross” is, as far as I’m concerned, pretty much an equal track to “Heaven and Hell”. Its riff is simply earth-shattering. Once again, Dio’s pipes are unequaled.
Even something like “Country Girl”, a lesser known track, blows me away. Iommi pulls another memorably powerful riff out of his bag of tricks, while Ronnie wails away…about what, I’m not sure. But it sure is fun to sing along. “Slipping Away” is another personal favourite due to Geezer’s fluidic bass solos. “Falling Off the Edge of the World” smokes, another fast Iommi riff that bores its way into the brain. You’ll be exhausted by the end of it. Really, the only mis-step is the album closer, “Over and Over”, which I find a bit too dull and slow for an album as great as Mob Rules.
Pick it up to help complete your Sabbath collection, and to hear the awesome Live At Hammersmith Odeon.
RECORD STORE TALES Part 168: The Constipated Ritchie Blackmore
The date: Before Christmas 2005 (my final Christmas at the store)
The place: My store
The characters: Myself, and “Box Set Man”
I had this one great customer, and dammit, I cannot remember his name. We called him “Box Set Man” because he bought and sold a lot of box sets. In fact, I have a Japanese Deep Purple Purple Chronicle 25th anniversary box set from his collection, complete with obi strip.
Box Set Man also collected rock photographs, original photographs from private collections, unpublished anywhere. He bought them at record shows, by networking (he was once a concert promoter) and from eBay. He would trade photos in his collection for more desirable ones as well.
Just before Christmas 2005, Box Set Man came in with a gift for me. He handed me a plain yellow envelope. Inscribed on the envelope was this:
Merry Xmas Mike
This photo is from a private collection from Germany “Blackmore”.
Inside the envelope was an original Ritchie Blackmore photo.
Ritchie is obviously digging deep into a guitar solo in this photo. Stratocaster raised, eyes closed, Ritchie is givin’ it all he’s got. But the overall effect is one of Ritchie looking like he has to go to the bathroom.
Christmas 2005 was my final Christmas at the store, but Box Set Man didn’t know that. I don’t remember why, but head office had asked me to keep my departure under wraps. The announcement wasn’t made until my final day at the store (Jan 4, 2006) and as it turns out, that was the day I told Box Set Man as well.
So, without further delay, I present to you this original photograph that I have dubbed “The Constipated Ritchie Blackmore”!
NOTE: After posting this, my former co-worker Pat reminded me that Box Set Man’s name was Dan!
THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)
10th Anniversary Limited “Bowling Ball” Edition
Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.
Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you? Well, I’m gonna tell you about this movie. First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection. And that’s the killer soundtrack. From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes. There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea! (Yes, that Flea.)
Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.
FOR DUDES:
The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.
FOR UN-DUDES:
One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.
The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.
An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.
Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.
I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?
And make no mistake, Meat wrote every word. No messing around from me. Enjoy!
PET SOUNDS– THE BEACH BOYS (1966)
When The Beatles released Rubber Soul in 1965, Brian Wilson heard something that inspired him to try and make his own masterpiece. The result was Pet Sounds, which saw The Beach Boys discard their typical surf-inspired ditties and create an album that will always be a classic. I remember when I first heard this album I was completely blown away that it was a 1966 album. The overall sound of it is so full and rich, and it’s funny how everyone thinks The Beatles main influence for Sgt. Peppers was drug-related, and I am sure it was, but that classic would never have been without this classic album first. Do yourself a favour and re-discover The Beach Boys by checking this out.
QUEENS OF THE STONE AGE – QUEENS OF THE STONE AGE (1998)
There are a lot of people that think that the QOTSA album Rated R, is the band’s first release. In all reality it is their third release if you count the Kyuss/Queens of the Stone Age EP. However, it is a shame that this album has been somewhat overlooked. I think it is by far their best album. To gauge just how much I got into this album could never be measured. For years, I stated that this album was my favorite album ever with distortion. Now trust me I realize the exaggeration in that statement (I have since relented) but it doesn’t take away how brilliant I believe this album truly is. This is a true collection of groovy rock songs, so much so that QOTSA could have titled this album exactly that. I have not been a fan of the last few QOTSA albums, and frankly I wish they could harness this approach once again. Check out the included track “Avon”. An absolute air-drumming seminar at its finest!!
ROXY & ELSEWHERE – FRANK ZAPPA & THE MOTHERS (1974)
One of the albums previously on this list, Joe Jackson’s Big World, was a live album containing new material. Considering the content of this particular album, that format was never more impressive or more challenging than Zappa’s album Roxy & Elsewhere. From beginning to end, it’s hard to believe the complexity of what was happening onstage during these recordings. From the colourful vocals of Napoleon Murphy Brock, to the guitar-fueled madness of Zappa himself, this is my personal favorite of all of Zappa’s recordings. Songs like “Pygmy Twilite” and “Village of the Sun” are absolute genius. The concert film of these recordings is STILL in limbo for whatever reason. Included is a clip of the song “Montana”, recorded during these sessions but not included on the album itself.
SCENES FROM A MEMORY-METROPOLIS 2 – DREAM THEATER (1999)
I simply couldn’t do a list like this without including Dream Theater. I like heavy music and I like progressive music. This band combines those two qualities perhaps better than any band ever has, and on this album its done to perfection. This is your classic “concept album” and tells an interesting story that needs to be experienced. But the true experience of this album is that it is a piece of song-writing and musical brilliance. If you have seen Rush’s biopic Beyond The Lighted Stage, you might recognize the now-familiar voice of long-time Rush producer Terry Brown (who also produced the vocals on this album). The album sees John Petrucci and Mike Portnoy at their monster best and requires many listens to truly appreciate. I am not a “Rolling Stone” magazine guy myself, but it does say something that in 2012 they named this album as the Number One all-time progressive album, beating out Rush’s 2112and Yes’s Close to The Edge.
THE ACTION IS GO – FU MANCHU (1997)
This album starts off with a bang, it also ends with a bang and actually this album is just one big resounding rhythmic bang. After a few good, but not great albums (in my opinion), new drummer Brant Bjork was brought into Fu Manchu. This would result in one of the greatest “Stoner-Rock” albums of all time. This is literally the perfect driving album. Sometimes you find yourself emulating driving just sitting and listening to it. You can hear a huge Sabbath influence on this album, at least in the sound of the instruments and the driving low end. Sometimes the vocals can leave a bit to be desired, but it is not really singing in the first place. Almost sounds like a dude talkin’ to himself, which adds to the coolness of this album. One of my favorite albums of the 1990’s indeed.
WELCOME TO SKY VALLEY – KYUSS (1994)
Somewhere around early 1995, I walked into a Sunrise Records where Tom (Tom has been mentioned many times in Mike’s blogs) was working. At this point Tom and I only really knew each other from local concerts we would run into each other at. The second I walked in he begged me to check out this Kyuss album on the listening station. I remember the look on his face when I didn’t instantly “get it”. Years later I had to bow to him and thank him for trying to open my eyes earlier. No one knows how to set a mood quite like Kyuss. The last album listed was Brant Bjork’s first album with Fu Manchu. This album is the last Kyuss album featuring Brant Bjork on drums. No coincidence here. This man knows how to wash songs with a subtle intensity. Check out the song “Demon Cleaner” sometime, with Josh Homme singing and see how Queens of the Stone Age were born. This album has been listed as a major influence for many of the heavy metal greats of the day.
WHALE MUSIC – THE RHEOSTATICS (1994)
The Rheostatics are definitely one of my favorite bands of all time, and the artist I have seen live the most in my life. Any band that calls their first album Greatest Hits obviously has a good sense of humour. There really is no album that quite captures “Canadiana” quite like Whale Music. Not to be confused with the later-released official soundtrack of the same name, this album ranges from the sweet to the insane. Take the song “Queer” for example. “Well the screen door is still broken, since you kicked your Kodiaks through it” and “I scored a hat trick on the team that called you a fuckin’ queer”, are lyrics that paint a Canadian portrait of everyday life. I love this album and frequently re-visit it only to find it gets better with age. Notable appearances on this album are Neil Peart on a song called “Guns” and The Barenaked Ladies (credited as The Scarborough Naked Youth Choir). Included here is the amazing opening track. Check it out eh ….
WHITE PEPPER – WEEN (2000)
Simply put, this is my favorite “Pop” album of all time. I am not a Ween fan per se. I cannot say I have actually connected strongly with any of their other albums. But when this album was introduced to me, it grabbed a hold of me and it will never let go. First of all, the sound on this album is absolutely wonderful. Second of all, the melodies on this album (with sprinkles of Ween weirdness of course) are something very reminiscent of The Beatles. I have always tagged this album as their “Beatles tribute”, and it was pointed out to me by a friend that “The White Album? Sgt. Peppers? White Pepper?”. Now I have not read that in fact that is what the name truly means, but I think that is a very good guess. I have played this album for a few musician friends of mine and the result is pretty much the same across the board. White Pepper simply “hooks” you in, it is that simple. Check out the Trey Parker and Matt Stone directed video for “Even If You Don’t” included here.
UNCHAINED – JOHNNY CASH (1996)
I was working at the “Record Store Chain” Ladano blogs about when I was first introduced to this album. It was instantly a revelation of what I do actually like about Country Music, and was the reason I became a fan of the older-style albums of the genre. Not enough can be said about the genius of Rick Rubin. The man who changed the careers of Slayer, The Beastie Boys and the Red Hot Chili Peppers got a hold of Johnny Cash and re-introduced him as the icon he always was. Hiring Tom Petty & the Heartbreakers as the backing band for the second American Recordings Johnny Cash release was a stroke of brilliance. The opening track “Rowboat” sees Cash cover a Beck song and make it his own. “Sea of Heartbreak” is a melodic ass-kicker. Everyone by now knows of the genius cover of Soundgarden’s “Rusty Cage”, so good in fact that for a long period of time Chris Cornell refused to play it live stating “It’s not our song anymore. It’s Johnny’s now”. No album of this genre has ever sounded bigger, if not any genre. A must have album.
VS. – PEARL JAM (1993)
This album had to be included on this list. I understand that everyone looks at Pearl Jam’s first album as this massive crowning achievement, but frankly I didn’t get it then and I really still don’t. Their second album I think is the best album of their career and probably my favorite “Grunge” album ever. Every song on this album is a classic to me and it does seem weird to call an album that was a Number One album on Billboard for five weeks straight “underrated”. But I truly do feel this album gets overlooked and that’s a shame. I find Ten to be kind of boring and redundant to be honest. This album is still fresh to me. I hope when it’s all said and done that this album is what truly defines them.
Here’s part 2 of 3 – 30 albums essential to Meat’s being, that should be essential to yours, too! So, without anymore preamble, I’ll leave you with Uncle Meat, as he discusses 10 more albums, in alphabetical order by title, that you need to visit (or re-visit).
HIGH TENSION WIRES – STEVE MORSE (1989)
Simply put, Steve Morse is my favorite musician of all time. I have had the pleasure of seeing Mr. Morse a total of 6 times when you combine The Dixie Dregs, Deep Purple and The Steve Morse Band. Unlike the releases of some of his contemporaries, High Tension Wires is not your typical shredder album. Oh it shreds alright, but Steve Morse is much more than a trickster. There are beautiful compositions, unforgettable solos and some just plain ol’ rocking too. Included is the link to a live version of a track perfectly named “Tumeni Notes”. For more examples of the greatness of Steve Morse, introduce some Dixie Dregs into your collection. You can thank me later.
HOT HOUSE – BRUCE HORNSBY (1995)
When Bruce Hornsby said goodbye to The Range, he immediately said hello with Harbor Lights, a heavily jazz-infused turn that completely changed the music world’s perception of him. Hot House sees Hornsby taking that one step further. The album’s cover speaks a thousand words. It is a painting of an imagined band session between Bluegrass legend Bill Munroe and Jazz legend Charlie Parker. Nuff’ said there. This recording contains many musical giants including Pat Metheny, Jerry Garcia, Bela Fleck and Chaka Khan. Hot House is very addictive. I know most of the words off by heart on this record. Hopefully someday you will too.
JEFF BECK GROUP – JEFF BECK GROUP (1972)
This album definitely falls under the underappreciated category. Sometimes known as The Orange Album, Beck’s playing has never been better on this collection of original compositions and covers. I would call this more of a Soul album than anything. The incredible vocals of Bobby Tench seem to highlight this record at times, as you will see on the live performance of “Tonight, I’ll Be Staying Here With You” I have included for this entry. Also worth noting, this album is one of the first recordings of the late Cozy Powell’s career. The guitar work alone on “Definitely, Maybe” is enough reason itself to seek this record out. Perhaps a rock n’ roll legend’s best work.
JOHN PRINE – JOHN PRINE (1971)
I actually discovered the music of John Prine while working at the same record store chain that Mr. Ladano speaks of in this blog. There is no one quite like John Prine. Some artists write great songs. Some artists write great lyrics. Only a select few truly do both this well. There is no doubt that John Prine’s self-titled album contains some of the best lyrics ever written. “There’s a hole in daddy’s arm where all the money goes. Jesus Christ died for nothin’ I suppose?” That is just brilliant shit. “You may see me tonight with an Illegal Smile. It don’t cost very much, but it lasts a long while”. I have said this many times and I am still saying it now. John Prine is THE best lyric writer …. Ever. Fuck Bob Dylan. Yeah, I said it.
KRIS KRISTOFFERSON – KRIS KRISTOFFERSON (1970)
For the sake of alphabetical order by album, this Kristofferson follows the John Prine album on this list. Really it should be the other way around. While I stand by my earlier praise of Prine lyrics, I would certainly listen to the argument that there wouldn’t be a John Prine without Kris Kristofferson. The songs on this album show a huge diversity and a sense of patience that just makes him so cool. “Best Of All Possible Worlds” is just insanely-good storytelling and “Me and Bobby McGee” became a mega-smash for Janis Joplin. Of all the great concerts I have seen, watching Kris Kristofferson and a guitar for two hours in 2006 will always be one of the best concerts I will ever see. The true greats just need to show up.
LEGALIZE IT – PETER TOSH (1976)
After being a key member of Bob Marley & The Wailers for years, Peter Tosh embarked on a solo career. On his first solo release, Legalize It, I personally believe Tosh recorded the greatest Reggae album of all time. Fuck Bob Marley. Yeah, I said it. (Wait why am I so hostile? Ha.) Remember that one of Marley’s biggest hits “Get Up Stand Up” was co-written with Peter Tosh. I love this album from beginning to end, and the album’s cover remains a visual anthem for Marijuana activists everywhere. Sadly, Peter Tosh was taken from us when he was shot in the head during a home robbery. Rastafarian music at its finest.
LITTLE EARTHQUAKES – TORI AMOS (1992)
There is only one way to put it. During the spring of 1994 I became a literal disciple of Tori Amos. By the end of 1996 I had seen her live 7 times. Several of them in 2nd or 3rd row center seats, since this was back when you could actually wait all night for tickets and be rewarded for it. This album spoke to me in a way no other album has, or really could. Frustration with women, with Christianity and with life, I didn’t want to hear about hope in the horizon. I obviously needed to experience the frustration of someone who understood. I still have a red-head obsession because of Tori. This is in my ten favorite albums of all time and always will be. Little Earthquakes is full of intense and pretty compositions. The humor of “Happy Phantom” contrasts the pain of “Me and a Gun”. And the included track here is “Precious Things”, which sees Tori Amos exposing herself as the angry and sexual piano player she truly is. Myra Ellen Amos is quite simply a beast.
MELISSA – MERCYFUL FATE (1983)
Mercyful Fate’s first two albums are among the best Metal albums of all time. When you realize that this album came out a full year before Kill ‘Em All did you can start to see just how important this band truly were. Mercyful Fate are the High Priestesses of underappreciation. Yes King Diamond looks kinda ridiculous. And yes their lyrics are nothing short of evil incarnate. Lines such as “Drinking the blood of a new born child” and “I’ll be the first to watch your funeral, and I’ll be the last to leave” sometimes are so over the top that I guess it is understandable how an album this good could be ignored. If Thin Lizzy and Iron Maiden had a baby, and that baby grew up listening to nothing but Black Sabbath, the end result would have to look and sound something like Mercyful Fate. It’s no coincidence that the best thing Metallica has recorded since …And Justice For All is their medley-cover simply-titled “Mercyful Fate”. One of the greatest Metal albums of all time hands down. Click on the YouTube link and hear the start of “Curse of the Pharaohs”. If you don’t immediately recognize “2 Minutes to Midnight” you are lying to yourself.
NEVER, NEVERLAND – ANNIHILATOR (1990)
After Annihilator’s first album, Alice in Hell, it was time for a new lead singer. Out was the awful singing of the ridiculously-named Randy Rampage, and in was ex-Omen singer Coburn Pharr. The second album of this Ottawa, Ontario band was a vast improvement over the first album in every way. Without question the guitar playing of Jeff Waters alone makes this an absolute must-have recording for fans of thrash guitar or just guitar in general. If you can think of a better Metal album to come out of Canada then I would love to hear it. If you have never heard this album, and you consider yourself a “Metal guy” then you are missing out huge. I am having a hard time trying to pick a song to post here for listening purposes. That is how truly great this record is from beginning to end.
OPUS EPONYMOUS – GHOST (2011)
I know, I cannot believe it either. Only the second of twenty (so far) albums to be released after 1999 that appear on this list. This album by Swedish band Ghost is nothing but special. Before I heard this album I was told that it sounded like a cross between thrash metal and Blue Oyster Cult. As it turned out that description really was right on the money. Melodic background vocals nestled in between heavy riffing. I have to say that this album is my favorite Metal album in probably the last twenty years. The PERFECT blend of melody and heaviness. This is the only album that since I have got my iPod, every time I switch the music on it I leave this whole album on there. Every minute of this album is pure genius and I am super-stoked for their upcoming 2nd album titled Infestissumam that will be released this spring. Hail Satan!!!!
That’s it for now, stay tuned for part 3, coming soon…
QUEEN + PAUL RODGERS – The Cosmos Rocks (2008 Hollywood Records, iTunes + Amazon bonus tracks)
I was surprised as anyone else when, in 1997, Queen continued on as a three-piece (sans the retired John Deacon) with a new track called “Only The Good Die Young” (Queen Rocks). Since then, Queen has continued on with one-offs under the name “Queen +” with the name of the singer. (Adam Lambert, you can fuck right off.)
When they started touring with Paul Rodgers, I salivated! I loved the live album Return Of The Champions, and I was chomping at the bit to hear some new music. Would I, as a long-time Queen fan, be let down?
Not really.
There have always been Queen albums, particularly in the 80’s, that I felt had filler on them. Cosmos Rocks is like that. Some songs are awesome, worthy of the Queen legacy and a proud addition to the canon. Others are limp are dull. And, the best song didn’t even make the CD release! Read on….
The CD kicks off with what I consider to be some cheesy sound effects, similar to but not as good as “One Vision”. Then, Brian May’s guitar kicks in, and the first track “Cosmos Rockin'” really starts. This is a great track, a hard and fast rocker with May’s licks as fluid as ever. Paul Rodgers, perpetually young, is in fine voice. What a great start to a comeback album! Rogers and May ably handle all bass duties on this album.
Rodgers sings most leads on his own, with familiar sounding backing vocals by Roger Taylor and Brian May. On some songs, the lead vocal is split three ways, such as “Say It’s Not True” which is actually an older song from 2003. I like this touch, as it keeps the sound a little more rooted in old-school Queen which always had Taylor and May singing lead. When Rodgers sings, however, with his voice in full power, it is a brand new beast.
I have to say I was very happy with the choice of Paul Rodgers as lead singer, as he is simply one of the greatest rock vocalists of all time, up there with Daltrey or Plant. He is also a gifted writer, although I’m not sure his writing really gelled with Queen. Still, he is vastly different from Freddie, and nobody could ever replace Freddie, so I think this was definitely the way to go. Certainly much better than picking up some guy who lost American Idol…
Some of the other highlights on this album were the heavy-handed first single “C-lebrity” which seems to disparage the reality TV that Queen would later embrace! I prefer the disparaging sentiment! “Surf’s Up…School’s Out!” is another rocker that blows the doors off most younger bands. “Say It’s Not True” is a highlight, as it is the most Queen-like. Of course, with Freddie gone, his dramatic flourishes and piano was also gone, leaving Queen as a straightforward rock band with May & Taylor firmly in charge. What they once had in unique operatic flourishes has been replaced by hard rocking guitars, for better or for worse. It is what it is, and nobody can be Freddie.
“Small” is a fantastic ballad, worthy of the Queen back catalogue. May and Taylor join Rodgers on the lush outro. I absolutely adore this song. But then when you think Queen have lightened up, “Wayboys” assaults the speakers, a rare political statement with a military drumbeat. “Call Me” is another great tune, very vintage Queen in style, sort of an electric campfire singalong.
There is, unfortunately, a lot of filler on this CD, slow-paced plodders that don’t go anywhere or stay in your memory. The thing about the Queen of old is that they were very diverse. You could have a nice jaunty flamenco song like “Who Needs You” on the same album as an epic like “It’s Late”. Queen + Paul Rodgers lacks that diversity. Well, it would have had more diversity if the best song had been included….
That best track I mentioned, that isn’t even on the CD, is available as an iTunes download only. It is a cover of Del Shannon’s “Runaway”, and it is worth the purchase, because it is amazing. I love the oldies, and clearly these guys do too. I wish it had been included on the CD. There is no shame in having a cover tune on your CD, especially when you also have over a dozen originals as well! The iTunes download also came with a new live version of “The Show Must Go On”, but I have no idea when or where it was recorded, except it is a different version from the one on Return Of The Champions. Maybe it is from one of the Queen instant live CDs, of which there are plenty, or maybe it is from the Super Live in Japan DVD that comes with some editions?
There was another bonus track too, one I haven’t heard, because only American residents can get it from the Amazon.com site. Canadians are SOL! “Fire And Water” (a live version), originally by Paul in Free, is that bonus track. Come on, Amazon! Let Canadians buy it too!
The Cosmos Rocks is not a perfect Queen album, but one that stands up in the back catalogue as an interesting and entertaining sideroad. The big difference is that The Cosmos Rocks has more, and bigger, guitars than many Queen albums of the recent past.
Hockey season has begun! Enjoy this Record Store Tale….
RECORD STORE TALES Part 163: Hockey
The date: May 14, 2004
The location: My store
The characters: Store employee Matt, and a really dumb kid who claimed to be 20 years old, selling used discs.
The NHL playoffs were in full swing. Oftentimes, when you’re selling used CDs, it takes time to go through them all and assign values to them. Customers like to make small talk during this time. In Canada, small talk often amounts to hockey talk. According to my journal, the conversation unfolded as below.
Dumb Kid Who Says He’s 20: “Who are you cheering for in hockey?”
Matt: “Calgary.”
DKWSH20: “Calgary? What for, why aren’t you cheering for someone Canadian?”
Matt: “Calgary IS in Canada.”
DKWSH20: “It is?”
Matt: “Yes.”
DKWSH20: “Wow, it’s been a long time since I’ve looked at a map.”
RECORD STORE TALES Part 161: The Woman Who Got Her Bike Stoled
The date: July 15, 2005
The location: My store
Straight from my journal, here’s the tale.
One weird thing happened today. This strange woman came in to sell CDs, but left her bike outside unlocked, and it had been stolen. Now, instead of blaming it on the lack of a lock on her bike, she decided to blame the lack of surveillance cameras outside. I don’t know about you, but I don’t know any CD store that has cameras OUTSIDE. But apparently that’s “dumb”.
She came back later in the day, telling me that she ran into two guys drinking beers in the woods. She had a beer with them. She came back into the store saying “Now I have a ‘cheap’ buzz on.”
Now I’m wondering, does she mean “cheap” as in “free”? Or did these two mysterious woodsmen charge her for the beer? The mind reels.
My journal does not say if the woman ever found the bicycle or not. Typical day on the shady side of town!
RAINBOW – Down To Earth (1979, 2011 Universal deluxe edition)
I was a little surprised (in a good way) that Down To Earth by Rainbow was given the deluxe treatment. I really only expected the Dio albums to be re-released in such grand fashion, but here we are with the sole Graham Bonnet offering. (To date, the debut album Ritchie Blackmore’s Rainbow has yet to be issued in deluxe form.)
The brand new liner notes reveal that Cozy Powell was not happy with the commercialization of Rainbow’s sound, and that’s why he quit the band. Indeed, Down To Earth sounds like a very different band from that who recorded Long Live Rock ‘N’ Roll. (And in fact only Cozy and Ritchie Blackmore remain from that album.)
Having said that, Down To Earth is a damn near perfect confection of Blackmore’s sublime riffing and commercial rock. Yes, many of these songs could have been on the radio at the time, but the guitars are cranked, and Graham Bonnet has grit and power to spare. In short, this is a fantastic album, majestic and grand, with all the hallmarks that make Ritchie Blackmore one of the most important guitarists in history.
From the opener “All Night Long” to the manic closer “Lost In Hollywood” and everything in between, there is not a weak track on this album. Everybody knows the hit, “Since You Been Gone,” which still gets played on rock radio today. In a way I like to compare this album to Seventh Star by Black Sabbath — a shift, but the elements are still in place. Except Down To Earth is still heavier than Seventh Star, it just lacks Dio’s mysticism.
My personal favourites, aside from the above tracks, include the mid-tempo and sublime “Making Love”, and the manic “Danger Zone”. None of the eight tracks are skip-worthy though.
The new lineup included future Deep Purple keyboardist Don Airey, and Ritchie’s old Purple bassist Roger Glover. Glover had built quite a career producing bands like Nazareth, and he also produced Down To Earth. He did a great job of it too, in particular with Cozy’s smashing drum sounds.
Two bonus tracks on disc one are “Weiss Heim”, the instrumental, and the B-side “Bad Girl”. Both songs were previously available on Finyl Vinyl and other compilations, but it is nice to have the sum total of the Graham Bonnet studio recordings here in one place.
The second disc contains a series of instrumental demos, which really highlight Cozy’s incredibly solid drumming and Ritchie’s picking. You can hear all the subtleties of Blackmore’s playing, every note and every stroke of the pick ringing clear. If you’re the type who can listen to a record and learn to play a song by ear, then you will love this disc. You’ve never heard Blackmore’s playing so bare. And Cozy? Well, his cymbal work is to die for, and of course his snare drumming is metronomic. It’s incredible that even if he wasn’t inspired by the songwriting, he was still playing this good. There are also a few tracks with embryonic lyrics such as “Spark Don’t Mean A Fire” (which became “No Time To Lose”). A “Cozy Powell Mix” of “All Night Long” is an annoying remix with the vocals mixed way way back, the guitar almost inaudible, and the drums upfront. Interesting from an analytical point of view, but not very enjoyable to listen to. The demos do a much nicer job of highlighting Cozy’s work.
Missing: “Since You Been Gone” live Monsters Of Rock Festival, Castle Donnington, England 1980. Also previously released on Finyl Vinyl, no idea why it’s not here. There was plenty of room. Also missing is “All Night Long” from the same show, which was released on a compilation called All Night Long – An Introduction To Rainbow, and another just called Anthology. It would have been nice to every Bonnet related recording in one place, but maybe they are planning on a Donnington live album at some point, who knows?
As with all deluxe editions, there are photos and great liner notes. This little-known period of Rainbow is illuminated by a lot of facts and stories of which I was previous unaware. A good read to go with some great music.
Now let’s get a deluxe going of Blackmore’s Rainbow, already!
I’d like to dedicate this unusual review to Aaron who is the biggest Boss fan I know.
THE TRANSFORMERS – “Rock and Roll-Out!” (Marvel comics, issue #14, March 1986)
Written by Bob Budianski
Remember that one outdoor Bruce Springsteen concert back in March of ’86, when the Autobots saved the day?…No?
Well, clearly you weren’t reading Marvel’s original Transformers comic series back then. Issue #14, March 1986, featured just such a mash-up, only with a slightly different twist. While some real-life people, most notably Richard Branson, had appeared on the pages as themselves, Bruce appeared as the similar-monikered Brick Springstern (also spelled “Springhorn” on one page!), with his Tenth Avenue Band. The band came complete with an afro-sporting Max Weinberg, and Clarence Clemons himself, going by his nickname the Big Man.
Brick’s songs included the smash hits:
“Dancing in the Night”
“Born in America”
Something referencing Margarita
…and presumably many more familiar sounding tunes!
In this issue’s tale, the Autobots are replenishing their ranks after the devastating events of issue #12. Optimus Prime has revived “memory engrams” of five Autobots: Hoist, Tracks, Skids, Smokescreen, and Grapple, and puts them in new bodies. Optimus sends four of the five (holding Grapple behind, in order to build Omega Supreme, who appears in issue #19) out with Bumblebee on a training mission.
It is while getting gas on this mission that Skids discovers that he loves the music of Brick Springstern/Bruce Springsteen! “This Springstern produces a most intriguing sound,” says Skids, as he sets his radio to the correct “coordinates”. Soon, however, the Autobots discover that Decepticon commander Shockwave plans on harvesting the sound energy from that night’s Springsteen…err, Springstern concert for his own evil uses! This unlikely plot serves to bring the Autobots closer to Springstern, by attending the concert themselves, in the parking lot!
Shockwave’s “energy siphon” actually removes the sound from the concert, converting it into “energon cubes”! The audience isn’t happy! Hoist disconnects the siphon, triggering a Decepticon attack!
The autobots transform into robot mode to protect the audience from Decepticons Starscream, Skywarp and Thundercracker. Luckily the audience (improbably) thinks it’s all part of the show. Hoist instructs Bruce…err, Brick, to keep playing music to keep the audience from panicking! Brick and the Big Man launch into the next song, and the ploy works to keep the crowd enthralled and distracted from the missiles exploding over their heads. Even the arrival of Shockwave, in the form of a friggin’ 40 foot long laser gun, doesn’t seem to alarm the crowd. The Autobots defeat the bad ‘bots, and leave Brick to finish the concert. The show must go on…
The plot is loaded with massive holes. Earlier in the story, Autobot medic Ratchet is complaining that he doesn’t have enough spare parts, even gaskets, to keep the wounded ‘Bots from leaking to death. Then, a page or two later, there’s five brand new bodies built for the new Autobots, aka new toys that Hasbro had to sell. Then there’s the siphoning of the music from the concert to create energon, when the Decepticons could have just stolen the electricity itself.
Not a great issue, but since it introduced five new toys, as a kid I was happy with it.
2.5/5 stars
The comic has been reissued several times, notably by IDW As Transformers Generations #3, and again in the collection Transformers Classics #2.
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