DVD

REVIEW: Black Star Riders – All Hell Breaks Loose (2013)

BLACK STAR RIDERS – All Hell Breaks Loose (2013 Nuclear Blast CD/DVD set)

Epic Review Time again!  This time it’s a CD/DVD combo set, the debut album by Black Star Riders.  You might know the guys from Black Star Riders by another name they sometimes use: Thin Lizzy.  Scott Gorham put a Lizzy lineup back together in 1996, over the years utilizing Lizzy alumni such as himself, John Sykes, Darren Wharton, and Brian Downey.  But when it came to creating new music, why did they change their name?

Let’s begin by reviewing the DVD, which answers this question and any others you may have about who Black Star Riders are.

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Scott explains that he and Brian Downey really decided not to do a “Thin Lizzy” album because of their own discomfort with the idea. Without Phil, it didn’t seem right. The rest of the band were disappointed because they had written 17 new songs they were excited about. But they would not add a Lizzy album to the canon without Phil.  Singer Ricky Warwick (The Almighty) says that once that decision was made to record with a new name, he found inspiration from a western movie featuring a gang called the “Black Star” gang. He liked the gang mentality. But Brian Downey dropped out early in the proceedings (although he did participate in writing some of the material.)   New drummer Jimmy Degrasso (Megadeth) explains that Thin Lizzy’s special sound comes from a Blues/R&B swing, and of course the “dual guitar armies”. They aimed to keep these qualities with Black Star Riders. Guitarist Damon Johnson believes that Ricky Warwick’s lyrical prowess is exemplary, and carries the Lizzy spirit. I would have to agree.

Recruiting producer extraordinaire Kevin Shirley (Iron Maiden),  the album was done in 12 days. They did one song start to finish each day. It was recorded as live as possible, simply because they only had 12 days!

Unfortunately for me, there just isn’t enough behind the scenes footage on the DVD. There’s a little: brief glimpses of writing and recording sessions. The disc is made up mostly of interviews. Gorham, Warwick, Degrasso, Johnson, bassist Marco Mendoza and producer Shirley take turns in front of the camera. It is quite extensive; this is not a short DVD. (I don’t see a time listed anywhere but I’d guess it was an hour long.)  Subjects covered include Phil Lynott, songwriting, pressure, inspiration, guitar solos, Ireland and more. Each individual song is discussed in detail.

Now that you’re familiar with Black Star Riders, we can discuss the album All Hell Breaks Loose.  Which is a killer.

You could easily mistake the title track for an outtake from the Jailbreak album, or Johnny the Fox perhaps.  Though there is only one Phil, Ricky Warwick’s voice occupies the same range.  His lyrics are storytelling much like Phil’s were, and they both share similar interests in history and gang mentalities.  This is as close as anyone has ever gotten to Thin Lizzy (and no wonder).  I love when, just before the solo, Warwick cries, “Alright Scotty!”  But Johnson joins Scott for the second part of the solo, recreating the classic Lizzy guitar sound.  Then, the single “Bound For Glory” completely captures the goodtime vibe of “Boys Are Back In Town”.  It’s a great choice for a single, and once again you could easily mistake it for an outtake from Jailbreak.   Just like Phil would do, there’s even an Elvis reference in the lyrics.  You truly get the feeling that All Hell Breaks Loose is as much a new album by these guys as it is a tribute to Lynott.

“Kingdom of the Lost” captures the Irish spirit of Lizzy.  Traditional Irish instruments join the band, and it’s in the same vein as a Lizzy track like “Black Rose”.  I should mention now that while each song feels like an homage to Phil, none sound like a re-write.  They capture the spirit without being note-for-note ripoffs, and I think that is an extraordinarily difficult thing to accomplish.

“Bloodshot” gave me a different feeling, which is while the riff has Lizzy elements, it sounds more “southern rock” to me.  Nothing wrong with that either.  “Kissin’ the Ground” then has a more “hard rock” sound, almost like something Damon Johnson might have written with Alice Cooper (who he used to play with) in mind.  But then the excellent chorus is one of the most Lizzy-like.  Then “Hey Judas” (a play on the title “Hey Jude”) is pure Lizzy, 110%. There is no question that Scott Gorham has carried so much of the Thin Lizzy sound into the present.  “Hey Judas” often finds itself as my favourite song (alternating with “Bound for Glory” and “Valley of the Stones”).   Then onto “Hoodoo Voodoo”, where I think the album sags.  I don’t think this is a standout.  Since the aforementioned “Valley of the Stones” is next, the decline is only brief.  This metallic stomp is like a highspeed Mad Max race through the desert, searching for the mystical valley of the stones itself.  Fear not through, the guitar duels keep it within Lizzy Nation.

If things have been a bit heavy, then the gleeful “Someday Salvation” captures that “Dancing in the Moonlight” swing of early Lizzy.  Then “Before the War” has an appropriate military beat.  I’m sure this is an excellent song in concert; you can shout along.  The last song on the regular edition of the CD is “Blues Ain’t So Bad”, a dusky slow rock song.  But I think the better closer is the “bonus track” “Right to be Wrong”.  That “better believe it!” shout-along hook is just great, and this upbeat song just smokes.

As you can no doubt see, I would have found it an impossible challenge to write this review without comparing to Thin Lizzy.  But I don’t think that’s important; the band clearly intended to follow in those footsteps.  If anybody has a right to, it’s Black Star Riders.

4.5/5 stars

#326: Not the Best Buy (RSTs Mk II: Getting More Tale)

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RECORD STORE TALES Mk II:  Getting More Tale

#326: Not the Best Buy

I don’t shop in the big corporate record stores that often anymore. Hell, I don’t even really shop in stores anymore! I used to, even at the big stores. When I started working in Cambridge, my buddy Chris and I would go to Future Shop once a week at lunch time to check out the new releases. I would typically buy a new movie and a new CD release at least once a week, sometimes more.  I’d stock up on blank CDs, or just impulsively buy a guitar there.  It happens!

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We would do the circuit around the store. We’d start with the new releases up front, then head to the movie section. I would detour over to CDs while Chris would look at electronics and computer games. We’d meet up at the bargain bin as we left. It’s there that Chris and I acquired two copies of Back to School with Rodney Dangerfield on DVD for $4.99 each. The girl at the front counter was jealous and asked if there were any left! She always knew us as the “Tuesday new release guys”. We sometimes wondered if she thought we were a gay couple since we rarely went in without the other!

Sometime in the last few years, both Future Shop and Best Buy (which are the same company) really started to change. They moved the music and movie section to the very back of the stores, providing more room for cell phones and tablets. It was a sign that things were getting worse for people like myself who enjoy owning physical product. Chris is similar to me. He likes to own “whole collections” of movie or TV series. Some of us are just like that.  He always likes to own the ones he really loves. (Such as the Police Academy series. Yes Chris I just outed you.)

So, we stopped going to Future Shop at lunch. In fact we haven’t been in ages.  Same went for Best Buy.  Strangely enough, a Best Buy soon opened in Cambridge, right next to the Future Shop.  Even the new Best Buy store didn’t have much in the way of music and movies, so we just stopped spending our money at lunch time.

IMG_20141004_123453I can tell you exactly what CD it was that I purchased the last time I bought one at Best Buy. It was the 2 CD/1 Blu-ray/1 DVD version of Led Zeppelin’s Celebration Day (2012) which was a brand new release.  And even a release that monumental was hard to find at Best Buy!

I walked into the store a few days after the initial release.  I saw that all they had on the front “new release” display was the DVD combo sets. I went over to the Zeppelin section in music – nothing there. I checked the same in the movies.  Nada.  Then I found a Zeppelin display at the side of one of the aisles. All they had there was CD and DVD; none of the 2 CD/1 Blu/1 DVD.

I found a customer service person that wasn’t chatting up her co-workers, and asked her where they kept the brand new Zeppelin Blu-rays?

In the back room, apparently! She found one for me and I purchased it, a little confused why a Led Zeppelin new release on the hot newest format would be in their back room.

So I bought the package; the very last CD set I have purchased at Best Buy. Best Buy have really abandoned the physical music releases, and that’s too bad. I used to enjoy buying music and movies at that store due to the prices, two nearby convenient locations, and the fact that I could usually find everything I was looking for. No longer. Sorry Best Buy: you and I are no longer besties!

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DVD REVIEW: Styx – 20th Century Masters: The Video Collection (2004)

STYX – 20th Century Masters: The DVD Collection (2004 Universal)

These 20th Century Masters DVDs were a fun way to pick up key music videos from major bands at a cheap price.  Today this role is largely filled by sites such as YouTube.  The Styx edition features six of their cheesy best, and Styx did indeed make some cheesy music videos back in the day.  There are no frills and no extras, just the vids, so let’s have a look.

Tommy Shaw’s “Blue Collar Man” is a rock staple with cool lyrics.  This is a live version, and because of the big KILROY backdrop, I’m assuming this is from the Styx Caught in the Act DVD.  I love the 80’s clothes although the haircuts haven’t changed as much as you’d think.  The best part of this video is watching the late John Panozzo flailing away on drums, a sight that Styx fans certainly miss.

Thankfully, “Come Sail Away” is not live:  it is the cheesy original.  A bearded Dennis DeYoung croons and tinkles, hair highlighted by the spotlights.  John Panozzo’s afro can be seen bobbing over the drum kit, before Shaw and James Young kick in with the chords.  The band dressed in white appear to glow on stage, and it’s a gloriously terrible music video.  Things like this have kitsch value to me.  “Too Much Time On My Hands” is also the original, and this is just indescribably bad, so I’ll just present you these still photos to show you what I mean.  It’s pretty hilarious.  Fortunately it’s a good song!

“The Best of Times” is among my favourite Styx songs, in fact I had it played at my wedding reception. Judging by Dennis’ sparkly vest, it’s from the same video shoot as “Too Much Time On My Hands”.  It has some of the same camp value, but without the embarrassing “acting” scenes.  But damn, isn’t this a great song?  Shaw’s “Boat On a River” is also excellent.  Tommy plays mandolin, while bassist Chuck Panozzo weilds a big stand-up double bass.  DeYoung’s on accordion, mustachioed instead of bearded.  The folksy tune has always struck me as very Queen-like.

Finally, “Mr. Roboto” closes the DVD, as it must.  Taking scenes from Styx’s short Kilroy Was Here film, it depicts Jonathan Chance (Tommy Shaw) searching for imprisoned rock star Kilroy (Dennis DeYoung).  Kilroy is seen attacking a “Roboto” prison guard and thereafter making his escape wearing the mask of the robot.   It’s a nifty little sci-fi music video, something I’m a huge sucker for.  “Mr. Roboto” is still a great memorable song with a cool little video.

3/5 stars

REVIEW: Rush – Snakes & Arrows (2007 MVI 5.1 version)

You’ve heard of Epic Meal Time?  They should call me Epic Review Time.  Here’s a couple hours of music, text and video distilled down and covered in detail.  This is a double-sized review for the price of one.  Dive in and engorge!

RUSH – Snakes & Arrows (2007 Warner Music Interactive DVD album)

Rush’s Snakes & Arrows album was considered a progression from the previous record, Vapor Trails. The pummeling of Vapor Trails has been tempered with light and shade, bringing a more balanced Rush.  It was also mixed in 5.1 for a special “Music Video Interactive” DVD by Richard Chycki and Alex Lifeson, who oversee most of Rush’s 5.1 mixes.  I haven’t listened to any version of Snakes & Arrows for many moons, so this is a review from fresh ears.

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First though, there is a 40+ minute documentary video called “The Game of Snakes & Arrows” so we can learn a bit about how the album came to be.  Geddy Lee says that their priority for choosing a recording studio was that they wanted the best drum sound imaginable.  They chose an old mansion out in the Adironacks.  47 individual microphones were used to record the entire drum kit.  Neil Peart says that the isolation of the studio led to the three guys reconnecting as musicians and friends like the old days at Le Studio.   According to Alex Lifeson, the plan for writing this time was to take it easy, working on the writing part only part time.  Later on, more time was spent on just rehearsing and playing the new songs, which transformed them along them way.  The documentary contains snippets of some intricate Lifeson acoustic 12-string, in the studio, where Alex makes it look easy.

Producer Nick Raskulinecz was not a passive participant; indeed there was give and take with the band in order to make the best out of each song. It was a process that worked well according to Alex.  I enjoyed hearing Alex explain the suspended F chord in “Far Cry” — there’s a story behind it. There is some great footage of Geddy playing Mellotron on “Good News First” too.  I also love a fly on the wall scene of Geddy jamming a bass lick on his brand-new-out-of-the-box Jaco Pastorius bass.  The lick sounded good and Geddy says, “We’ll jam to it later.  We’ll get the Big Guy on drums.”  Chills up my spine.   Raskulinecz  asks, “Would it be bad if we had two instrumentals on the record?”  Geddy immediately responds, “No, it’ll be a first.”  Peart shows up and they start to jam, and when Alex arrives it only takes him a day to come up with his guitar part to the Grammy-nominated Rush bass-drum jam called “Malignant Narcissism”.  Wham, bam, thank you ma’am.  This is how the big boys play.

Although this doc is only 40 minutes in length it’s well worth having.  This is great stuff.   Neil Peart crafting drum parts in front of our very eyes is a treat that few other DVDs deliver.  Seeing Geddy applauding his bandmate shouting, “He’s killing it, woo!” is glorious.

As if all this isn’t enough, there is a many-paged (I lost count) essay by Peart called “The Game of Snakes & Arrows: Prize Every Time”.  My favourite detail is what producer Nick Raskulinecz was nicknamed:  “Boujze”, based on the sound he’d make when trying to convey to Peart a drum fill suggestion.  “Bappitty-bap-bap-booooujze!”

The DVD photo gallery is a total joke:  FIVE pictures.  At least the package comes with an expanded booklet with lots of Hugh Syme’s surreal artwork.  Since the photo gallery on the DVD was just shite photies, I’ll give you some shots from the documentary that are loads better.

So, let’s get on with the album then.  Pushing play —

Delicacy and aggression describe album opener (and first single) “Far Cry”.  The acoustics of Lifeson are easily overwhelmed by the pummeling band.  “Far Cry” boasts one of those powerful 90’s-style Rush riffs that groove rather than exercise the brain.  Immediately I am overwhelmed by a dense 5.1 riff.  I do not know how many guitars I am hearing, but Alex has unique parts coming in from all sides, including an acoustic on the left that I never noticed before.  I have loved “Far Cry” since its triumphant release in 2007; it is just as powerful and engaging today.  New appreciation for Lifeson will be had on this mix.

“Armor & Sword” was a standout then and now, just as “Far Cry” before.  The song has always shimmered, but more so in 5.1.  This track has much more of Alex’s acoustic guitars, and more texture.  It has a regal 80’s Rush-like quality without the keyboards.  In fact there are no keyboards on Snakes & Arrows, only the Mellotron.  The 5.1 mix becomes a little dense at times, and the layers of guitars oppressive, but it is indeed a massive song.  Then, you can audibly hear the Mellotron on “Workin’ Them Angels”, a phrase taken from one of Peart’s books.  It is a brighter song than either of the first two, and I like the reference to the “moving picture”.  “Workin’ Them Angels” is an album highlight, particularly the mandolin near the end.

SNAKES AND ARROWS_0007Somber moods inhabit “The Larger Bowl”, with Alex’s acoustics again giving it mood and texture.  The hippy-ish chorus sounds like the 1960’s to me, and with the acoustics it paints a picture in my mind.  This is a very good song, but Alex’s well composed guitar solo is the focal point for me.  His tone is very different on the solo, very warm.  It’s an excellent song.  “Spindrift” is less overwhelming to me.  There is nothing wrong with it; it is simply less enchanting than its predecessors since they set the bar quite high.  The song was, however, performed on the Snakes & Arrows tour and kicks of CD 2 of the album Snakes & Arrows Live and there is no denying it is powerful.

“The Main Monkey Business” is the first instrumental, again featuring Geddy on Mellotron.  The main melodic element to this song feels familiar to me — it reminds me of one of Ace Frehley’s “Fractured” instrumentals in terms of melody.  In terms of playing and structure, it is nothing like Frehley.  The 5.1 mix here is nicely balanced.  I’m getting plenty of distinct acoustic parts, with Geddy and Neil front and center.  The chiming guitars behind me envelope the listener in warmth.  Then, suddenly during a solo guitar section, the mix retreats almost all way to stereo before returning again on all 5.1.  Things bounce back and forth between intensely heavy and intensely heady.  This is a masterpiece of instrumental craft.

SNAKES AND ARROWS_0005“We can only go the way the wind blows,” claims Peart on the next song.  “The Way the Wind Blows” has two distinct sections:one heavy and one with layered acoustics. I prefer the acoustic section and I’m not too much into the heavy parts which sounds a bit same-y to 90’s Rush stuff.  Then, “Hope” is a short Lifeson acoustic showcase.  This might be the point at which some Rush fans started to doze a bit.  Admittedly Snakes & Arrows is the most acoustic-based Rush album I can think of. I just don’t think that’s a bad thing.  Not when you have Alex Lifeson in your band.  “Hope” leads into “Faithless”, a strong Rush composition.  There seems to be some sort continuity of theme here, or perhaps it is all in my head?  First Neil says we can only go the way the wind blows.  Then we go from “Hope”, to a discussion of faith.  On “Faithless”, Neil says that like the willow, he will quietly resist.  Seems like a total 180 from going where the wind blows to me, and I don’t care if it’s not intentional because I think it’s cool.  On the guitar end, Alex plays a cool bluesy solo, once again classing up the song several notches.  What a player.

The song that doesn’t work for me is “Bravest Face”.  I find the verses annoying.  “Good News First” is better, returning us to the regal Rush territory I prefer.  Alex’s magnificent chords are enhanced by the Mellotron.  Weak verses are compensated for here by other elements.  It sounds like an incomplete song to me, but better than “Bravest Face”.  The aforementioned “Malignant Narcissism” is a mind-tornado as opposed to a mind-blow.  But it’s actually a distraction; you’re about to be blown away by the sheer power of closer “We Hold On”.  Rush closers usually just bowl me over, and “We Hold On” is one of those.  Fucking awesome.  This time, Alex concentrates on the electric guitar and comes up with numerous unique and enhancing licks.  This is a complete Rush triumph.  Neil is absolutely relentless.  It leaves the album on an exhausted, satisfied note.

And a good thing, too — I was starting to worry as the song quality was dipping towards the end there.  I’m happy Rush redeemed it with a stunner like “We Hold On”.

4/5 stars

REVIEW: Queen + Paul Rodgers – Live in Ukraine (2009 CD/DVD)

 

QUEEN PAUL UKRAINE_0001QUEEN + PAUL RODGERS – Live in Ukraine (2009 Hollywood 2 CD/1 DVD set)

The show was dubbed “Life Must Go On”, with funds raised going to AIDS research.  Queen had never played in Ukraine before.  350,000 people would be in attendance at the gig, which also functioned as Queen’s tour kick-off.  No pressure.

The massive 28 song setlist consisted of Queen classics augmented by Free and Bad Company tunes, and songs from Queen + Paul Rodgers’ studio album The Cosmos Rocks. The stage has two huge screens on the sides, and an even bigger one behind.  A taped intro to “One Vision” leads to the band taking over with a rapturous entrance.  There is also a center ramp that takes the members right into the crowd.  I have always liked Paul’s slant on Freddy’s songs.  He’s not the same singer, not in the slightest, so the vocals lines change organically and it works.  Unfortunately “One Vision” is shortened so as to lead into “Tie Your Mother Down” which is right up Paul’s alley.  Brian and Roger do their share of the backing vocals, and it sounds pretty Queen-like.  (The live band is rounded out by longtime sideman Spike Edney (keyboards), Danny Miranda (bass) and Jamie Moses (backing guitar.))

QUEEN PAUL UKRAINE_0007“The Show Must Go On” came early in the set, and Paul really poured everything into it.  Even with his “cool biker’ stage look, he had the crowd in the palm of his hands, especially when twirling that mike stand over his head.  “Fat Bottom Girls” sounds a little odd without Freddy, but Paul manages.   Of course Brian and Roger do their part to help.

I found “Another One Bites the Dust” to stumble awkwardly, as I anxiously awaited the song to end so we can get on with it.  “Hammer to Fall” is vastly better, and this flows cleanly into “I Want it All”.  Brian smiles away as Paul commands the song in his own way.  “I Want to Break Free” works better than you’d think, and Brian’s guitar is sublime.

At this point of the show, Brian introduces Paul to the crowd, who then sings Bad Company’s “Seagull” acoustically.  This is a show highlight, as Paul occupies that ramp in the middle of the crowd.  Paul then introduces Brian as the “greatest guitar player in the universe” (I won’t argue), who does “Love of My Life” solo acoustically on a 12 string.  Brian’s sweet voice is augmented by 350,000 others.  Brian then invites Roger and his bass drum up the ramp with him, and they do “’39” together, possibly my favourite Queen song ever.  But it’s just a fake-out; Brian invites the backing musicians to join them and “’39” is fully fleshed out.  It’s funny seeing all five musicians out on that tiny platform in the middle of the crowd, but what a treat for those down there!

Roger Taylor is left on stage with Danny Miranda, and they proceed to play his electric upright bass with drum sticks.  This turns into a medley of famous Queen basslines, all played with sticks.  Nonsense aside, Roger is left to solo on his scaled-down portable kit.  This jazzy solo is another solo highlight, as Roger demonstrates his underrated skills on the traps.  As the solo progresses, his drum tech gradually sets up a full kit around Roger.  By the end of it, Roger breaks into “I’m in Love With My Car” with the whole band.

QUEEN PAUL UKRAINE_0005Finally Paul Rodgers returns to the stage for the latter half of “Say it’s Not True”, a stunning ballad for Freddy.  Halfway through the set now, and this is the first new song.  With Paul back, they decide to do a couple more of his songs:  “Shooting Star” and “Bad Company” (Paul on piano for “Bad Company”).  Both sound great with Queen; the guys’ backing vocals work perfectly, and the crowd clearly knows them.  During “Bad Company”, a slide show of that band runs on the giant screens.

May is front and center for his guitar solo, and the crowd loves every note of it.  This solo goes into “Bijou” from Innuendo, featuring the pre-recorded image and voice of Freddy Mercury.  This then leads into “Last Horizon” from Brian’s solo album, Back to the Light.  Unfortunately this appears to be the part of the show during which one would leave to urinate.  “Bijou” and “Last Horizon” are both great, but it’s too much slooow soloing for too long.  The bit only starts to come to life when guitarist Jamie Moses joins Brian for a harmony lead.

QUEEN PAUL UKRAINE_0006Paul straps on an acoustic for a laid back version of “Crazy Little Thing Called Love” which degenerates into guitar noodling.  Finally comes Queen’s “new” single “C-lebrity” which is a song I like a lot.  It boasts a solid rock riff and a great performance by Paul Rodgers.  Bad Company’s “Feel Like Makin’ Love” and the song everyone had been waiting for, “Bohemian Rhapsody”, follow.  Both songs fail to really combine the elements of Queen + Paul Rodgers fully.  “Feel Like Makin’ Love” is a little too sweet when performed by Queen, and “Bohemian” is done with the recorded image and voice of Freddy singing the song.  The crowd doesn’t seem to mind, but it doesn’t work for me.  Paul only shows up for the heavy part at the end.

Fortunately one more new song was played: “Cosmos Rockin'”.  I wish there were more.  Yes there are a lot of songs to be played, but surely a solo could be cut in order to play more new material.  It feels as if Queen + Paul Rodgers weren’t even giving the album a chance.  It’s not like radio is going to play it, so you have to play it live.  The song is well received with the crowd jumping and down.  When they sing, “We got the whole house rockin’ to the mighty power of rock n’ roll,” I believe it!  They are dancing and going absolutely nuts!

There are only a few “must-plays” left, and undoubtedly “All Right Now” is one of them.  Paul Rodgers has certainly lost nothing through the years and that riff sounds great coming from Brian May.  And finally, the traditional duo of “We Will Rock You”/”We are the Champions”.  I’ve always felt these highschool rally perennials are probably best experienced live.  It’s a “had to be there” feeling, since these singalongs are probably more fun to experience than to watch.  Although Paul since both songs differently from Freddy, I like his slant on them.

Wikipedia reports (unsourced) that digital download versions of Live in Ukraine contained two bonus tracks:  “Radio Gaga” and “A Kind of Magic”.  I’ve been searching online for years and I’ve never found them available anywhere, so take that with a grain of salt.  Both songs are available live on another Queen + Paul Rodgers album, Return of the Champions.  That album has enough different live material from this one, such as “Can’t Get Enough”, “Wishing Well” and “These are the Days of Our Lives”, that both are worth owning.

3.5/5 stars

REVIEW: AC/DC – Back In Black (2004 DualDisc edition)

AC/DC – Back In Black (originally 1980, 2004 Epic DualDisc)

How many times have I bought Back in Black?  How many times have you bought it?  I know that I purchased it on CD first in 1990, and then four more times since.  I currently own two copies:  this DualDisc, and the one that came in the Bonfire box set.  I don’t think I have it on vinyl, but I could be wrong.  The DualDisc has a DVD side with some neat stuff including a documentary.

“The Story of Back In Black” begins in 1979, with Highway to Hell,  fame and glory.  New interviews with all five AC/DC members (Angus & Malcolm Young, Cliff Williams, Phil Rudd and Brian Johnson) provides a little bit of insight.  We all know the story: February 19 1980, the death of Bon Scott, and the brave decision to carry on have become rock legend.  But according to Angus, it was Malcolm who kept the band playing, if only to distract them from the pain of their loss.  The band continued to jam and write without a singer, but producer Mutt Lange knew of one from a band called Geordie.  Brian recalls a hilarious story of being invited to audition for the band.  He went down to London and played “Whole Lotta Rosie” with AC/DC for the first time.  They then went to the Bahamas with Mutt to record.

ACDC BIB DUAL_0005The band tells the stories behind several songs:  “Hells Bells”, “Rock and Roll Ain’t Noise Pollution”, “You Shook Me All Night Long”, “Back in Black”, and “Shoot to Thrill”, while Angus and Malcolm demonstrate the riffs up close.  Brian reveals “Back in Black” was a challenge, since it was intended as a tribute in song to Bon.  No small feat to get the mood right.  The 30 minute mini-doc ends with Back in Black selling 10 million copies.  I guess they got it right!

You know the songs.  You’ve heard ’em the radio, seen ’em on the video, hummed them in your sleep.  “Hells Bells” is one of those archetypal AC/DC songs.  When one pictures the “ominous AC/DC headbanger” song, “Hells Bells” should certainly come to mind.  Then you can get your stompin’ shoes on for “Shoot to Thrill”.  I do miss Bon Scott’s sly playfulness, but there’s nothing wrong with Brian Johnson’s full-speed-ahead screech either.  “What Do You Do For Money Honey” is as catchy today as it was then, and has the benefit of being one of the songs that doesn’t get played every single day on the radio.  I’m not as burned out on it.  Same with “Givin the Dog a Bone”, but on that song all I can do is wonder what Bon would have done with that groove.

One truly outstanding track is the last song on side one, “Let Me Put My Love Into You”.  Yes, that title is hardly clever.  But the song kicks ass all over the place.  It’s one of those late night prowls that AC/DC do so well, and it perfectly closes the first side.

ACDC BIB DUAL_0004

The title track opens the second side with a bang.  Then “You Shook Me All Night Long”, a classic that also needs no introduction.  If you don’t know this song then you probably don’t listen to rock music.  I can’t add anything to the discussion there.

“Have A Drink On Me” and “Shake A Leg” are both fine AC/DC songs.  Nothing wrong with ’em, nothing exceptional about them.  Thankfully they saved one of the best songs for last:  “Rock And Roll Ain’t Noise Pollution”.  This has been my favourite track since first getting the album 24 years ago.  It’s an anthem, the kind of thing we can all agree on.  Rock and roll ain’t noise pollution, baby.  I’ll drink to that.

I don’t think Back In Black is the best AC/DC album, but it might be the best Brian Johnson album.  It’s certainly the most important AC/DC album historically, and it’s a must for any serious rock fan to own.  Choose your format according to your own wishes, but this DualDisc edition satisfies me fine.

4/5 stars

For those times when you can’t use the internet to tell you what songs are on what albums.

REVIEW: Judas Priest – British Steel (30th Anniversary Edition, pt. 2)

Yesterday we examined Judas Priest’s British Steel, the original album and first CD of this three disc set.  Today we’ll look at the live stuff and packaging.  If you missed yesterday’s installment, click here.

 

JUDAS PRIEST – British Steel (30th Anniversary Edition, 2010 Sony)

You could buy the British Steel 30th Anniversary Edition in several configurations:

  • A CD/DVD set with the album and a live DVD of  British Steel played live in 2009,
  • A 2 CD/DVD set with the live 2009 concert duplicated on CD (minus one song),
  • iTunes download with all the music from both CDs plus the missing song (“Prophecy”).

BRITISH STEEL_0005The 2 CD/DVD edition is beautifully housed in digipack, with lots of photos in a nice booklet with essay. The photos are all from their recent tour; none are vintage, which disappointed me. I would have loved some fly-on-the-wall photos of them recording this album at Ringo Starr’s house, Tittenhurst Park. Maybe no such photos exist?

The second CD, only available in this edition, is packed to the brim.  “Prophecy” wouldn’t have fit or the CD would have run over 80 minutes.  Otherwise, it is a straight stereo mix of the same content on the DVD.  With audio being my primary medium to enjoy, I obviously needed the version that came with the live CD.  The iTunes bonus track was available for separate purchase, so that was easy to add to my files, once ripped.

The third disc of course is the DVD. Backed by a British Steel backdrop, Priest played the album in sequence remarkably well considering their ages! Only drummer Scott Travis wasn’t around for the original album, but he plays the drum parts pretty straight to the original, minus Dave Holland’s robotic coldness.

The main question people have when discussing Priest live is, “What was Halford’s voice like?” It is true that he is an older man today and has to restrain himself and change arrangements in order to sing the songs. This is no exception, but man, when he screams, he still has it! He just screams less, which makes sense. The vocal melodies of some songs have been re-arranged, which may or may not be to your taste. Surely, the vocal melody is such an important part of each song. Halford sings what sounds like harmony parts to the original melodies in order to sneak around certain high parts. It is what it is. And, as per many concerts, the audience sings some choruses on their own when it comes to the big hits.

I was pretty impressed with the live stuff after British Steel. This is surely one of the best live versions of “Victim of Changes”. Halford nails that angry end scream perfectly, I thought his head would explode. “Hell Patrol” was a nice touch. “Freewheel Burning” stumbles a bit. “Prophecy” was excellent, and I’m glad a Nostradamus track was included. Halford seems to relish spitting out the words.  Satisfyingly, “Diamonds and Rust” is done in its electric version. An excellent surprise. The album ends, predictably, with Halford’s “audience participation” thing, and “Another Thing Coming” which I could probably do without at this point.

One thing I’m starting to notice, is that Priest are sort of nerdy live. From Rob’s audience participation thing (“Yeah, yeah yeah yeah yeah yeah YEAH yeah!”), to the stage moves, to Scott Travis’ weird drum stick thing on “United”, this is the concert equivalent of a Star Trek convention in some ways. But Priest have never been trendy, and they’ve always seemed oblivious to it. I guess that’s what makes them cool.

The DVD is rounded out by 30 minutes of interviews with Rob, KK, Glenn and Ian (no Scott).  This is the kind of thing most people would probably only watch once, especially when the Classic Albums series already released a full DVD of the making of British Steel.

Now to the British Steel 30th Anniversary set as whole:  As good a package as this is, I wish there was less emphasis on the “today” portion and more attention paid to the 30th anniversary of the original album. There is at least one unofficial full concert CD from the 1980 tour out there (live in Denver), released unofficially. Surely Priest could have included some vintage live recordings as well?.

4/5 stars. Despite my beefs, this is a great collection for your collection!

REVIEW: Def Leppard – Songs From the Sparkle Lounge (Japanese import)

For Aaron’s KMA review of this same album, click here!

DEF LEPPARD – Songs From the Sparkle Lounge (2008 Deluxe edition, Japanese version)

Could it be? The band who I once wrote off with the Euphoria album, followed by the dismal X, actually came back with something approximating a rock album! And not a bad rock album at that!

The band say that doing the covers album Yeah! revitalized them. Maybe. Personally I thought the covers album sucked, and that the dozen or so bonus tracks available elsewhere were way better than the actual album they released. Whatever. That was then and this is now, inside the Sparkle Lounge.

Terrible title, although I liked the single-disc cover art quite a lot. We know Def Leppard are more of a glam band than a metal band. The problem is, they were such a great metal band! High ‘n’ Dry is a masterpiece of riff-rock. Anyway, if you can forget High ‘n’ Dry, On Through The Night, or even Pyromania, you can get into Sparkle Lounge for what it is: A strong ballad-free return for one of the most beloved rock acts of the last two decades. Even Joe Elliot decided to show up this time, and sing to the best of his ability.

Very few weak tracks, lots of strong ones. “Go”, “Love”, “Hallucinate”, “Tomorrow”, “Only The Good Die Young”, “Bad Actress”…there is some serious fire happening here on these tracks! But the band saved the best new song for last. “Gotta Let It Go” has a riff and melody that fit right in with Def Leppard’s earlier sound. Only the occassional drum programs betray the thunder.

One song that I would call a weak track is the single “C’Mon C’Mon”.  In my review from the 12″ vinyl single, I called it a “crap song”.  It’s a shameless T-Rex rip-off, and also a Def Leppard rip off.  Next!

Japanese bonus tracks are disappointing in the sense that they are not different songs, just different mixes. “Nine Lives” appears without Tim McGraw (this is my preferred version as nu-country is like kryptonite to me and would probably kill me if I was overexposed). “Love” appears as a powerful piano version, in some ways superior to the original, but turning it into a ballad dilutes the purpose of this album.

I have no comments as to the SHM-CD. It sounded the same to me. I guess these things are supposed to last longer? The DVD includes the music video for “Nine Lives” (yuck), an album commentary and a “behind the scenes” feature.  For me, the all-region NTSC DVD contents and the lacklustre packaging don’t really  justify the existence of a “deluxe edition”.

So, whatever went right, this is the best Def Leppard album since the criminally underrated Slang in 1996. It could be the heaviest album since Pyromania. It’s far from perfect, but the good news is you can play it in the car with the windows down and nobody will laugh at you.

3.25/5 stars

DVD REVIEW: Kenny vs. Spenny – Season Six (2010)

Dedicated to my best friend Peter who first got me hooked on this show.

KENNY VS. SPENNY – Season Six (2010 Showcase)

With Kenny Hotz and Spencer Rice currently doing their Kenny vs. Spenny vs. Canada tour (even hitting Owen Sound, Ontario of all places), there couldn’t be a better time to review the final season of their influential TV show. Influential? Yes. Clone shows such as Ed vs. Spencer (UK), Elton vs. Simon (Germany) and numerous others have proven that the concept had legs. Maclean’s Magazine declared Kenny vs. Spenny #8 in the top 10 Canadian shows of the 2000’s.

What was the concept? Two best friends compete in a grueling challenge. One (Kenny) likes to cheat, while one (Spenny) tries to play the honest game. The loser of the challenge each week has to perform a “humiliation” – a usually disgusting punishment for failure.

As much as I love this show, I think Season Six proved the boys were running out of ideas. After six seasons it gets a little hard to think of fresh things to compete over, not to mention Kenny had all but abandoned the concept of competing.  Instead he focused on novel ways to cheat and offend.

Here are your episodes:

“Who’s The Bigger Idiot?” – Originally a web-only release. I actually preferred it to many of the actual aired episodes this season. Spenny makes some fun retro-style videos, recreating the most idiotic moments of his past. 4/5 stars

KVS_0003“Who Can 69 The Longest?” – Even the crew got bored with this one. A dull season opener. All humiliation, no competition. At least Kenny got it equally bad. 1/5 stars

“Who Can Squeeze More Boobs?” – I found this one to be too similar to past episodes, further proof that the boys were running out of ideas. 2/5 stars

“Who Can Keep His Head In A Chicken Coop The Longest?” – Better than the previous two. However, once again, Kenny got bored and had to change the competition to something else, because let’s face it, you can only watch a guy with a chicken coop on his head for so long. Great punishment, though. 2/5 stars

“Who Can Get Further With The Other Guy’s Mom?” – I knew this one would be a dead-end letdown just by the title, and I was right. 1/5 stars

“Who Can Win a Cockfight?” – This is a little bit better. Taking a cue from shows like Robot Wars, Kenny and Spenny attach all sorts of mechanisms to their mid-sections and do battle! 3/5 stars

KVS_0002“Who’s A Better Basketball Coach?” – A classic case of who can out-think the other. I’m not a basketball fan by any stretch, so I found that aspect boring, but the competition itself keeps you guessing. 3/5 stars

“Who Do Black Guys Like More? Pt. 1 and Pt. 2” – A two-parter. Part one mostly sets up the competition. As you can imagine, Kenny does everything he can to defame Spenny. I thought this one was pretty fun due to some pretty interesting guests. 3/5 stars

“Who Can Have More Fun?” – I loved this episode. Obviously, Kenny’s idea of fun and Spenny’s idea of fun are two diametrically opposed things. Spenny comes up with some pretty strong strategies in this one. Kenny is at his destructive best. 4/5 stars

“Who Can?” – This season really, really came into its own by the end. This episode is the first of four 5-star episodes in a row. Essentially, it starts off as a behind-the-scenes episode. Spenny arrives at the house (offering the first clue that the guys don’t actually live there together) to find that Kenny has declared himself Emperor. The competition was supposed to be about badminton, but Kenny refuses to break his Emperor character. Spenny then spends the episode trying to figure out what the actual competition is! Kenny brings out a cavalcade of characters and costumes with a climax that had me in tears. 5/5 stars

“Who Can Produce The Best Commercial?” – Best episode of the season. “Frommagio Al Forno! Good thinkin’, Mama!” It’s episodes like this that make me wonder if Spenny really is as stupid as he appears, because he sure comes off as stupid in this one. Look for a cameo in this one by Federico Castelluccio (Furio) from the Sopranos. 5/5 stars

“Who Can Put On The Best Play?” – Kenny’s play was offensive as ever. Spenny’s made me cringe. I’m shocked he actually thought he could act. 5/5 stars

“Who Can Stay On An Island The Longest?” – What a great Kenny dupe. What a way to end the season. The boys take a trip to the Caribbean, to see who can stay on an island the longest. If you think this is just a simple remake of “Who Can Stay In The Woods The Longest?” think again! 5/5 stars

After Season Six, the boys decided to make one final (absolutely terrible) Christmas special, and that was it. Kenny Vs. Spenny really peaked in the third and fourth seasons. Season Six got off to a pretty slow start, only coming into its own towards the end, making it the weakest season of the series. The competitions were getting more and more ridiculous and far removed from the original premise. Kenny’s absurd sense of humour kept the series watchable, but it was no longer about “Who is the best” at something. It became Kenny humiliating Spenny for 22 minutes.

Hopefully, the boys release some kind of DVD from the Kenny vs. Spenny vs. Canada tour.  This DVD, unfortunately, is woefully short on bonus features.  A photo gallery and a few outtakes are all you’ll get.  No behind the scenes features as on previous seasons.

3/5 stars. Good thinkin’ Mama.

REVIEW: Bon Jovi – The Circle (2009 CD/DVD edition)

CIRCLE_0004BON JOVI – The Circle (2009 Island CD/DVD edition)

The Circle is an apt title for this Bon Jovi album. They returned from their pop country detour down the Lost Highway and returned to essentially exactly where they were on the previous album, Have A Nice Day. If you are familiar with Bon Jovi, you know that Have A Nice Day was an OK record full of pop rock like “Last Cigarette”, modern and slick. That’s what this record is too, but that’s starting to get a little old.

First single “We Weren’t Born To Follow” (I find that title ironic as Bon Jovi didn’t spend much of their career leading, musically) is a great, uptempo song with a catchy chorus and slick guitar playing by Richie Sambora. It’s another in a long succession of latter day Pop Jovi successes. The best tune on this record is the the “statement song” regarding the economic collapse: “Work For The Working Man”. However, isn’t there something we’ve heard here before? Doesn’t Hugh McDonald’s bassline sound a lot like the one from “Livin’ On A Prayer”?  Even if it’s little more than a rewrite of the same hook, it’s a great song with a powerful chorus.  It has some muscle to it, and is one of the few songs on the album that does.  Rhythmic and strong, this echoes not only “Prayer” but also “Keep The Faith” in some respects.

Elsewhere on the album, there are some intriguing sounds that almost remind me of the back-to-basics goodness that was These Days, and the heavier moments on Bounce (see: “Bullet”).  However “Bullet” is also bears unpleasant similarities to Collective Soul. There are also moments that take me back to Lost Highway and Crush ,but not in a good way.  Songs like “Fast Cars” and “Brokenpromiseland” (ugh!) just sit there like the flaccid Pop Jovi songs that they are.  Bon Jovi are on cruise control.

CIRCLE_0002My two favourite Bon Jovi albums of recent vintage (ie: post-Keep the Faith) are the criminally underrated These Days, and Bounce. What the band need to do is: A) get their MVP back, Mr. Richie Sambora.  B) write an album without all these outside writers like John Shanks and Billy Falcon, based on rock and roll, not the radio.  The Circle is close at times.  “Learn To Love” for example was written by Jon and Richie with Desmond Child, and approaches a vintage These Days epic quality.

How likely is Bon Jovi to rock out like they used to? The DVD documentary included with this edition of The Circle is not encouraging. Entitled When We Were Beautiful (named for the U2-like song on the album), it is an insightful look into the inner workings of Bon Jovi.  It also has some enticing live clips. (Please, Jon, please! Release a full length audio version of Richie singing “I’ll Be There  For You”, it’s great!) However it is quite clear that Jon is the driving force of the band, and the rest of the guys are salaried employees of the corporation.  Jon is very clear that he’s a businessman and he must make albums that he thinks people will like.  It’s unfortunate that he’s decided that pop music is the answer.  I think it’s unlikely Jon will be breaking new ground again soon.

But you never know.

3/5 stars