Any band that can handle an instrument as beastly as the Chapman Stick is worth listening to at least once. Glueleg, from Toronto Ontario, were once such band. They boasted not only the Stick but also a horn section with sax and trumpet. If that wasn’t enough to garner them some local praise, a few people turned their heads when they hooked up with James Stewart (cousin of The Cult’s Jamie Stewart) to produce their first CD, Heroic Doses. Prior Glueleg releases were cassettes…CD was the big time.
The title track was the first single/video, and entered rotation on MuchMusic and several rave reviews. Guitar player Ruben Huizenga sings this immediately infectious track. The hypnotic vocals, the punchy horns, the Stick, that low-as-fuck rib-busting riff…this track is perfect in every way. “Heroic Doses” nails it completely and there is no wonder that it garnered some serious attention. The end result of this was a record deal with EMI, but nobody can accuse Glueleg of being commercial on “Heroic Doses” even so.
“Pollo” (“Chicken”) is rapped and sung by Stick player Carlos Alonzo. He has an interesting voice, able to do a rap in a Beastie-like style but with his own spin. He can also sing quite well. He also sings “Mister Pink”, another manic groove. The horns deliver consistent punctuation, and that Stick just thumps. “Lilies” has a droney riff/groove combo that stoner rock bands today love to utilize. “Spiderman” is an original, an instrumental, but it certainly recalls the classic cartoon theme. Glueleg songs don’t tend to adhere to convention song structures. They have more in common with Mr. Bungle than the Chili Peppers, but much more accessible. Their songs have the complexity and chops of Bungle, but are direct. There are also grunge elements, a-la Alice in Chains.
The sonics of this album are really quite good even today. The Stick has a snap to it, and the horns have depth. Having two singers enabled them to play different styles of songs even within the confines of what Glueleg were doing. “Dust” is a dirge, for example. Then the next track “Pampa De Chooch” is completely different, at times almost sounding like Kyuss with horns. “Park Alien” might be Zappa-esque progressive jazz. “I Saw You Joja” is then something else again. Perhaps there’s a lack of focus, or maybe it’s just that Glueleg were so bursting full of ideas, but some songs come off as scattershot.
Biggest surprise of the album: the closing track “Red”, the King Crimson instrumental. What a drum tour de force performance this is, by Christian Simpson. Simpson is no slouch; he later went on to play with Saga for several years, as well as David Usher and Edwin.
I like all of it. Heroic Doses is one of those discs that are indicative of their times, and has nostalgia value, but also plenty of musical chops to keep you busy. If the songs had been tightened up a bit more I think you’d have a serious classic here. Unfortunately there are some songs that are just not quite there.
RECORD STORE TALES MkII: Getting More Tale #371: The Birth of Grunge
1991.
The pendulum of rock music was swinging back to heavy. The world had tired of Poison, Warrant, and even the once mighty David Lee Roth. His latest album (A Lil’ Ain’t Enough) had tanked and the tour poorly attended. On the other hand, Metallica were transforming from the little thrash band that could into a worldwide juggernaut. Change was in the air, but what we didn’t expect were the dark clouds blowing in from Seattle.
I had been aware of a few newer bands. Soundgarden for example had some airplay with “Loud Love”, but I wasn’t impressed. There was another new group called Temple of the Dog that had a music video with two singers. “What’s up with this new band, Temple of the Dog?” I asked my highschool friends. They shrugged. “Haven’t heard of ‘em.” Highschool ended and I began a new adventure at Wilfrid Laurier University, majoring in History. And that’s when I saw “Smells Like Teen Spirit”. Because the schism of grunge and metal had yet to occur, it was played on the Pepsi Power Hour, where Temple of the Dog had also debuted. I had even read a Nirvana concert review in an early issue of M.E.A.T Magazine, but they weren’t really on my radar. I thought the singer had a great voice even though his ratty old sweater was pretty lame. I thought he kind of looked like a dirty Sting. The singer’s voice and the drummer’s chops were the best part of this band that otherwise didn’t click for me.
Some other singles and videos trickled onto the airwaves: “Jesus Christ Pose”, “Alive”, and more. It all happened so quickly. In a matter of months, a new crop of darker, detuned bands had replaced the likes of Van Halen on the charts. These new bands didn’t concentrate on an image, which in itself became their image. Shaggy beards, unkept hair, shorter do’s – these new rock bands didn’t look much like the old. Even their onstage personas were different. Where bands used to try to entertain and give bang for the buck, these new ones seemed to take a page out of shoegazer bands’ books. Layne Stayley from Alice in Chains was noted for standing still in one place on stage much of the time. Pearl Jam replaced lights and flashbombs with jams and crowd surfing. Worst of all to me was the disrespect this new crop had for the old, just like in the punk days of old. Krist Novoselic of Nirvana said on television that he hated heavy metal because it all sounded like with was spat out of a computer. The fact that heavy metal fans were buying his albums by the hundreds of thousands didn’t seem to click with him. Mudhoney were talking about beating up Sebastian Bach. It was getting crazy and a huge split happened within heavy rock music.
It was hard to keep up with the rapid changes. What was in a few months ago was deader than dead. What never would have had a chance of charting in 1990 was now #1. Artists that once looked cool suddenly looked ridiculous. But most importantly, the fun was disappearing from rock and roll. It was no longer enough to sing about cars or girls. Now you had to have something from your soul to confess, or a social issue to address. It was a lot less fun to sing, “Even flow, thoughts arrive like butterflies, oh he don’t know so he chases them away,” than it was to sing, “I got it bad, got it bad, got it bad, I’m hot for teacher.”
I resisted the change. I owned no grunge albums until late ’92, when I was finally drawn in by the song “Would” by Alice in Chains. The Dirt album took some getting used to, but it was at least built upon metal riffs. Pearl Jam and Nirvana remained all but incomprehensible to me. A couple years later, Soundgarden managed to suck me in with “Spoonman”. I had to admit that these bands had a lot of talented players: guys like Matt Cameron and Jerry Cantrell were earning mainstream respect among musicians. As these bands grew in popularity, I would always advise kids to keep an eye on the rearview mirror. “Yeah, Soundgarden are great. But have you ever heard original Black Sabbath? They were the original Soundgarden.” I didn’t want the roots (and my roots!) to be forgotten.
Grunge and I had an uneasy relationship for a few years, but soon it no longer mattered. Other types of music were coming to the forefront now, even more heinous and evil: pop punk, boy bands, and the post-grunge onslaught. I slowly grew to enjoy Pearl Jam and some Nirvana. I even own a Stone Temple Pilots CD or two. But my heart will always remain with the music that grunge nearly destroyed forever – hard rock!
Hard rock went into a sort of hibernation for a while, but it could never be killed. Not even by something as all-consuming as grunge was. Today, hard rock is back in business again.
The Four Horsemen: “Back in Business Again”
You never met a man like me You wouldn’t understand I’m in the rock’n’roll business honey I’m in a rock’n’roll band And we were headed for the top babe Way back in ’91 Some record business scumbags took it from us Well they forgot my gun Well now we’re back in business folks I’ve come to claim what’s mine See we’re the Four fucking Horsemen Back for a second time
I’m a fast talkin’, woman lovin’, whiskey drinkin’, good for nothin’ rock n roll star In a hell raisin’, trouble lovin’, whiskey drinkin’, mother f***in’ rock n roll band I make my dirty little fortune In this rock n roll band We’re here to entertain you We’re back in business again Hahahaha
Moron after moron at the meet and greet They’d do just about anything for a front row seat When you see me on the stage one thing you’ll understand It’s what I do, it’s what I am, I’m just a rock n roll man And you don’t hear me whining about my fame and fortune
I’m a hell raisin’, trouble lovin’, fast talkin’, good for nothin’ rock n roll star In a trail blazin’, skin lovin’, whiskey drinkin’, mother f***in’ rock n roll band I make my dirty little fortune In this rock n roll band We’re here to rock n roll you We’re back in business again
Now pay attention I got a little story here to tell ya It kinda goes like this You know I had a couple years off there babe To kinda take some time And I heard a bunch of whining, little wussy rock n rollers Complaining about how fame and fortune’s got them down I say we gather up all these little bastards Shove them back to their lil’ nowhere town See I was born on this stage And I plan to stick around!
When The Cult finally reunited, the rock world rejoiced. It felt like a long time, in that post-grunge wasteland, since the world had been blessed with any new Cult music. Not only had they reunited (with their former drummer Matt Sorum, also formerly of Guns N’ Roses) but they had also reunited with producer Bob Rock, for the third time. Much like his last outing with the band (1994’s The Cult), this Cult album sounds like none before it. This time, The Cult have gone full-bore ground-shaking heavy metal. The template was a song the old band were working on before they split “In the Clouds”, from 1996’s High Octane Cult. The resemblance is uncanny.
“War (The Process)” invites you to the stage. Its weight is astounding; Duffy’s guitars crushing while Sorum attacks his kit as he always has. Duffy’s guitars have acquired a much heavier metallic tone. Bob Rock applies them in layers, which has always worked well for The Cult. When “The Saint” enters, your head could be blown from your shoulders. This is The Cult at their heaviest, but Billy’s melodic sensibilities are intact, and his guitars always sound like Billy Duffy. Ian, of course, sounds like Ian, howling at the ghosts.
The single from this album was “Rise”, which is no less brutal than the first two tracks. Its stuttering de-tuned riff recalls Kyuss or Queens of the Stone Age. Song after song, the album crushes. “Take the Power” is a rallying crying over a noisy Duffy arrangement. This time, the layers of guitars form this wall of awesome that threatens to fall on you at any moment. Astbury is delivering a lot more melody with his lead vocals than he did on The Cult.
“Breathe” offers a respite, but it’s only brief. It soon turns into a mid-tempo groove rocker, but a forgettable one. “Nico” is a highlight, an “Edie”-esque beauty. It would have been my choice for a single. Somebody should really start asking me.
No sooner have you had a chance to relax before “American Gothic” smashes through the wall. This is one of the heaviest Cult songs to date. Cult bassist Chris Wyse (back in the band today) has a solid groove but is overwhelmed by the sheer weight of the Duffy guitar layers. “Ashes and Ghosts” too is groove laden and heavy as plutonium. “Shape the Sky” has a little bit of the old Cult’s prowl, but it’s still pretty heavy like spent nuclear fuel. Ian has a knack for a cool chorus, and this is one of them. “Speed of Light” has a bit of that robotic pulse from 1993’s “The Witch” before it descends into a detuned metal riff and chorus. Then, “True Believers” gives you some breathing room again, although still slammed by electric guitars. This slow tune is a bit more about the melody than the headache.
The final song on most editions of Beyond Good and Evil is “My Bridges Burn”. The Cult bow out on a scorching rocker, blowing the speakers out for those who dare to follow them. Australia received an additional song, “Libertine”, on which to close. This song feels like a coda and is powered by an Anthrax-esque stomp. Top that with a soaring Astbury howl and those patented Duffy guitar melodies and you have a good summation of The Cult 2001.
I think many old-school Cult fans, the kind who think they made a wrong turn on Sonic Temple, would dislike Beyond Good and Evil. For those of us who don’t mind the Cult when they just fucking rock, I think it’s a brilliant album. The songs are not designed to be instantly catchy. They are designed to create a sledgehammer of an album that relentlessly powers its way into your soul. For me, it worked. You could listen to it once and say, “Sure, it’s heavy, but there are only a couple memorable songs.” Keep listening. Let Beyond Good and Evil pummel you with body blows until all you can do is let it sink in.
First of a CULT double shot! Come back tomorrow for another!
THE CULT – The Cult (1994 Universal)
This is an ugly album. Even though a 1989 MuchMusic interview with Billy Duffy revealed The Cult would most likely not work with Bob Rock again, they did indeed re-team with the Canadian producer on 1994’s The Cult. Duffy didn’t think the magic of Sonic Temple was something that could be repeated, based on the less than satisfactory (to him) results of working with producer Steve Brown twice. On The Cult, however, no attempt was made in any way to recapture any sound or era. This was brand new from the womb of 1994, and sounds very dated to that dark time.
The twisted “Gone”, unorthodox and sparse, was a shock to the system. Once the listener gets his or her bearings, it’s actually a great fucking song. Just a little off-kilter; enough to sound as if it’s not being played right. It’s a whole new side to The Cult. I wonder how much of this has to do with the new lineup, including bassist Craig Adams (The Sisters of Mercy/The Mission) and drummer Scott Garrett (Dag Nasty). Ian Astbury’s delivery was also quite different. Rather than simply howling those patented Astbury melodies, Ian barks, whispers and bellows.
“Coming Down (Drug Tongue)” was the first single, very different from the hits from the past two or three albums. It had a droning, U2-ish vibe. It’s quite a good song, but it wasn’t love at first listen. “Real Grrrl” has a slower sway to it, and there is a lot to like about the song. It’s interesting to hear Bob Rock using open space a lot more in his production; this is right after the supersaturated Motley Crue album. Much of the instrumentation is very dry, but then there are Bob Rock trademarks, such as the Scott Humphrey synth on “Real Grrrl.”
Sounding much like a Superunknown (the softer side thereof) outtake, “Black Sun” is dark and quiet. Ian sings of abuse. The band back him with the barest of instrumentation, before the Billy Duffy solo around 3:20. It is impossible to ignore the similarities to all the grunge bands of the time. The basic, stripped down guitar parts and rhythm-driven arrangements speak of the time.
There are few standouts on The Cult. The album is more cerebral than past Cult albums, and is more about its overall direction than individual songs. The aforementioned tracks are all great, as are a few others. They include “Star” (also a single) which is a song that was re-worked many times going back to Sonic Temple. Previously, it had been known as “Tom Petty” and “Star Child”, and can be found in both forms on the expansive Rare Cult box set. It is one of the few songs that slightly resemble “old Cult”. “Be Free” was a single (in Canada at least) given away with a case of beer. How Canadian, eh? (I sold mine on eBay for $10). It too is a pretty good song. Then there’s “Sacred Life”, a somber ballad naming Abbie Hoffman, River Phoenix and Kurt Cobain as painful losses to the world. Album closer “Saints Are Down” is a powerful epic, and also a standout.
The Cult broke up/went on hiatus after this album. They reunited in 1999 (with Matt Sorum on drums) and released a new song called “Painted on the Sun” written by Diane Warren (!!) from the Gone in 60 Seconds soundtrack. This was followed by the excellent Beyond Good and Evil CD, also produced by Bob Rock. This self-titled departure remained just that, as The Cult went full-bore metal on Beyond Good and Evil. This album is an experiment that went unrepeated, and that is fine. I like it for what it is, but I don’t need another.
Apologies in advance to my lovely wife. She really is awesome for letting me do this.
RECORD STORE TALES Part 314: The Musical Crimes of Mrs. LeBrain
As we wind down the Record Store Tales, we get to the point that I met Jen in September 2005. The funny thing about love is the rose-coloured glasses. I don’t remember Jen having such bad taste in music. However, the photographic proof is here. She recently dug up her old Linkin Park CD wallet (!!!) , inside which are many dirty and scratched CDs. Yes, Jen never took proper care of her discs either before we met, it’s true. I can’t even identify some of the filth on her Marilyn Manson CD. Could be coffee.
So here I am, a single Record Store Guy in the fall of ’05, meeting the love of his life…and these are the CDs in her collection. Thankfully we shared a love of bands such as The Beatles and The Darkness too. Even more thankfully, Jen doesn’t listen to Limp Bizkit anymore. (I mean seriously, look at these! She even owns the Limp Bizkit CD without Wes Borland!)
In her defense, I found no Nickelback. What I did find may upset you.
\m/
Coaster?
screeeeeeeeeeee
Nothing like NIN and Spice Girls on the same page.
The Icon series of compilations is mostly shit. One of the stinkiest of the shit is Nirvana’s installment of Icon. Where’s “Sliver”? There’s not one song here from Bleach. “About A Girl” is from the Unplugged CD and “You Know You’re Right” was a “new” song added to Nirvana’s first and only official greatest hits set, Nirvana. In fact, every song here can be found on Nirvana.
Rather than bitch bitch bitch about how shitty this CD is, and how pissed Kurt would be to have his music released in configurations that nobody in the band authorized, I’d rather just rate it and change the subject. Enjoy the following essay.
1/5 sharts
A Brief History of Kitchener, Ontario by Michael Ladano
Kitchener, a city of 220,000 in southern Ontario, was settled around the year 1800 on lands by the Grand River. The Crown gifted this land to the Six Nations, who sold it. It was settled by loyalist German Mennonites from Pennsylvania, to escape religious persecution in the United States. The Mennonites who settled here included families such as the Schneiders, Webers, and Ebys whose names can be found on streets and buildings all over town today. They named the settlement Sand Hills, within the Township of Waterloo.
Land was converted to farms, and the Grand River enabled an early sawmill industry. Streets such as the present day King Street were built, as were landmarks such as the Heuther Brewery, in the early 1800’s. The town grew with waves of German immigrants, and in 1833 Sand Hills was renamed Berlin.
In 1856, Berlin was connected to railways, and industry grew. In 1912, Berlin was declared a city. During the First World War, anti-German sentiment in 1916 caused the town to be renamed Kitchener, after Lord Kitchener, a British war hero. His famous face adorned many British recruitment posters. The bust of Kaiser Wilhelm was thrown into Victoria Lake.
Although some still wish to rename the city Berlin, Kitchener today boasts strong industry, easy access to excellent post-secondary education, and a huge annual Oktoberfest honoring its German heritage. It is known for its OHL hockey team the Rangers, and for spawning many NHL athletes. It is also known as the birthplace of William Lyon McKenzie King, Canada’s longest-serving Prime Minister and possibly the only one who regularly sought advice from a crystal ball.
Kitchener is also known for its music. The annual Blues Festival is always popular. Kitchener has also spawned such international musical artists as Rob Szabo, Helix and Kathryn Ladano, and world famous writers like Michael Ladano.
Come to Kitchener (only 100 km west of Toronto) in the summer to enjoy boating, hiking, biking, music festivals, and much more, including a large population of Miniature Schnauzers. Don’t bother coming in the winter.
Soundgarden was one of the first Seattle bands I tweaked onto, mainly because Soundgarden (and Alice in Chains) were the most metallic in their approach. I refused to call them grunge — not with riffs this Sabbathy and a singer who could have been Ronnie James Dio’s protege!
Soundgarden broke up for 13 years, and Chris Cornell started (in my opinion) a lucklustre solo career, while Matt Cameron fared better as the longtime drummer in Pearl Jam. There’s a certain renaissance for these kinds of bands now, what with recent critically acclaimed albums by Alice in Chains and Pearl Jam (and that new studio Soundgarden record) being very well received. Telephantasm acts as a sort of “Anthology” collection. Back in the 90’s this deluxe edition would have been considered a boxed set. Just that today, we’ve done away with the box! It’s not quite a greatest hits set (live versions of “Jesus Christ Pose” and “Pretty Noose” are subbed into for the familiar singles), and not quite a rarities set (9 of the 24 tracks are rare or unreleased).
What Telephantasm is, is a really good overview of one of Seattle’s best. From the Deep Six compilation to their final pre-breakup album Down on the Upside, this set chronologically presents Soundgarden at their very best, live and in the studio. Personally I haven’t listened to old Soundgarden in a while. I have a bunch of albums and singles at home, but after I quit the record store, I reverted back to my metal roots and didn’t listen to Soundgarden much anymore. For me, this was almost like the first time again. Hearing the songs in this new context didn’t take away from what they were on albums either.
Outstanding classics for me include: “Fopp”, “Superunknown”, “My Wave”, “Dusty”, “Burden In My Hand”, “Rusty Cage”, and “Spoonman”. I mean, every fan of musicianship absolutely needs a song in their collection with a killer spoons solo!
Outstanding rarities for me were: the video mix of “Fell On Black Days”, and live versions of “Pretty Noose”, “Flower”, “Blow Up The Outside World”, and a frenetic “Jesus Christ Pose”. Hard to believe that Cameron can play those complex rhythms live. Unbelievable!
Of course there is the much hyped “Black Rain”, an unreleased track from the Down on the Upside sessions. Sounds great. Could have been written for Badmotorfinger. Liner notes are excellent. There are two essays, one by guitarist Kim Thayil (who seems like one of the coolest guys in rock). There are a handful of photos and exhaustive credits. I’m not too keen on the cover art, but there is a big fold out revealing the whole thing, and it’s quite expansive.
Of course there’s the DVD, for some this will be worth the price of purchase alone! This is a pretty comprehensive collection of music videos including uncensored and international versions. For new fans who are upset that they didn’t get the studio versions of “Jesus Christ Pose” or “Pretty Noose” on the CDs, they are here on the DVD.
There is a bonus track on some versions — the unreleased song “The Telephantasm”. However the best way to get that song is to buy the 7″ single, which also includes a killer, killer live version of “Gun”. This is a brand new live version by the reunited band. If you want the truly complete picture of Telephantasm, go out and get that single while you still can. Also required, but much more expensive and still unacquired by me: There is a bonus track on the deluxe vinyl version of the album: “Beyond the Wheel”, live by the reunited band. This is on a included 7″ single, which I would very much like to get.
Lastly I’ll have to say a few words about the mastering of this album. Unfortunately the “Loudness Wars” can add Soundgarden to its body count. The album was mastered way too loud, and it really takes its toll on the sound. You can really hear it on the cymbals. It’s unfortunate, since so many of these songs are previously unreleased. This is the only way you can hear them, and it’s not as good as it should be, thanks to the record company mastering this damned thing too loudly.
Following the demise of Whitesnake and the failure of Zeppelin to mount a 1991 tour in support of their first box set, it was almost inevitable what happened next. It was something that many Zeppelin fans feared. Lead Snake David Coverdale, who was once derided as “David Coverversion” by Robert Plant, joined Plant’s erstwhile bandmate Jimmy Page in a new supergroup. Geffen’s John Kalodner (John Kalodner) helped facilitate this move which should have generated sales over 10 million units. Unfortunately another thing also happened in 1991: grunge.
The shame of it is that Coverdale-Page is a stunning rock album. For years it haunted my bargain bins, simply because of the hard rock stigma that permeated the 1990’s. Many fans refused to listen to it, others simply chose to mock superficial elements of it, such as Coverdale’s man-shrieks. The fact that Page was looking and sounding great should be enough to warrant multiple listens by any serious rock fan. He hadn’t released any new material since 1988’s Outrider. As for Coverdale, it was a chance to get back to his bluesy rock roots, something he expressed a desire to do shortly after Whitesnake’s dissolution.
The studio band weren’t hacks either. Ricky Phillips had played bass with Neal Schon and Jonathan Cain in Bad English, and he’s been in Styx for ages now. Drummer Denny Carmassi was in Montrose (that’s him on the cover of the classic 1973 self-titled record) among many stellar bands, and he later did a stint in Whitesnake itself. Coverdale and Page co-produced the album with veteran Mike Fraser.
Finally, the most important elements were also in place: the songs. 11 songs, most in the 5-6 minute range, make up Coverdale-Page. Those expecting or even hoping for a Zeppelin album were bound to be disappointed. Despite the “Coverversion” nickname, Cov the Gov is his own person and persona. Singing over Pagey’s classic Zeppish riffs does not a Zeppelin make. Rather, Page and Coverdale comingle over their common ground, and naturally there are elements that have a Whitesnake aura. To expect otherwise would be folly.
“Shake My Tree” was the perfect opener. Pagey’s tricky little licks have that familiar sound, immediately. Then the great lothario Cov the Gov starts howlin’…the stage was set within the first minute of the album. The closest comparison I can think of would be “Slow An’ Easy” in terms of overall vibe. Just replace Moody’ slide guitar with Jimmy’s intricate chicken pickin’. David’s lyrics were as naughty as ever. It must have burned Robert Plant’s ass to have to sing it when he reunited with Jimmy later on himself. He seemed to be freestyling it quite a bit with David’s lyrics, barely sticking to the words at all!
“Waiting On You” would have been a radio-ready single. It has that kind of smoking hard rock riff, a killer of a chorus, and great vocals. Coverdale’s no poet, but I dig his words. “Ever since I started drinkin’, my ship’s been slowly sinkin’, so tell me what a man’s supposed to do.” Well, let me tell you David. 1) Drinking and boating is against the law, just like drinking and driving. 2) Put on your goddamn life vest!
I hesitate to call “Take Me A Little While” a ballad. I mean, it is a ballad, but it’s also a pretty good bluesy workout for David. It’s a little classier than the average “power ballad”, because hey…it’s Jimmy Page. It doesn’t sound like other ballads by other bands, because not too many bands have Jimmy Page. His playing and writing are unlike anyone else’s, he is one of the most recognizable musicians in rock and roll.
“Pride And Joy” was the first single, and what a single it was. It starts off swampy and acoustic, before Jimmy’s big Les Paul announces its presence with some big chords. Then David’s back in lothario-land, seducing “daddy’s little princess, Momma’s pride and joy.” Despite the lyrics, the song’s still a stunner. “Over Now” is also cool; a thinly veiled attack on Tawny Kitaen.
You told me of your innocence, An’ I believed it all, But your best friend is your vanity, And the mirror on the wall.
It doesn’t get any nicer from there, but musically this is one of the most Zeppelin-ish songs. While you can’t compare it to any specific song in the Zeppelin oeuvre, but it’s there in that slow relentless drum beat, the orchestration, and Pagey’s unorthodox guitar.
The closest thing to filler on Coverdale-Page is “Feeling Hot”. It’s not outstanding, but it does show off the faster side of Jimmy’s playing. It’s akin to “Wearing and Tearing” but with naughtier lyrics. Once again it is Jimmy’s playing that I’m tuned in to. That continues with “Easy Does It” which begins acoustically. Like most acoustic moments on the album (and like Zeppelin), Jimmy’s guitar is recorded in layers, giving it real heft. This all changes halfway through the song, when Jimmy’s Les Paul once again takes center stage. Then it transforms into a bluesy prowl.
Possibly the most commercial song is “Take A Look At Yourself”. Not a bad song, but definitely the most “pop rock”. It’s probably closest to a Whitesnake song such as “The Deeper The Love”. Had the year been 1990 or even 1991, “Take A Look At Yourself” would have been a top charting single everywhere. David seems to have cheered up with new found love here. However the heartbreak is not over. “Don’t Leave Me This Way” is about as earnest as it gets. At 8 minutes, it’s also the most ambitious song. It’s the centerpiece of the album. It sounds at once like it’s the most sincere song, showcasing some of Jimmy Page’s best post-Zeppelin guitar work. As for David, he’s never sung better.
“Absolution Blues” begins similarly to “In The Evening”. Fading in are layers of atmospheric guitars as only Jimmy plays them. These give way to the fastest, heaviest song on the album. It’s also one of my favourites. You you can hear the elements of Jimmy and David separately, but working together. The song goes through numerous changes before returning to that riff. If you thought Jimmy Page had already written every great riff in Led Zeppelin, think again. It’s “Black Dog” sped up to ludicrous speed.
Album closer “Whisper A Prayer For the Dying” is as cheerful and uplifting as the title alludes. It’s has an epic quality and length like “Don’t Leave Me This Way”, but this time the lyrics are less personal and more topical. David laments the innocent casualties of modern warfare, and refers to politicians as “bodyguards of lies”. While certainly not profound, it’s refreshing to hear Coverdale change the bloody subject away from the female of the species every now and again. Profound or not, I’m certain that it was heartfelt, and musically it kicks ass. It’s also a perfect album closer for a dark and brooding record like this. So there.
Hugh Syme (Rush) did the artwork. Say what you will about the bland cover itself, but I like the way he used the “merge” sign much like the “object” was in the artwork for Presence. And like many Zeppelin albums, there are no pictures of the artists anywhere.
The year 1993 was not a kind one to singers of Coverdale’s ilk. Most of his competition had been replaced by Chris Cornell, Eddie Vedder, and Kurt Cobain. One way or the other, the Coverdale-Page tour was not doing enough business and the plug was pulled. David has since mentioned that he and Page had more songs, enough to get started on a second album. He’s also expressed a desire to release those songs on some kind of deluxe edition reissue. I hope that happens. I’d buy Coverdale-Page again. It would only be the third time.
“Mikey,” said Trevor one afternoon, “I’m talking to you as a friend. I know you don’t want to stay single forever. I’m only try to help you out, but…that style you’re rocking just isn’t working man.”
“What do you mean?” I asked. I thought I was actually dressed pretty cool.
shorts n’ docs
“Well,” Trevor continued, “You’re wearing Doc Marten boots with shorts and a Deep Purple T-shirt. It’s like you’re wearing three looks at once. What you need to do is focus on one look and go with it.”
I was shell-shocked. My Doc Marten boots were the bomb! Deep Purple rules!
“But the boots and shorts are kind of grunge, right? And that’s cool.” My counterargument was sound.
“Yeah but the Deep Purple shirt isn’t grunge. You see? Trust me Mikey. I’m just trying to look out for you. I’ll take you shopping, and after that, you re going to get tons of action!”
Tons of action! Right on. I’m in, T-Rev, say no more man!
True to his word, that Saturday, T-Rev picked me up and took me to the mall. And shop we did. Apparently Hawaiian was in. I picked up a Hawiian shirt and this cool burgundy velvety shirt. I also picked up a couple T-shirts to wear underneath, and a beaded necklace which also was apparently in at the time. That night, Trevor’s lovely then-girlfriend now-wife Michelle threw him a birthday party and I was able to give the burgundy shirt a test-run in a social environment. While I did not see any “action”, the feedback was positive. I have to say that I rocked the look really well and received numerous compliments.
Unfortunately, this kicked off a shirt addiction. Yes, you read that correctly. I had a flirtation with shirt addiction that lasted a couple years. Next I bought an expensive black shirt with cool ridges at a place called Caesar’s Closet in Cambridge. Then another burgundy shirt, even more velvety. Then a black one with sparkles in it. (That was my favourite, it later got recycled into my Paul Stanley Halloween costume.) Two with flames. One with guitars. One with dice. One that was shiny like a foil-wrapped baked potato, and many many more. My bosses may have thought I’d lost my mind, as I showed up at the record store in more and more outlandish shirts. I ended up with at least two dozen in my collection.
When I wore the silver baked potato shirt to work one day, one of my bosses was nearly blinded by it. “Mike! That’s a shirt for clubbing!” Well, probably, but working in a record store gave me a certain amount of leeway that other jobs didn’t have. I guess I wanted to have fun while I was young!
My “shirts phase” lasted a couple years before it finally faded away. The obsession was excessive though. One cottage weekend I packed 7 shirts for a 2 day stay. By the end of it, I had even written a movie outline for a horror comedy film titled “The Shirt”. The premise:
A cursed Hawaiian shirt finds its way into a clueless vacationer’s luggage. The shirt kills those who wear it by strangulation; it can also possess the minds of those it has an affinity for. Putting on the shirt could get you killed, or possessed — or both! The evil shirt’s only weakness is bleach.
I’m hoping to get James Franco interested in playing the main character, the guy who makes it to the end of the movie.
Surprisingly few photos remain of my expansive shirt collection. Perhaps that is a good thing.
MoreSHIRTS at mikeladano.com:
Record Store Tales Part 86: Captain Gold Shirt
mikeladano.com 