I used to work with this guy, Joe. People who know where I worked, they know Joe. And they know Joe is a very, shall we say, unique person. Funny as hell, but there is nobody like Joe. Straight from my journal, here’s the proof. I call this one the Open Door Piss.
Date: 2005/11/26 23:52
So I’m with Joe at work, talking about work or something. The conversation is as follows:
Me – (babbles on about work or something) Joe – Hey, keep talking, follow me though. Me – Where are we going? Joe – Just follow me. Me – OK, ummm, into the bathroom? Joe – No, just stand outside, keep talking though. (I hear him upzip his pants) Me – Are you peeing? Joe – Yeah man! It’s the open door piss! So what was I saying before? Oh yeah…(continues conversation).
Joe’s a pretty interesting guy.
A couple years later, I was having a Rock Band party at my house, during which Uncle Meat also did the Open Door Piss. Must be a Record Store Guy thing?
BLACK SABBATH – Paranoid (2009 deluxe edition, 3 discs)
Wow, how many times have I bought Paranoid now? I would guess that this might be my sixth purchase of this album. I mean…it’s Paranoid.
And what is Paranoid? Only one of the most important rock albums of all time. Regardless of the genre it helped spawn, this album is more important than just being a heavy metal album. This is an important rock album. I highly doubt any died-in-the-wool metal fan has not heard this album, but in case you’re young/been living on the moon, I’m happy to discuss these incredible tracks.
First up to bat is the unmistakable sludge of “War Pigs”. “Generals gathered in their masses…just like witches at black masses…” Bonus point to lyricist Geezer Butler for rhyming “masses” with “masses”! Joking aside, this is simply an incredible song, one which history has proven (as great as Dio was) that only Ozzy Osbourne can sing correctly. Then, the brief punk rock explosion of “Paranoid”. This was the first and only song I learned to play on guitar, simple are the chords. But it is no less powerful for its simplicity!
The haunting “Planet Caravan” is a perfect example of Sabbath at their softest and darkest. Ozzy’s distorted vocals send chills up the spine, while Geezer’s bass carries the melodic side. I didn’t like this song as a kid (I hated the soft ones) but I sure grew to appreciate it since. Iommi’s jazzy solo proves what an incredible player the man was and is. In case you were falling asleep, Black Sabbath wake you up with the next track, “Iron Man”. Everyone knows “Iron Man”, a monolithic slab of prototypical heavy metal!
“Electric Funeral” opens with Iommi’s Gibson puking wah-wah and distortion from the speakers, but like many Sabbath songs of the period, the track takes a careening turn into a fast section, before returning to its sludgy roots. Bill Ward, one of the most underrated drummers ever, plays creatively throughout, his use of cymbals and fills endlessly interesting.
“Hand Of Doom” is another one with different sections and tempos, and more of Ward’s jaw-dropping creativity on the tubs. Ozzy howls like a banshee, the band behind him providing a heavy, frightening backdrop.
“Rat Salad” is a personal favourite, the album instrumental, and really a Bill Ward showcase. You want to hear what Bill Ward could do? This is the track to listen to, although Iommi is not to be underestimated. His howling Gibson sends shivers up the spine.
“Fairies Wear Boots” closes the CD, the perfect mixture of riffage and melody. All the while, Geezer and Ward continue to provide a rhythm section as interesting as the guitars and vocals. Once again, Sabbath show their compositional prowess by creating a catchy, riffy heavy metal song with interesting sections and changes. It is another perfect track, on an album of nothing but.
Liner notes and photos: A+. Awesome job. Lots of cool photos, facts, and figures that I was not previously aware of.
Packaging: C-. I have a 2CD/1DVD Clash set from this series where all three discs are packaged with a plastic tray to hold them in. Not so with Paranoid! Cost cutting may be the reason, but disc 3 slides into a cardboard sleeve while the other two discs have plastic trays.
Remastering: A+. My understanding is that this is a brand new remastering. That would be remastering #3 for Paranoid. (1996 Castle remasters, Black Box remasters.) Like the Black Box version, this sounds great, very clear, very powerful, very authentic. Can you tell the difference between this version and the Black Box version? Not really!
Bonus material: B+. Maybe it’s not anybody’s fault, but the bonus material is somewhat disappointing Most are alternate takes with different lyrics or no lyrics at all. I guess that’s all that was available. Still, it’s not something I will listen to often. Including the DVD, keep in mind you’re going to be hearing these songs three times each! The alternate lyrics are interesting to say the least, but when you’re so used to hearing these songs a certain way, it is a little jarring.
The DVD is an A. On this DVD, you get the original 1974 quad mix. Collectors rejoice, and people who are hoping for a 5.1 remix are going to have to keep waiting. I love the fact that we’re finally getting reissues of classic 1970’s quad mixes. Deep Purple have been releasing some as well. Personally I hope to hear some of the old Alice Cooper quad mixes some day, too.
Not a perfect reissue, but it is what it is. The packaging is the one thing that could have been improved easily. The extra material, well, if this is all Sabbath have in the vaults, then so be it!
(Note: For completists, there’s still an early version of “War Pigs”, ( then titled “Walpurgis”) with different lyrics, from BBC Radio 1, 4/26/70, but you can get it on Ozzy’s The Ozzman Cometh CD.)
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.
BLACK SABBATH – Black Sabbath (2009 deluxe edition)
I have been a little slow reviewing all my Sabbath deluxe editions. I got this one for Christmas, 2010. Bad LeBrain!
What can I say? The most iconic metal album of all time has been given the deluxe edition treatment, and deservedly so.
First of all, before I talk about the music, this edition just looks beautiful in its digipack. The scariest most haunting album cover of all time is printed crisply on cardboard and it looks amazing. Open it up to find photos of a hippy-dippy looking Black Sabbath, just a bunch of kids. The booklet inside has truly great liner notes and more photos of the young foursome. There is one photo of Oz playing keyboards in the studio — strange, none of his keys show up on this album. I’d love to know the story behind that photo.
Musically, of course this album is incredible. Simple, sparse, raw, and haunting. This is the kind of music that can only be made by four guys psychically locked-in with each other, knowing what notes are coming next, anticipating them and reacting to them. Bill Ward’s drumming is thrifty and wonderful, perfectly off-time and magically working with Geezer Butler’s fluidic basslines. Geezer’s bass, in turn, is locked in with Iommi’s guitar, providing melodic accents while Tony plays the rock solid demonic riffs from hell. Meanwhile, Ozzy is on top of it all, a man possessed, his words ringing loud and powerfully along within the spaces of the songs. This is the kind of album that can only be created by four guys playing live in a room together. Modern “rock” (quotes intended) bands cannot do this kind of album.
Every song is, of course, a classic, from the opening thunder of “Black Sabbath” to the wallowing solos of “Warning” and the haunting “Sleeping Village”. “N.I.B.” has one of the catchiest bass intros of all time, amp hum buzzing away in the background as you can hear Geezer’s fingers pluck away. Truly, a classic album, all killer no filler.
And no wonder. The band was tight, playing these songs night after night after night until they had them down pat. I once read that Sabbath were doing 8 sets, 45 minutes each, in the bars each gig. That makes you a tight band, and the bonus disc proves this. Alternate takes of key tracks on the second disc prove that the band had these songs down to a fine science. Casual fans won’t even be able to pick up on the differences, they are so tight. The biggest difference is in the alternate take of “Evil Woman”. Flutes? Methinks Tony still had a bit too much Jethro Tull in his system!
There are also some instrumentals with the vocal tracks stripped off. These are interesting from an analytical point of view. The title track really allows you to hear the instruments playing against each other, Tony’s guitar puking mounds of distortion all over the tapes.
Lastly you get both “Wicked World” and “Evil Woman”. Depending on where you lived, one track was subbed for the other on the original album and the first CD issues. All later remasters of this album contained both songs, including this one.
Interestingly, the demos that Ozzy released on his own Ozzman Cometh compilation are not included here. Pick that album up as well for some very rough early versions of some of these tracks, with different lyrics as well.
5/5 stars. Every metal fan in the world needs this album, absolutely no excuses.
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!
I’m a pack rat. I keep everything. I just dug up this vintage concert review. I wrote this the day after the concert, so memories were fresh! I’ve made some minor cleanups, but otherwise this is completely as-is, warts-and-all, somewhat embarrassing and a bit too long winded. For what it’s worth, enjoy! You might never find a more detailed write-up of the Promised Land tour!
QUEENSRYCHE / TYPE O NEGATIVE – Toronto Ontario, July 27, 1995, Molson Amphitheatre
(written by Mike Ladano, on July 28 1995, never published)
On July 27 1995, Queensryche, possibly the only great progressive rock band that is still progressing, conquered the Molson Amphitheatre in triumph. The road has been long and hard for these boys, they put out their first vinyl in 1983. Despite all the changes in rock today, Queensryche came out and put on one high-tech wonder of a show that rocked and stimulated.
The band opened with the taped intro of “9:28 am”, the opening track of the Promised Land CD. Their stage was bare, except for two platforms, a keyboard and a drum kit. The drum kit was encased in plexiglass, which seemed unusual at the time. [I know now that this was to keep the drums from bleeding into other microphones on stage.] One could pick out dozens of lasers, lights and effects just waiting to be used. Behind the stage were two monstrous projection screens, much like the band used on the Empire tour.
After the intro, Chris DeGarmo, Michael Wilton, Eddie Jackson and Scott Rockenfield roared onto the stage with “I Am I” which was accompanied by a video of Geoff Tate wandering though a desert encountering all sorts of strange mirages based on the lies of the American Dream. Then the Tatemeister himself appeared on stage, wearing suit and tie, and being hounded by a half dozen journalists harassing him all over the stage. It was, of course, all part of the show.
The band segued from there straight into “Damaged”, just as they do on record. The press ripped off Tate’s suit, leaving him in a pair of bicycle shorts. The band continued to rage through this song, complete with distorted vocal effects from the album.
The band took a breather there, playing their acoustic hit single “Bridge”, a “Cats In the Cradle” story about Chris DeGarmo’s father. Again, this came with constant bombardment of images on the backing screens. It was extremely difficult to stay focused on any one thing on stage, however, Geoff Tate is a very animated frontman; moving and contorting about, acting out his words, while he and the video screens fight for attention.
From here, the band took a trip down memory lane that I’ll not soon forget. Upon entering, I said I wanted to hear old obscure Queensryche. I wanted to hear “Neue Regel” and “NM 156”. The band went right into those songs, as well as “Screaming In Digital” from Rage For Order. For these songs (which used distorted computerized vocals before Trent Reznor had even envisioned such a thing), Tate sang like a computer or a Dalek from Dr. Who. Then, when a burst of power was needed, the distortion would come off, and Tate would rip his lungs out with vocals from hell.
Geoff Tate’s voice was stronger here than the way I remembered it from the video footage of the Empire tour, which was nice to see. He did falter, especially on those incredible highs, but this was also refreshing: It meant he was not relying on backing tapes. The entire band played well, never straying too far from their recorded album parts, but just enough for there to be an audible difference.
“My Global Mind”, a song about the information superhighway and the artificial ties it makes between nations, contained some disturbing film footage: Saddam Hussein, and children starving in Africa.
I always said Scott Rockenfield was Queensryche’s version of Rush’s Neil Peart, and last night he proved this. With his hair shorn, and receding hairline revealed, he now not only sounds like Peart but looks like Peart! Encased behind the plexiglass, he played with precision and power, even more so than on the album. Chris DeGarmo had also cut his hair short(er) which was disappointing. He used to have Godlike hair!
The band kicked into overdrive, playing tunes from the landmark Operation: Mindcrime album. Their heaviest material came on even heavier live, with more power in the bass, drums and vocals. From that album, they played in sequence: “I Remember Now” (a taped intro with the same cartoon video footage that they used on the last tour), “Anarchy-X”, “Revolution Calling”, “Operation: Mindcrime”, “Spreading the Disease” (Geoff Tate sticks microphone in his pants and makes interesting movements), “The Mission”, and to close off the Mindcrime portion, “Eyes of a Stranger”. For this conceptual section, Tate came out dressed as the album’s protagonist Nikki, in leather pants and jacket, shedding the shorts.
“Empire”, which came across as brutally heavy live, was accompanied by the drug-dealing video footage from their MTV video, but with added stuff as well, which made it more fun to watch.
Queensryche played the entire Promised Land album from start to finish [but not in sequence] which came as a surprise to everyone. What came as even more of a surprise was how well this densely layered recording came off, live.
The title track, “Promised Land”, was most interesting. As a film played of Tate and his family buying a home (and of course not being able to afford it), the roadies ripped apart the stage and set up something else in darkness. Then, the lights came on. On stage was now a bar, a few tables with a ton of patrons (roadies and the drummer [Johnny Kelly] from Type O Negative), and a tiny little stage off to the side, where a second drum kit now sat.
The band walked through the bar dressed in matching suits, just like any lounge act. They played some piano-based barroom jazz number until, now assembled on that tiny postage stamp sized stage, they rumbled into “Promised Land”. Tate sat at the bar, wearing pink shirt and beige pants (matching his get-up from the video footage), singing this song of disillusion. This was also the first live appearance of his saxophone. Just like on the album, he would play sax breaks in between verses.
Although this is one of the most serious songs you would ever want to hear, this was the last show of the tour, and it was time for the road crew to cut loose with some comedy. One of the bar patrons slow-danced center stage with a blow-up doll through the entire 8 minute song!
The videos came back on as the bar set was torn down, and again replaced with the plastic-encased drum kit. The band rumbled into “Disconnected”, with more saxophone.
Before “Out of Mind”, Tate began with a speech about people who might be viewed as different. “You…your hair’s not the right length. And your hair’s just…not the right colour. What would you do if one day, those men in white coats came knocking on your door?”
From behind, a butt-ugly roadie dressed as a nurse in a yellow wig put Tate into a wheelchair. (Normally, an actress plays the nurse, but like I said, this was closing night!) Tate sang the song from the chair, using a mirror as a prop. He would sing into the mirror while a hidden camera filmed his reflection, and projected it onto the big screens.
The band closed their set with a predictable final tune. Of course, it had to be “Silent Lucidity”. For this song, five large transparent curtains came down on stage, concealing the drums and Chris DeGarmo. Suddenly, laser projectors came on, and presented amazing dream-like images onto those curtains, giving the illusion that they were suspended in air.
The crowd, as expected, went absolutely bonkers for this song, singing along to every word. Bowing, Queensryche left the stage in triumph….
…And returned with their early classic, “Take Hold Of the Flame” from their very first full-length album, The Warning. Of course, this went over amazingly. There were some diehard fans in this audience who knew the words to even the most obscure music that Queensryche could throw at them.
Queensryche ended their encore with perhaps the greatest song they have ever written: “Someone Else?” Chris DeGarmo played piano, Michael Wilton played some quiet backing guitar, and Scott Rockenfield added some cymbals. It was hard not to be blown away by Tate’s extremely emotional voice during this piece. If anything, Tate is even more emotional live than on record.
And that was the end, the band finally leaving in triumph, for real this time.
According to some in the audience, Queensryche’s stage show topped Pink Floyd. Believe it. This was, by far, the greatest rock show I have ever seen. I can’t imagine anyone, even Queensryche themselves, topping this. This was not heavy metal: This was theatre, and it was so fucking refreshing to see in this back-to-basics era of grunge blockheads like Pearl Jam and Nirvana.
All hail the mighty Queen of the Reich.
We missed the first few tracks from openers Type O Negative, but we could hear them just fine while eating. They opened with “Blood and Fire” from their new album, Bloody Kisses. We caught them halfway into the second tune, the incredible “Christian Woman”. They then played an older tune about suicide [title long forgotten]. Said vocalist Peter Steele: “This is a song about suicide, which we fully recommend. I know when I get old and my body is no longer useful to society, I am going to throw myself off a building, and hopefully land on someone I hate.” Gotta love them Type O Guys. [Sadly, Peter Steele never had the chance to get old.]
They played only two more songs, “Too Late: Frozen” and of course “Black No. 1 (Little Miss Scare-All)”. Speaking of scary, these guys were not all that pleasant to look at. Josh Silver, the keyboard player, has got to be the ugliest son of a bitch on the face of the Earth. Peter Steele looks like he sleeps in a coffin. Musically however, these guys were better live than on album. On record, they come across somewhat wimpy. Live, they are heavier and more energized.
What can you say about a guy who’s already had two lineup changes before his new “Queensryche” has even played a single gig? As usual, I’ll let Geoff say it all…
GEOFF TATE – GT EPK (2012)
EPK: “Electronic Press Kit”, something an artist releases to the media to promote themselves. See above.
Although this has been out for months, it was only recently that Uncle Meat brought it to my attention. While he was over recording our most recent video, he said to me, “LeBrain, you have to see the Tate video. This thing is ridiculous.”
So I watched. And I laughed.
Cheesey? Check.
“Oh yeah. I love my job.”
Pretentious? Check.
“I guess I’m an experience junkie.”
Trying to look cool? Check.
“I usually take a couple of motorcycles on tour with me…ride between cities.”
Stuff nobody cares about? Check.
“Oh there’s my beautiful wife, Susan.”
Nothing in here about spitting at drummers, getting in fights, or carrying bladed weapons though! Do you want to see something really funny? Skip ahead in the video to 2:38.
“Oh, wait, watch this.”
And then he does this lame “jump”. I mean, if he was David Lee Roth and did that cool spiral kick thing, that would something worth waiting and watching for. Not…whatever that was at 2:38.
Don’t take it from me though! Here’s some quotes from my esteemed Sausagefest colleagues.
Grant: “Got about three minutes in before vomiting all over my keyboard. The ‘Two Girls One Cup’ of personal biographies.”
Scottie: “WTF was that…”
Iron Tom Sharpe: “Imagine what that cock seepage would be like if he was still good (and relevant) and they hadn’t sucked for the last 15 years…Nothing is sadder than seeing your heroes as they really are…”
Dave: “He was always a cheeseball. The guys around him simply obscured that.”
Meat: “Music’s latest train wreck. So awful you just can’t look away.”
I found much to my horror that my original Amazon.ca Slash Puppet review had been taken and credited to some defunct site called “bandfocus.net”! I thought it would be wise to re-claim it for myself. Here it is in slightly revised form.
SLASH PUPPET – Slash Puppet (Fringe EP, 1993)
A short while ago, I reviewed the debut release by the legendary Toronto glam metal band, Slash Puppet. For a while there, it looked like Slash Puppet was destined to be the “next big thing”. They were winning awards, had national video play, and a stunning collection of hard rock material to draw from for their well-reviewed gigs.
Well, you know what happened next. Grunge took over, and the Toronto metal scene never exploded the way it was hoped. If it had, Slash Puppet would have been the band leading the charge. (With Winter Rose, I Mother Earth, Sven Gali, Russian Blue, Slik Toxik, Attitude, and so many others right behind…ahh, but I digress.)
This 1993 EP was their second release (the afformentioned debut is now available on CD as No Strings Attached, on Sun City Records). It is solid from start to finish. The singer, Mif (better known as Anthony J. Mifsud; you’ve seen him acting in the Norm McDonald comedy Dirty Work!) has a soulful, gritty, and gravelly voice that has elements of Brian Johnson and Lemmy, but really sounds like neither. Really, Mif sounds like Mif, and you have to hear the voice to get it. The band were tight, emphasizing tough riffs, killer choruses, and street-smart lyrics. No wimpy songs here. Even the sole ballad “Eyes Of A Child” isn’t a wimp-out. Not with lyrics like those, and a soulful delivery from Mif.
The lead track from No Strings Attached, “Slow Down”, reappears here, now parsed as “Slowdown”. (I believe this song is a remix with a new bass part, based on the credits. Peet Dove played bass on the original demo version but is not credited here, which leads me to believe the bass was re-recorded by new bassist Dave Carreiro. Otherwise, the song sounds almost identical to the demo version.)
Every song smokes. Slash Puppet down-shifted on speed for these songs, but traded that in for a slightly bluesier, soulful vibe. Their songwriting abilities grew by leaps and bounds between releases, no doubt enhanced by their live experience. When their debut was recorded, the band had not even played a gig yet! Slash Puppet is much more melodic than No Strings Attached, but still tough as nails.
If you’re into tough, glammy rock n’ roll with great musicianship and songwriting, Slash Puppet are the band to check out. This EP just shines. If you’re into collecting obscure albums from the era, or Canadian bands, this CD is an absolute must, although I saw one guy on ‘net claiming to have sold his copy for almost $200! I’m not sure I’d be willing to pay that much. Check thrift shops and used CD stores. I used to sell this in my store for $5.99.
This EP was mixed by Rich Chycki, probably best known for his 5.1 work with Rush!
Here’s hoping Mif and the surviving members reunite for a few more songs or shows. I’ll be there.
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.
RECORD STORE TALES Part 166: Anthrax – “Cowboy Song”
Stuff like this didn’t happen often, but it did happen. Sometimes one of my customers would just give me a CD that they thought I would want. Unfortunately my journal didn’t record who gave these discs to me!
Date: 2005/11/26 13:14
WICKED! Someone today gave me a free copy of the “Cowboy Song” single by Anthrax, a rare Thin Lizzy cover. Also got Doin’ The Nasty by Slik Toxik for free. SCORE.
Statham did on occasion give me free discs. I recall once he gave me a Black Crowes single. Another one of my customers (name long forgotten) gave me a Jimi Hendrix hardcover book. But this was not a frequent occurrence. Unfortunately, most people treated the guy behind the counter at the record store like shit. I guess that’s part and parcel of working in a buy-and-sell environment. Stuff like this helped make the job tolerable.
This single was a Sam the Record Man exclusive. It came free with copies of Sound of White Noise purchased there, but for a limited time only. I don’t know how rare it is today, but it certainly is a collectible, being a store exclusive.
I wish I could remember who gave me this cool Anthrax single. It could have been somebody I knew that worked at Sam’s (that narrows it down to 3 or 4 people) or somebody I knew that worked for Warner (narrows it down to 2). Either way, I thank you.
Onto the review!
ANTHRAX – “Cowboy Song” (1993 Warner Music Canada promo)
This promo single comes with no case or cover, but does have some liner notes printed on the CD itself. It was produced by Dave Jerden and Anthrax, and all guitars were performed by Scott Ian. Presumably, that means Dan Spitz doesn’t appear on the song.
This was recorded as a bonus track for the Japanese edition of Sound of White Noise, and can be currently found on the remastered edition of the same album. This is an awesome cover, very authentic to the live version that Thin Lizzy used to do, made famous on the Live and Dangerous album. The lead vocals are, of course, by John Bush. John Bush doesn’t attempt to do a Phil Lynott impression (thankfully, that wouldn’t be wise) but does deliver the vocal with his trademark grit.
Scott Ian nails all the guitar parts perfectly. You’d swear there were two guys playing. It comes as no surprise that Charlie Benate’s drum parts are also perfect. I think Brian Downey was and is one of the most underrated drummers in rock, and Benate does him justice.
I love this cover. Anthrax are well known for choosing and performing great covers. Add this one to the list.
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