hard rock

REVIEW: King’s X – Out of the Silent Planet (1988)

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Join us for a serious look at every King’s X studio album!…and more.

Scan_20151018KING’X – Out of the Silent Planet (1988 Atlantic)

The Texas Trio, the soul-bringers of progressive rock…call ’em what you want (I just did, I made those two titles up), King’s X are too important for you to ignore any longer. Β If you have been aboard the King’s X train already, then you know what I am about to tell you. Β If not, then realize that this band has been tragically ignored for aeons. Β Since 1983 in fact, as Sneak Preview, a glammy rock band who released one record before changing direction and name to King’s X. Β Even though Sneak Preview were certainly not hinting that there was more beneath the surface than just some good sounding rock and roll, it was obvious that they had the ability to write and to play. Β They madeΒ a few music videos, and “Linda” depicts them delivering hooks more typical of Bon Jovi or Van Hagar.

Supposedly, the band were not happy with the way the Sneak Preview album turned out. Of 1000 copies made, half were reportedly destroyed on purpose. Today copies sell for over $200.

Newly christened as King’s X, the band and producer/manager Sam Taylor went into the studio for Megaforce, a division of Atlantic, the label that launched Led Zeppelin. They emerged with one of the most startling and important debut albums of the 1980’s, Out of the Silent Planet. Β Starkly original and different, King’s X took the critics by storm. Β If only the record buying masses followed their lead.

According to esteemed scholar and Sausagefester Scottie Geffros, “From Out of the Silent Planet right up to Tape Head (1998), there is so much good stuff that the world in general should be embarrassed that ‘music fans’ never caught on to the greatness that is King’s X.” Adds fellow ‘Fester Johnny Cheddar, “I remember the first time listening to Out of the Silent Planet with Dr. Dave…we had been on a music buying mission, and he found an elusive vinyl copy; going cheap if I recall. It was a hard album to come by in those days. I was amazed to hear such a heavy riffy metal sound, but without the sinister vibe that goes with it.”

Starting with a dramatic space rock intro, “In the New Age” soon introduces the core King’s X sound: Β The soul, the dual vocal talents of Doug Pinnick and Ty Tabor, and their unique cross of influences. Β Ty and Doug have voices on opposite sides of the rock spectrum. Β Ty sings high and clean with a hint of Lennon, and Doug goes deep to the howling limits of his soul. Β Their trio format, with Jerry Gaskill (another talented singer in his own right) on the drums still allowed them to create expansive rock. Β They were not writing anything simple or pandering anymore; “In the New Age” boasts daring changes and a progressive bent that major labels weren’t usually hawking.

The central song might be the ballad “Goldilox”. Β On this track, the band have married a knack for a good pop song without compromising their integrity. Β “Golidlox” is a spring-like, brightΒ song of hope. Β Doug Pinnick has a voice to be envied by anyone, with power and the ability to evoke the classic soul singers of an era gone by. Β The other two back him to form a lush curtain of slightly psychedelic harmonies.

“Power of Love” has a pop rock chorus, but punched up by the hard hitting band. Β Vocally, this is a soul anthem. Β Musically, it’s anthemic rock and roll, good for head-banging or banana-dancing. Β It’s up to you — and that’s the “Power of Love”! Β  Although hard rock songs not unlike this were getting played on the radio, King’s X were probably too smart for radio. Β “Power of Love” melds seamlessly into “Wonder”, a song about divisions between us. Β “There’s a wall between us, a partition of sorts.” Β Yup, too smart for radio. Β Chunky like good peanut butter, and still fresh today, “Wonder” is indeed still a wonder. Β “This is church, this is state, rock and roll, Amazing Grace.” Β Then, “Should I go to the front, should I go to the back? Β Should I just pray or should I attack?” Β Considering it’s Doug singing (Doug is black), I wonder if some folks of limited intelligence might have found those lyrics just a little scary? Β This is some powerful shit.

Doug sounds wracked with pain on “Sometimes”, again tormented by the world he sees around him. Β As King’s X progressed, so too would Doug’s subject matter and way of approaching it. Β In 1988 he was deeply religious. “I stand here waiting for new Jerusalem,Β I know it’s greater than the world outside.” Β The pain subsides on “King”, which is an incredible high water mark of songwriting…and it’s on a debut album. Β Consider that for just a moment. Β Again Doug is using Biblical imagery in his words, but King’s X did not seem to preach. Β Even if some were starting to suspect that the titular “King” was Jesus Christ himself, hey look an awesome guitar solo!

The rumblin’ bassΒ ofΒ PinnickΒ shakes your teeth on “What is This?” Β Heavy and melancholy until the chorus kicks in, “What is This?” nails it again. Β “Far, Far Away” ceases the slamming temporarily, for some 60’s textures and dreamy Van Halen-esque chops. Β “Shot of Love” has a slight but noticeable jangle to its marching riffage. Β Out of the Silent Planet boasted numerous styles of rock on one album but also usually within a single song too. Β “Shot of Love” recalls gospel, marches, Queen, Judas Priest and Supertramp. Β Finally, “Visions” is heavyΒ on riffage, combined with heavenly choirs of vocals. Β Sabbathy riff changes, Motorhead tempos, Eddie Van-shred, and Beach BoysΒ harmonies. Β Put that in your pipe and smoke it.

1988 came and went, with King’s X winding up on many critics’ top 10 lists. Β As luck or perhaps just taste would have it, that did not translate into sales. Β But in 1988 that didn’t mean the end. Β That just meant you go back into the studio and make another album. Β A better album.

5/5 stars

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REVIEW: QueensrΓΏche – Condition HΓΌman (2015 Japanese edition)

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QUEENSRΕΈCHE – Condition HΓΌman (2015 Century Media Japanese edition)

As if it was not abundantly clear on their last album (2013’s self-titled), Queensryche seem to have no intentions of abandoning their heavy metal roots again. Β Furthermore when you have a significant lineup change, such as a new lead singer, you can’t just stand still. Β You have to keep progressing forward. Β The ‘Ryche used their last album to re-ground their sound, but for a followup you need more than that. Β Condition HΓΌman pushes the boundaries out once more, but not without keeping the metal intact.

Indeed, “Arrow of Time” sounds as if the quintet had been ingesting nothing but classic Iron Maiden for breakfast. Β Swift and viscous, “Arrow of Time” gets the job done in the requisite four minutes but not without exploring the exotic side of metal riffing. Β Imagine an alternate reality where Queensryche did not go in the highly technological direction of 1986’s Rage for Order album. Β Envision instead a timeline in which they followed The Warning (1984) with an album that continued to progress, but also go heavier at the same time. Β That album would have beenΒ Condition HΓΌman. Β “Hellfire” demonstrates this as well; the song would have fit on a heavier version of Rage.

“Guardian” demonstrates this even more clearly. Β With the vintage-style screams and vocalizations (Todd La Torre for MVP), metal riffing, but also Mindcrime-like progressive rock, Queensryche have hit upon a satisfying balance. Β Songwriting credits are various combinations of all five band members; all but “Eye 9”, written solely by bassist Eddie Jackson (a first, I think). Β The album has a cohesive sound, like five guys all pulling in the same direction. Β The production, by Zeuss, is punchy. Β  Queensryche have always employed elements such as sound effects and programming, andΒ Condition HΓΌman has these fixtures as well. Β 

Moving on, “Toxic Remedy” is Mindcrime-like, but denser and massive sounding. Β Pay attention to the way Todd La Torre layers his vocals on “Toxic Remedy”. Β He has arranged the vocals in his own way; this is not a carbon copyΒ of something else. Β “Selfish Lives” is the same. Β Yes, there are hooks and melodies that sound very Queensryche, but Todd is showing off his own personality more than before. Β  And he’s not taking the easy way out on any of it! Β Sounds like he is really pushing his own limits, especially on “Selfish Lives”. Β It’s quite remarkable how lucky Queensryche were to find a compatible guy like Todd, who is also able to stretch it out.

Another album highlight is the rhythmic “Eye 9”, the aforementioned Jackson composition. Β This Queensryche-meets-Queens of the Stone Age track blows the doors wide open in terms of direction by putting the rhythm first. Β It sounds like Queensryche, yet nothing like any prior Queensryche, simultaneously. Β “Bulletproof” puts a new slant on the Queensryche power ballad, keeping the emphasis on the power. Β  La Torre makes it his own — listen to the last note he sings. Β Sends chills up the spine. Β Speaking of chills, crossing the acoustics with the heavy chunky riffing on “The Hourglass” did exactly that. Β There are Pink Floyd influences coming up to breathe from time to time onΒ Condition HΓΌman. This is most obvious on “Just Us”, which is also very much like the slightly psychedelic acoustic side of Led Zeppelin. Queensryche have never done anything like “Just Us” before. Β “Silent Lucidity” this is not. Β The soulful singing at the close of the song is also unlike anything on a prior Queensryche song.

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For fans of the technical, fast side of Queensryche, “All There Was” will scratch that itch. Β With that pulsing technological rhythm and “Needle Lies” tempo, you are in for a ride. Β Don’t forget the blazing guitar histrionics. Β The final album track is “Condition HΓΌman” itself, 7:48 of dramatic progressive metallic rock. Β Check out the “Astronomy Domine” section after the fifth minute, just before it goes into that deliberate Mindcrime riff. Β If I had to pigeonhole the sound of this album, it would be “progressive metallic rock”, but pigeonholes are lazy. Β Still, as Commander Pavel Chekov once said, “If shoe fits…”

Holding out for the Japanese edition of the album, the bonus track “Espiritu Muerto” is the bonus track worth waiting for. Β Going sludgy forΒ 3:40, but topped with a soaring chorus, the bonus track is in the mold of the album but different just the same. Β It’s a long album though, and adding more material (even if good) can sometimes push a CD just a bit too far in terms of attention span. Β “Espiritu Muerto” is close to this line, but because it has enough personality of its own, it’s worth staying around for.

If any of these songs sound intriguing to you, check outΒ Condition HΓΌman. Β Fans who wonder where Queensryche could have gone had they adhered to heavier roads will find much to enjoy. Β They have never taken the easy way with any of their albums, but it is hard to imagine a fan of early ‘Ryche who won’t find something here to love.

4/5 stars

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REVIEW: Queensryche – Road to Promised Land (1995 EMI promo)

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QUEENSRΕΈCHE – Road to Promised Land (1995 EMI promotional “best of” CD)

20 years ago, good buddy T-Rev let me know this little treasure had arrived in his store (first discussed in Record Store Tales part 120). Β Released to promote the 1995 Promised Land tour, Queensryche’s Road to Promised Land AKA Arrived! was a neat little greatest hits package released well before their actual Greatest Hits several years later. Β This is a promo CD released by EMI in the United States, and it covers every Queensryche release to date.

From the original EP is not “Queen of the Reich”, but “The Lady Wore Black”. Β The ballad starting the set is an odd but explainable choice. Β Queensryche were playing “The Lady Wore Black” on tour, but Geoff Tate didn’t enjoy singing “Queen of the Reich” and tried to avoid doing so. Β Being so full of powerful metal drama, even as a ballad, “The Lady Wore Black” can work as an opener. Β Then “Take Hold of the Flame” follows, one of the best Queensryche songs of all time (from the first LP The Warning). Β Unfortunately that is the only inclusion from The Warning, although it is certainly a must. Β Geoff Tate used screams as a art form on this song like no other. Β You want metal drama? Β They opening tracks are Metal Drama 101.

Two tracks are selected from Rage For Order, and they are fairly obvious choices: Β “Walk in the Shadows” [“WALK WITH MEAT!“] and “I Will Remember”. Β It is a given that both are high quality songs, from an album that can be difficult to pick individual hits. Β The opening part of the CD feels rushed, with the critical first EP and two albums giving up only four songs. Β Keep in mind that these albums now make up a large bulk of Queenryche 2015’s set, although that wasn’t the case in 1995 with their original singer.

From the brilliant landmark concept album Operation: Mindcrime are three selections: Β “I Don’t Believe in Love”, “Eyes of a Stranger” and “Revolution Calling”. Β Once again these are fairly obvious choices, being the three singles from the album. Β Strangely, “Eyes of a Stranger” was not edited down and is the full 6:39 cut, complete with album outro. Β Their most successful LP yet, Empire, was also give three inclusions. Β “Best I Can”, “Jet City Woman” and “Silent Lucidity” were three great singles. Β I wonder why the title track “Empire” wasn’t used? Β I think it’s more identifiable than “Best I Can”.

Rolling into Promised Land for the final three tracks, it is plain sailing to hear the evolution of the band over their first decade. Β Although the metal got tuned down in favour of more drama and radio-friendly elements, one thing that never changed was their urge to experiment. Β Indeed, the first Promised Land single “I Am I” features plenty of daring sounds. Β (This version of “I Am I” fades out rather than skipping directly into “Damaged”.) Β From cello (by Chris DeGarmo) to tribal percussion to innovative vocal effects, “I Am I” proved that Queensryche could rock progressively in the increasingly alternative 1990’s. Β Lyrically, they were as serious as ever but more personal. Β The ballad “Bridge” was about DeGarmo’s relationship with his father. Β Finally, the heavy-as-plutonium “Damaged” closes the CD abruptly. Β That’s the problem with these record company assembled promo CDs. Β They are not designed to play as an album. Β They are designed for radio use and store play. Β In other words the only real consideration is including all the individual tracks you want to plug. Β Like “I Am I”, “Damaged” too was edited for radio. Β They shaved three seconds off in fades, because normally these songs flow together on album.

Rating a CD like this is kind of pointless, because it was never meant to be sold. Β But let’s say you don’t own any Queensryche, and you saw this used while wandering the shops. Β Would it be a good Queensryche purchase for somebody looking for a good overview of the classic years?

Yes. Β Absolutely.

3/5 stars

REVIEW: Feel – This (1994)

FEEL – This (1994 Feel)

Russian Blue followed their critically acclaimed demo tapes with a full length CD, but perhaps it was the long wait that killed their chances. Β Between 1991 and 1994, the entire musical landscape had turned itself upside down. Β A name change was in order to suit the new climate, and after using the name Deadmoon for a little while, they settled on Feel. Β Simple: one word, one syllable, and trendy. Β Would they be able to maintain a level of quality over a full-length CD?

Almost. Β There is very little dead weight on Feel This.

“I Become You” is brutalizing, menacing, grooving detuned grunge. Β TheΒ presence of the bass is felt on this heavy recording. Β What Feel had that was different from other bands was the Axl-like screech of frontman Jo E. Donner. Β Indeed, when Donner multi-tracks his high voice with his lower register, the overall feeling is very Axl. Β Donner bellows forcefully, blowing out the speakers but not without help. Β Guitarist Richard Gauci and drummer Mike Willerding were capable of playing challenging rock. Β The drum patterns are busy and and Gauci is able to both shred like a hero, and also create the kind of noise that you needed to do in the 90’s. Β The band were between bassists. Β Robo was no longer in the band, so there are a couple session players on the CD.

Several smouldering tracks in a row occupy the first half of the album. Β “What You Made of Me”, “Wild Eye” and the lengthy “Brotherhood” all boast heavy guitar and vocal hooks. Β Wimps need not apply; Feel go for the throat even with a slower tempo. Β The songs sound well thought out, with attention given to every shriek and guitar noise manipulation. Β The bass grooves are absolutely key to all of this. Β Rumbling and shaking like a good Soundgarden line, they deliver the bass chills that fans of such sounds love. Β But was it all too similar to the chilly winds that had blown in from Seattle? Β Feel had been growing heavier and groovier on the demo tapes already, so I believe this to be a natural evolution that happened independently from the Seattle scene. Β Witness other Canadian bands such as I Mother Earth, who also evolved on their own into something that fit into that 90’s box.

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The centerpiece of the album has to be “I Am Your Mind”. Β Long with a droning, irresistible chorus and cool lyrics — what’s not to like? Β This tune takes only one listen to bore its way deep into your medial temporal lobe. Building dramatically, every guitar hook will sink in hard, only for Donner to hit everything home with his powerful larynx. Everything is perfect — a song of this quality could easily have been onΒ Badmotorfinger or Superunknown. Hyperbole? I don’t think so.

The second half of the CD has fewer highlights. After being slammed in the face with so much heaviness, Feel were wise to put on an acoustic number next. “Ain’t Nothin’ Wrong” is good, and shows off the band’s Zeppelin influences especially in the vocals. It’s just that Feel unplugged doesn’t have the kick that Feel does fully electrified. On the other hand, another listener might say it’s the best track. The first skipper is “Under My Wing”, too slow and boring. Not enough Sabbathy slow, just stuck in the wrong gear. Back to the groove is the killer “Drip Sweet Blood”. Making use of trendy 90’s vocal distortion, Donner blows the speakers especially around the 3:15 mark with another hair-raising bellow — just awesome. “Stand on Walls” sounds something like a Skid Row outtake. It’s nothing outstanding, but it’s only 3:38. Closing the disc is “All”, which was formerly known as “Black” on the second Russian Blue demo. The psychedelic intro from the demo was axed, tightening up the song and amplifying its power. Alternating from soft to loud, “All” kind of does have it all, at least for 1994.

Feel could have got themselves off to a great career with This as a debut album. Unfortunately I think by 1994 it was already too late.

3.5/5 stars

REVIEW: Bon Jovi – New Jersey (Super Deluxe, part 2)

Concluding an in-depth review of the Bon Jovi New JerseyΒ Super Deluxe edition. Previous reading:

BON JOVIΒ – New Jersey (2014 Universal Super Deluxe edition, part 2)

Of all the Bon Jovi albums, New Jersey certainly deserved the Super Deluxe treatment. Β New Jersey‘s promotional cycle included two VHS releases, both present on this DVD:Β The old Wayne Isham tour documentary Access All Area, and New Jersey: The Videos. Β Isham was responsible for virtually every cool larger-than-life video Bon Jovi made. Β In 1988, trendy grainy black and white footage was all the rage, and so Access All Areas, where we will begin, has an over-abundance of it.

In a piece of incidental pre-show rehearsal footage, Richie Sambora sings “Purple Rain”, proving who the talent in the band always was. Β It is nice though to see everybody in the band hanging out, having a good time, and seeming like genuine friends. Β As for the audience, it’s amusing to see the giant hair from the perspective of today.

The sound of “Bang” by Russian metal band Gorky Park indicates we’re off to the Soviet Union. Β Bon Jovi were pioneering in being one of the only hard rock bands to play behind the Iron Curtain (they were officially sanctioned by the government), and this part of the show is certainly the most interesting. Β Bon Jovi even have a ten-man blues jam with the Russian band, building bridges at the end of the Cold War. Β The blues is universal. Β This visit leads to the massive Moscow Music Peace Festival, which I had on tape from MTV, and wore completely out. Β (Not shown: the backstage moment when Tommy Lee rips the shirt off Bon Jovi manager Doc McGhee’s back, for allegedly upstaging Motley Crue by using fireworks in Bon Jovi’s show, against prior agreement. Β It’s a long he-said she-said story involving McGhee who was managing both Motley and Bon Jovi at the time. Β Motley felt McGhee had prioritized Bon Jovi, and fired him immediatelyΒ after.)

The boys have a blast in the warmth of Rio de Janeiro, quite a contrast with snowy Moscow. Β  In Tokyo they are chased by a swarm of screaming girls. Β Through it all, even though they’ve been on the road forever and can’t wait to get home, they maintain themselves with a lot of joking around. Β Fortunately Isham captured this endearing footage. Β The live rehearsal stuffΒ is also excellent, up close and in the faces of the band.

In a very cool moment backstage at Wembley, Bon Jovi, Cinderella and the Scorpions work on covers together for a big jam. Β “Travelling Band”…holy shit, is that Elton John on piano? Β Sure looks like it. Β Rick Allen, Brian May, Lita Ford! Β “I am the happiest kid on Earth!” shouts an excited David Bryan. Β Another gig features Bon Jovi with the late comedian Sam Kinison on “Wild Thing”. Β At Tower Records, they are threatened with arrest by the riot squad if they perform, so naturally Jon and Richie break out the acoustics and do “Ride Cowboy Ride”. Β In swoop the fuzz, who had nothing to worry about. Β Alec John Such’s birthday is celebrated in West Berlin, where they visit the wall. Β (In a shivery moment, Jon is eyeballed by an East German soldier on the other side.) Β Their cover of “The Boys Are Back in Town” is performed, and Jon takes a chip out of the wall.

Jimmy Page is present at a three hour charity gig at Hammersmith, and they jam on “Train Kept a Rolling”. Β (Best moment: when Jon sings a Steven Tyler “wha-ga-ga-ga” in it near the end, just like Tyler did in Aerosmith’s version.) Β It’s clear that even then Jon was the boss — he alone makes the setlist, and says if something goes wrong he’ll call the shots. Β He comments he has “never been so nervous.” Β Bad Company’s “Shooting Star” is a duet with Richie Sambora, who had been playing it long before Bon Jovi formed. Β It’s a stunning version and it’s hard to imagine Bon Jovi ever doing anything this big again, both in terms of success and quality.

Australia! Β “Bon Jovi: We go everywhere, but we live nowhere!” says Sambora. Β “Love For Sale” is played at HMV for swarms of long-hairs both male and female (but mostly female). Β Sam Cooke’s “Having a Party” is another incredible cover selection, and you have to give Jon credit for that. Β The final show is a big multi-gig stand in Guadalajara, Mexico that almost never happened due to “politics” (money) and a riot! Β The first gig is postponed to the next day forcing Bon Jovi to play a double-header starting at 11 am! Β “We should go on stage in riot gear,” jokes (?) Jon. Β (They don’t.)

Access All Areas was a good rock doc for the time. Β It feels whitewashed and scrubbed clean of blemishes, but that was music in general in the late 80’s. Β The real pleasure is getting to see the other band members hanging out. Β Alec John Such seems a funny, talented guy with a great voice. Β David Bryan is clearly a lot more gifted than he gets to show off in the band.

The music videos (only mixed in stereo, unfortunately) are all you remember them to be: more mixtures of black & white, and colour footage, golly! Β Both versions of “Bad Medicine” are included. Β (More Sam Kinison!) Β There are funny interludes with the band in between the songs, joking around back stage. Β (Special guest: Skip Rope Skid Row’s Dave “Snake” Sabo.) Β “Me, if I wasn’t a musician, I’d be a drummer!” says Jon. Of the music videos, “I’ll Be There For You” and “Lay Your Hands On Me” are the coolest, just no-nonsense stage performance clips. Β “Blood on Blood”, which I’d never seen before, is a live version.

The DVD portion of this box set is a nice supplement, but you won’t be in a hurry to sit down and watch again. Β The black & white/colour back and forth is very tiring. Β Fortunately Bon Jovi seem(ed) like a nice bunch of guys from the neighborhood that have loads of talent, and fun to watch in any setting.

DVD: 3/5 stars
Bonus tracks: 4.5/5 stars
Album: 4.5/5 stars

Overall rating: Β 4/5 stars

Thanks for joining us for this massive review! Back to something else tomorrow.

REVIEW: Bon Jovi – New Jersey (Super Deluxe, part 1)

BON JOVIΒ – New Jersey (2014 Universal Super Deluxe edition, part 1)

BACKLOG! I received this box set over 10 months ago. Β We at LeBrain HQ are so busy with so much rock and roll that it has taken that long to finally give this entire box set a proper examination. Β Fortunately, we (the “royal” we) have already reviewed New Jersey itself, in March of 2014 before this box set was released. Β There is no need to repeat what was said in that review. Β It is still an accomplished album worthy of its 4.5/5 star rating. Β New Jersey was and easily remains a very high water mark. Β For this review we will look at all the bonus tracks and the entire DVD in detail. Β All three parts combined will probably give you theΒ most completeΒ look at the New Jersey Super Deluxe edition out there.

There are loads of bonus tracks to discuss, some of which were available before. Β Bon Jovi must have known this release was always in the cards. Β Look at the track list for their box set, 100,000,000 Bon Jovi Fans Can’t Be Wrong. Β Not one of these demos is on that massive five disc box set. Β Many of theseΒ tracks had been leaked a long time ago on bootleg CDs such as Keep the Faith/New JerseyΒ Outtakes, but never issued by the band. Β It’s naturalΒ to be cynical and say, “Well they must have been saving them for another box set like this one.”

“The Boys Are Back in Town” is an A-OK Thin Lizzy cover. Β When Lizzy wrote this song, Phil Lynott almost had the blueprint for the future of Bon Jovi plotted out. Β Bon Jovi, a back who love singing songs about the boys being back in town, were the perfect band to cover it and make it their own song. Β Cynics may laugh, but Richie Sambora and Tico Torres are quality players able to inject class into the cover. Β Keyboardist David Bryan uses the “organ” setting on his keys to offer appropriate backing for the boys. Β It’s hard to have a winner with a Lizzy cover and not sound like a bunch of jackasses. Β This one was recorded by Bruce Fairbairn for the 1989 anti-drug compilation Stairway to Heaven/Highway to Hell.

“Love is War” was good enough to be a single in its own right, but it was only the B-side to “Living in Sin”. Β Perhaps the reason it was chosen for B-side status was that the verses and chorus don’t quite jibe. Β The song has great, dark verses and a big old Slippery-like chorus. Β It doesn’t quite sound like a New Jersey song, butΒ it’s hard to track down today.

A very rare bonus track is an acoustic version of “Born to Be My Baby”, only available on a Japanese “Living in Sin” CD single. Β Fans love when Jon and Richie just sit down together with a couple acoustics and do a live-in-the-studio rendition of a hit. Β It’s an uber-rarity that LeBrain HQ did not even know existed before this box set was issued. Β As usual, Richie’s soulful singing reaches deep into your guts. Β His classical-influenced guitar solo is a masterpiece.

Famously, Bon Jovi once considered the awful title Sons of Beaches for their 1988 album. Β Disc two is called the Sons of Beaches Demos and there are plenty more great tracks here that are familiar to bootleg collectors. Β The opening demo version of “Homebound Train” is even bluesier and greasier than the great album take. Β Anyone who doubts the instrumental ferocity of Bon Jovi can check this out and see what the original lineup was capable of.

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“Judgement Day” opens with traditional “nah-nah-nah” Bon Jovi vocals, giving it a sound-alike quality to other more familiar Bon Jovi songs. Β It is good enough that it could have been on an album (or single B-side). Β Then “Full Moon High” (also known as “River of Love” on bootlegs) is familiar.Β  I recognize the music from somewhere else: itΒ became the Keep the Faith B-side “Save a Prayer”! Β The riff is intact, and what “Full Moon High” amounts to is an alternate 80’s version of it. Β It is just as great as “Save a Prayer”, and it is difficult to pick a preferred version. Β “Full Moon High” is an achievement, and Richie’s guitar playing isΒ nutso. Β “Growing Up the Hard Way” is back to the “nah-nah-nah’s”, and it sounds as if this is an early version of “Love is War”, but with a very different chorus.

With a slinky, dusky song behind him, Jon urges someone “Let’s Make it Baby”. Β This tune would have been good enough for Keep the Faith, but did not surface until a double disc version of These Days was issued in the mid-90’s. Β This is a noticeably different mixΒ from that release — more raw. Β Then “Love Hurts” goes into upbeat territory with a decent set of melodies to sing along to. Β It is a bit similar to “Love is War” once again, but that’s why these songs were never officially released before. Β I’ve had this song in my collection for 20 years, but not with this level of audio quality. Β Likewise “Backdoor to Heaven”, a ballad that fans have loved for a long time (just not officially). Β Again, this song was probably deemed too similar to others such as “I’ll Be There For You”. Β Same with “Now and Forever”, another ballad of high quality, but also similarity.

A harder-edged “Wild is the Wind” demo is otherwise very similar to the album arrangement, with some different bits on keyboards and acoustic guitars. Β Singling out Tico Torres as drummer extraordinaire, I love his hard hitting style. Β Same with the excellent “Stick To Your Guns”; it’s more or less already complete at the demo stage. Β The rawness is a beautiful thing…you can hear Richie talking at one point.

The one track of all of these which LeBrain HQ was most excited about is “House of Fire”, a song that Jon donated to Alice Cooper for his Trash LP. Β Cooper’s version was “unremarkable” [LeBrainΒ Trash review], but Bon Jovi did it right. Β If Alice didn’t release his own single for it, I wonder if Jon would have? Β One word: Β infectious.

Fans in the know have always loved “Does Anybody Really Fall in Love Anymore”, another ballad that might be deemed too similar. Β Another issue is that the chorus really reaches for the high notes, and Jon misses most of them on this demo. Β Somebody probably realized it would be a difficult song to bring to the concert stage. Β The bootleg version of this is more complete, with backing vocals filling it out. Β This demo, perhaps earlier than the one that was bootlegged ages ago, lacks all backing vocals and sounds like it may be live in rehearsal. Β “Keep going,” says Jon to someone, indicating this is likely the case.

IMG_20151004_091117“Diamond Ring” became such a fan favourite after the band played it live that this New Jersey demo was tried out again for Keep the Faith, and finally made an album in 1995 for These Days. Β Each arrangement of the ballad was different from the last. Β This one is the earliest, featuring bluesy electric guitars and organ. Β Its final incarnation was much quieter.

Very conspicuous by itsΒ absence: Β “Rosie”. Β This was written by Richie and Jon about someoneΒ they knew growing up (as many of their songs are). Β Desmond Child and Diane Warren helped them finish it, and it was recorded by Sambora for his first solo album Stranger in This Town. Β Since that album featured Tico Torres and David Bryan on drums and keys, you can almost consider that a Bon Jovi song. Β But why is it not here, with the demo sessions that it belongs with? Β It’s cynical but not unlikely to think it’s due to Jon and Richie’s feud. Β Shame. Β There are other Sons of Beaches demos missing that are out there on bootlegs, such as “Love is War” so don’t fool yourself, this is not a complete set of ’em.

Come back tomorrow and we’ll look at the final disc in this set, the DVD.

To be concluded…

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DVD REVIEW: AC/DC – No Bull: The Director’s Cut (1996)

Scan_20150926AC/DC – No Bull: The Director’s Cut (originally 1996, DVD 2008 Sony)

The Plaza de Toro in Madrid is an incredible looking venue. Β “Nice place you got here!” understates Brian Johnson. Β To film a concert video here seems an easy decision. Β A crane and giant wrecking ball dominate the scene. Β The ball swings and bowls over the backdrop! Β Enter: Β Angus Young!

“Back in Black”* is a natural opener: Β Everybody knows it, and the groove is impossible to ignore. Johnson’s voice is ragged and weak compared to the old days, although I think Brian sounds better in general today. Β A pre-crystal meth Phil Rudd dons spectacles, and hammers out the beat that, truthfully, he invented and does best. Β Having Phil back for that period of the band was a coup. Β It’s back to the Bon Scott years then, with “Shot Down in Flames”. Β Now Brian sounds more in his element, somehow seeming more in control on a Bon song. Β As if it took them one song to warm up, everything feels in gear now. Β Then, “Thunderstruck” is an interesting take, because Phil didn’t play this song before. Β Chris Slade was in the band at that time, and Phil doesn’t even try to imitate his style. Β He plays “Thunderstruck” his own way, which is fine. Β There’s a live version, with Slade, on AC/DC Live. Β With Phil on the kit, “Thunderstruck” is no longer filled with nervous energy, but is more in the pocket. Β It’s an interesting evolution. Β Contrast this with any live video of the current lineup playing the song with Slade today.

“Girls Got Rhythm” is an easy classic, which warms the crowd up with a newbie: Β “Hard as a Rock”*, the single from Ballbreaker. Β All but instantly, it sounds like a familiar classic. Β This is high quality rock, with Johnson’s voice in full shred. Β Colourful lights illuminate the stage, but only Brian and Angus are really mobile. Β Cliff Williams and Malcolm Young rock steadily, sticking to their respective sides, and stepping up to the mic for the big chorus. Β The crowd goes nuts when Angus himself speaks. Β The stage is huge, but Brian Johnson runs across every inch, interacting with the massive crowd as a veteran frontman can. Β Then AC/DC knock ’em down (down down) easily on “Shoot to Thrill”. Β There is a rock and roll purity to this show: Β A bunch of guys in jeans (Angus excepted), playing hard rock and roll, but contrasted with that is the massive stage. Β AC/DC can do it because people love the personalities of the band. Β Angus doesn’t miss a note, no matter where he’s running off to next.

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Phil smokes a cigarette during the blues number “Boogie Man”. Starting sluggishly, “Boogie Man” nails it as soon as Brian gets screaming. Β I’m sure AC/DC can play this kind of thing in their sleep! Β Angus has an extended solo during which he gets the crowd riled up and ready with his strip-tease moment. Β When he finally drops his drawers, his undies have the Spanish flag on them. Β Madrid eats every bit of it up. Β AC/DC clustered a bunch of new songs close to each other at this point, and “Hail Caesar”** is next. Β It’s time for a heavy prowler, and Caesar brings it on.

When the bell tolls, you know what’s happening. “Hell’s Bells”! Β Songs like this, “Dog Eat Dog”** and “The Jack” require no commentary. Β The sight of Johnson descending from a giant iron bell is pretty cool.

Last newbie of the night is “Ballbreaker”* itself, a blast of “shut the fuck up and listen t0 this” right in the face. Β This time, Brian is swinging from the wrecking ball, singing the whole time, kicking his feet in the air. Β AC/DC have crushed it…but there’s still lots more to go. Β “Rock and Roll Ain’t Noise Pollution”, “Dirty Deeds”, “You Shook Me All Night Long”**, “Rosie”*, “T.N.T.”…it’s all a good time, and you know them all. Β The only real critique is there is a gap in the setlist, with no songs from 1983-1988 appearing anywhere.

“Let There Be Rock” is, as usual, extended to epic length with Angus’ brilliant solo. Β First of all, it’s incredible that Angus still has this much energy after playing and stomping through a show this long. Β What’s really amazing is that everybody in the band is fully fueled for this full-speed song. Β Malcolm sips from a water bottle — that’s the key, folks. Β Hydration.

The cool part here is when Angus departs the stage (band playing on), to re-emerge atop the massive shoulders of a bodyguard and taken to a flying platform in the middle of the crowd! Β Many thrills later, Brian says goodnight, but you know he’s teasing. Β “Highway to Hell” commences with explosions, flames and Angus’ devil horns. Β And then, finally,the cannons” Β “For Those About to Rock” is the salute to Madrid , who witnessed an absolutely incredible AC/DC concert.

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The DVD bonus features are cool, as you should expect. Β The “Angus Cam” versions of four songs is plenty fun, by focusing solely on Angus in the edit. Β It’s quite incredible to just watch the man play, because it seems as if he is entranced, on auto-pilot, but totally in command. Β If there wasn’t a guitar around his neck you might think he’s having a seizure! Β Then come the moments when he looks the crowd in the eye, and the playing only gets more intense! Β Like I said: this is plenty fun.

Then we have two bonus tracks not included in the Madrid set: Β “Cover You in Oil” (Sweden) and “Down Payment Blues” (Florida). Β  “Cover You in Oil” is raw and sweaty. Β I don’t think the song is particularly strong, sounding a bit like a Blow Up Your Video outtake. Β Still, it’s always nice to get another new song on the DVD, since it’s doubtful a track like this will ever re-enter the setlists. Β The stupid music video footage that is edited into the tracks is annoying, however. Β Instead of watching Angus take a solo live, I’m watching him doing it in a music video. Β Bad editing decision. Β I like how Brian introduces “Down Payment Blues”: Β “This is from one of the albums…back in the 70’s…” Β Shit, he doesn’t know, he wasn’t there! Β But he gets the job done anyhow. Β And guess what? Β Brian Johnson is wearing the same damn blue shirt and hat at every show! Β His snarl adds to this version of the song.

What’s with the “Director’s Cut”? Β It seems the original 1996 VHS release (which I never saw) was rushed out for the Christmas season to the dissatisfaction of award winning director David Mallet. Β He did a new edit, and new stereo and 5.1 mixes for the DVD release.

4/5 stars

*Indicates this version is available in audio form on the 2 CD edition of Stiff Upper Lip.

**Indicates this version is available in audio form on the deluxe Backtracks box set.

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REVIEW REDUX: Ted Nugent – Shutup & Jam! (2014)

Scan_20150925 (2)TED NUGENT – Shutup & Jam! (2014 Frontiers)

Physical CD acquired. Β The original review can be found here, but this one is about 50% brand-new. Β The CD is sonically superior anyway.

Some rock fans have a love/hate thing with Ted Nugent. Β He’s a proud hunter (“kill ’em and grill ’em”), but a conservationist. Β He loves the right wing of the political spectrum and has nothing but loathing for the left, all the while taking great glee in offering his opinions. Β The second amendment is sacred to him…but so is rock and roll. Β It’s hard to outright hate a guy who has rocked so damn hard over the years, and non-stop at that. Β You gotta give him credit for the tunes.

Upon first listen, it is clear that the years have done nothing to Ted. Β The opening title track is faster, meaner and more fun than 99% of the flock. Β The great Gonzo still shreds a chaotically perfect solo as if the studio is Cobo Hall. Β β€œThere just comes a time when you just gotta rock,” he sings. Β Sounds good to me Ted, I’m on board for that! Β Ted keeps it rolling with a vicious riff on the excellent β€œFear Itself”. Β What a killer song. Β The message is pretty straightforward: Β he got nothing to fear but fear itself. Β “I get up every day, with a smile on my face, happy to be alive and I’m back in the race.” Β Ted offers no apologies, but tries to keep it positive. Β “Positive energy makes me smile,” he sings, but “victory makes it all worthwhile.”

Old pal Derek St. Holmes lends lead vocals to β€œEverything Matters”. Β A whole album of Ted’s shrieking has never been easy to swallow, so I’m always glad to hear Derek’s smooth pipes. Β By the slippery bluesy rock, you might think it’s ZZ Top. Β Early ZZ Top, at that! Β Somehow, Derek and Terrible Ted found a time machine back to 1972 and captured the sound on “Everything Matters”!

Speaking of old friends, Sammy Hagar (who is friends with everyone, except the current members of Van Halen) shows up to sing lead on β€œShe’s Gone”. Β It’s a ball-crusher of a song (basically just a variation on β€œGoing Down”), butΒ Β I road testedΒ the guitar solo, wailing with the carΒ windows down this summer. Β It passed the rock test. Β Sammy haters are gonna hate, but I don’t how you can hate him when he’s rocking like this with the Nuge. Β Even better though is the pure fucking joy in the riff for β€œNever Stop Believing”. Β Ted has been quite a riff merchant over the years, butΒ β€œNever Stop Believing” is another triumph, asΒ bigΒ as ever. Β Strap on your air guitars, folks: Β you’re gonna need ’em. Β The song ends on some really nice laid back picking from Ted, reminding me that he is one of the most underrated players from the classic rock era.

β€œI Still Believe” indicates to me that Ted really wanted to get his point across when he said he’d β€œNever Stop Believing”. Β The opening riff apes β€œHelter Skelter” shamelessly, but the rest of the track is pure Ted…with twang. Β I like that Nuge is singing fairly tame things like β€œI still believe in America” and β€œI believe in liberty” rather than β€œfuck the Democrats”. Β The sentiments are more inclusive.

My favourite track has turned out to be the silly titled β€œI Love My BBQ”. Β  I do love to barbecue, and I absolutely dig the shout-out to us Canucks: Β β€œI love my Barbeque, it’s what Canadians do, pull up a chair I’ll get a beer for you,” sings Ted in the firstΒ verse! Β A small minority may be offended but my mouth is drooling. But I really don’t think it’s Ted’s primary intention to upset you. Β He’s just being funny on this one. Β I mean, come on: Β “Tofu might just kill you babe, a tossed salad’ll make you weak.” Β Nudge nudge, wink wink. Β Poking the bear a bit. Β “Well the animals, they got rights…right next to my mashed potatoes, baby.” Β It is obviously intended as comedy, and that’s fine.

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I love my BBQ, too.

Kicking ass is Ted’s business and β€œThrottledown” is a full-throttle,Β pedal-to-the-metal rock instrumental. Β As always though, there is a twang to Ted’s dexterous picking. Β That’s what makes this different, and better, than middle of the road rock. Β Having said all that, I have no idea what β€œDo-Rags and a .45” is about. Β It sounds like Anvil, except for that title. Β Keeping the pace fast, β€œScreaming Eagles” doesn’t give up an inch, guitars fueled and ablaze. Β None of these songs overstay their welcome. Β Shutup & Jam features five songs in the 2 minute range in a row! Β β€œSemper Fi” is the last of these five, a stomper rather than a screamer. Β I come from a military family so I have no issues with Ted paying tribute to those in uniform. Β Some might find it all a bit too much; that’s up to you. Β Fear not, the song has just as much guitar shred as it does singing. Β Ted then tells us he’s going to β€œTrample the Weak Hurdle the Dead”. Β β€œWar is not the answer,” sings Ted. β€œI only know evil has got to go.” Β It’s a great tune and it’s not hard to swallow. Β And that’s the key. Β All of these tunes are immensely catchy with lyrics you can sing without having to worry about being considered a right-wing radical by your neighbours.

A bluesy repriseΒ of β€œNever Stop Believing” closes the album; a rough recording appropriate for the gritty blues approach. Β It’s a bit of a throw-away compared to the regular version, decent but not nearly as special. Β Ted’s playing is always the main reason to listen.

I have maintained that if only I heard Shut Up & Jam in the yearΒ 2014, it would have been a contender for the Top Five list that year. Β It’s not hard to understand why — it’s a killer record showing Ted is still in fine form today and hasn’t let the politics get in the way of a good rock song.

4.5/5 stars

REVIEW: Helix – B-Sides (1999)

Scan_20150918 (5)HELIX – B-Sides (1999 Beak Records)

The occasion: Β It was Helix’s 25th anniversary. Β How about an album, and some classic returning band members, for a good time?

The title B-Sides here is misleading; a B-side is a track that appears on the flipside of a single, and is often not on the album. No tracks on this album appeared on the flipside of any singles, at least not these versions. However, the misleading title does not mar the excellent music contained within.

B-Sides contains songs written and/or demo’d for various Helix albums from 1990 onwards. Some of these have been re-recorded, such as “Love Is A Crazy Game”, which appeared as an acoustic version on the Business Doing Pleasure CD. This version is electric and is much heavier. I could imagine this version fitting right in on an Aerosmith album. “S.E.X. Rated” has also been re-recorded. It’s the only song that actually appeared as a B-side, but it’s not the same version as on that single.

Various versions of the Helix band appear on this album, but most interesting is the lineup onΒ the bonus tracks. “Like Taking Candy From A Baby” and “Thinking It Over” are both from the sessions from Helix’s excellent first album (Breaking Loose), left unreleased until now. “Thinking It Over”, a terrific pop rock song, is a Del Shannon cover. Β Helix worked as Shannon’s backing band during an early 70’s Canadian tour. There are also three songs by a reunited “80’s Helix”, and it’s great to hear that version of the band again.

In a way, it’s a shame that this album was given the title and terrible album cover that it has. Brian Vollmer and Co. could have simply put this out as the next Helix album, which mayΒ have given it the respect it deserves. From the ballads to the heavy stuff, this Helix CD has a bit of everything you already liked about the band, with a modern edge. Every song kicks, there’s not a weak track in the bunch. By the time you get to the bonus tracks, Helix have already pummelled your eardrums.

Helix fans absolutely need to hear this music; not B-sides but in fact some of Helix’s best stuff. Along the way, there are appearances from pretty much every major Helix member from the indi days to the mid-90’s. You will even hear songs written and performed by Paul Hackman, the late Helix guitarist who was tragically killed in a 1992 auto accident. Β The major selling point of the disc was that three songs featured a reunion of the surviving members of the classic 80’s Helix. Β With Hackman gone, that consisted of leader singer Brian Vollmer, guitarist Brent “the Doctor” Doerner, bassist Daryl Gray, and drummer Greg “Fritz” Hinz.

Personal faves:

  • “Thinking It Over” which my wife thinks sounds like Sloan.
  • “Devil’s Gate”, hard and hammering.
  • “You Got Me Chained”, with killer horn section.
  • “Take It Or Leave It”, moody and dark but catchy as hell.

Final bonus: Β a booklet absolutely chock full of never before seen photos. Β A real treat!

5/5 stars

REVIEW: Warrant – Dirty Rotten Filthy Stinking Rich (Remaster)

Scan_20150915WARRANT –Β Dirty Rotten Filthy Stinking Rich (1989, 2004 Sony remaster)

In 1989, I bought this album as soon as it came out, based on hype alone — never heard a note. Β Put it on, and felt immediately that this was a middle-of-the-road hard rock album with littleΒ of their own to bring to the genre. Β That didn’t stop me from becoming a big fan, of course. Β I haven’t playedΒ Dirty Rotten Filthy Stinking Rich in about a decade. Β I wonder what it sounds like today?

I hate to speak ill of the dead, but I think one of the reasons my love of Warrant didn’t last was Jani Lane. Β I’m sorry, Warrant fans. Β I don’t think Jani’s voice was anything special. Β He had an ability to deliver pop hooks, but he always seemed to live in the shadow of other singers who had more character to their voices. Β I mean no disrespect to Jani, but that is the way my ears have always heard it.

Things sure started on a great note. Β “32 Pennies” is just fun hard rock, with loads of hook and that glam rock riff that Motley Crue mastered a few years prior. Β Beau Hill’s production is bland but not bad. Β There is a vague Aerosmith vibe, crossed with Motley and Poison — 1989 in a nutshell (or should I say a Ragu jar?). Β “32 Pennies” is still good for rocking out to, and I have to admit that the guitar solos smoke. Β Similar is “Down Boys”, the first single and video. Β Even today, this is probably the catchiest thing Warrant have ever done. Β It’s pure nonsense, of course:

Where the down boys go? Go!
Where the down boys go? Go-oh-oh-oh!
Where the down boys go? Ya,
I wanna go where the down boys go, baby!

“Big Talk” was a single too, and I had forgotten all about this one. It boasts some fun lite-Lizzy guitar harmonies and a great chorus. Count this as another good Warrant tune. None of these songs will challenge the listener in any way, but they have enough guitar and hooks to keep you engaged. But what happens when you throw a ballad into the mix?

Dirty Rotten Filthy Stinking Rich had two ballads, the first of which was the electric “Sometimes She Cries”. A solid chorus made this one a hit, although you’d be hard pressed to tell the difference between this and a Bon Jovi song. There are a few cheesy key changes and some absolutely ball-busting notes that Jani hits, and it’s all not too bad. Side one ended on a speedy rocker: “So Damn Pretty (Should Be Against the Law)”. It could be a Motley Crue outtake from Theater of Pain, but it’s not. Faceless, with turgid sounding drums, all it really had going for it is velocity. Fun, but derivative. The guitar solos are the best part.

The title track “D.R.F.S.R.” is pure crap. Lyrically, musically, and production-wise, this sucks. I really can’t believe how bad the drums sound. This was once considered acceptable! Β “In the Sticks” isn’t bad. Β It sounds vaguely like another song that I can’t quite think of right now. Β But that goes for the whole album! Β It’s still a very enjoyable song, with that late-80’s good time slow riding vibe. Β Cruisin’ with the windows down.

The big hit, the one everybody remembers today, was the acoustic ballad “Heaven”. Β It’s really hard to be objective about this song, because I used to be so into it, but it makes me cringe today! Β Let’s just move on.

“Ridin’ High” brings the thrills back. Sounding a heck of a lot like their future tourmates Poison, Warrant found the gas pedal again. The closing track “Cold Sweat” is much in the same vein. You gotta give Warrant credit for one thing, they wore their influences on their sleeves. The only problem was, it was the same bunch of bands that influenced every other band on the Sunset Strip in 1989. When you buy this Warrant album, you are at least getting what you think you’re getting.

Sony threw on two bonus tracks for this edition. Both are 1988 demos that failed to make the cut. Ironically, for demos, the drums actually sound better! They don’t sound like samples on these demos. “Only A Man”, an acoustic ballad, sounds entirely more sincere and classic than “Heaven” does. It’s harder edged and resembles Skid Row, who had yet to release their first album. “All Night Long” is a slow rocker, but it’s no better or worse than the rest of the album. Both songs could have been on the album originally had it not been limited to just 10 tracks.

Conclusion: Β What stood out in 1989 fades into the woodwork today.

2/5 stars