hard rock

REVIEW: Orange Goblin – Back From the Abyss (2014 GUEST REVIEW)

NEW RELEASE – GUEST SHOT by UNCLE MEAT

GOBLIN1ORANGE GOBLIN – Back From the Abyss (2014 Candlelight)

When the mighty Orange Goblin started their musical journey, they really were more of your typical “Stoner Rock” fare.  Now to be fair, the word “typical” there refers to the overall sound and style of their music.  Right from their 1997 debut album, Frequencies From Planet Ten, it became apparent that if Orange Goblin was to be labelled “Stoner Rock”, then they were rightfully placed on the top shelf with the elite bands of that genre.  With their 2012 release, A Eulogy For The Damned, Orange Goblin dabbled sparingly with other forms of heavy rock.  The title track being the best example of that, which I feel is one of the best pieces of hard rock ever released.  But still, the album as a whole really was one big heavy metal punch to the head.  Orange Goblin’s latest musical journey  is more like a series of methodical jabs, as if the 12 songs were 12 different rounds of a barbaric boxing match, each round finding a different way of attacking your senses.  The aforementioned title track from Eulogy of the Damned showed me that Orange Goblin were capable of becoming something very different than just a “Stoner Rock” band.  Back From the Abyss sees the transformation completed.  After a couple listens I truly believe that when Orange Goblin’s career is assessed in retrospect, Goblin’s latest album will go down as their quintessential release.

The title of Orange Goblin’s 8th release refers to the gruelling two-year long tour that followed the release of Eulogy of the Damned.  It was on this tour that I had the privilege to see them live in London, Ontario last year.  They were outstanding live.  It was literally a fucking metal party.  The band seemed to enjoy the festivities as much as the crowd did.  Vocalist Ben Ward towered over the crowd like Conan and had his fellow barbarians eating out of his huge palm.  It should be noted as well, that as intimidating as Ben Ward is on stage, he was completely the opposite upon meeting him after the show.  He was a true gentleman and his overall coolness was very impressive.  Taking the experience of their first full North American tour to the studio produces Back From The Abyss. I personally was praying to the Metal Gods that Orange Goblin’s next album would continue to explore more musically diverse ways of punching you in the fucking head.   This album delivers much more than that.  This could very well be Orange Goblin’s finest hour.

“SABBATH HEX” –   The album starts off as it should with reckless Goblin abandon.  According to Ben Ward the song title came from an idea he once had to put a curse on anyone who doesn’t like Black Sabbath.  This is a great chugging riffy opener.  Starting from track one you start to realize Ben Ward is becoming more than just a growler.

“UBERMENSCH” –  Get in the car with Orange Goblin.  Fasten your seatbelts as they hit the gas pedal and tear it up.  That pretty much describes this second track.  Great riff during the verses are reminiscent of early QOTSA.  Riff is king.

“THE DEVIL’S WHIP” – This song was released weeks ago, and a lot has been written already about this being a blatant Motorhead memorial.  That is exactly what it is.  I find the track reminds me of the song “Iron Fist”, but I am sure every Motorhead fan would be reminded of a different track themselves.  From the beginning “Alright!” cue, this song is indeed a Kilmister-worthy tribute that speeds along at a break-neck pace.

“DEMON’S BLUES” – One of the greatest things about this album for me are the many different vocal approaches.  While most of this song sees Ben Ward barking out the blues in his special way, “Demon’s Blues” begins with spoken word that has a very doom metal feel.  I really like the melody-first approach on this song (which is even more apparent on the chorus), and it seems to foreshadow what is to come.

“HEAVY LIES THE CROWN” – It is official now.  Orange Goblin has progressed from being a great heavy rock band to being true songwriters.  This track is fucking awesome.  I love the lyrics, the great guitar work and the anthemic vocals.  In a recent interview, Ben Ward compared the ending chanting vocals to early Manowar and I can totally hear that.  For me, the last couple minutes of this track sounds like if Thin Lizzy had written the Game of Thrones theme song.  Best piece of music so far on the album.

“INTO THE ARMS OF MORPHEUS” –   Well, I did say “so far”.  “Into the Arms of Morpheus” starts off with a very “NIB”-like isolated bass line.  As this song marches on, Goblin launches into the molten blues they do so very well.  I love the ending of this song.  This might be the best guitar work I have ever heard from guitarist Joe Hoare.  It is becoming apparent that Orange Goblin are really challenging themselves as songwriters now.  And that theme continues with the next track as well.

“MYTHICAL KNIVES” – This pirate-themed track shows Ben Ward experimenting even more with his vocal approach.  More doom-esque tones and even parts that sound more like Gregorian monk chanting than rock vocals.  “Mythical Knives” = Melodic Power.  Nuff said.

“BLOODZILLA” – Orange Goblin warns you of what you are in store for as Ben Ward screams “Go!”  And as “Bloodzilla” began, there I was, heavily cutting in tribute to the wondrous metal before me.  I found myself wishing someone was with me while I was listening to this.  This will be an instant live staple.  I love the ending riff of this song, which repeats over and over again, and brought to mind for me a kind of heavy metal version of the ending to “Layla” by Derek and the Dominoes.

“THE ABYSS” – At times this track veers more towards Alice in Chains rather than the Sabbath-based approach that usually dominates their material.  Rearing its not so ugly head again is the doom metal sound I mentioned earlier.  In general, I am not a fan of the style of doom metal.  However I find that the sprinklings of doom throughout this album are simply a great compliment to the songs.  Once again another terrific Orange Goblin instant classic.

“TITAN” – The first of two instrumentals on the album, “Titan” may actually be my favorite piece of music on Back From The Abyss.  Very reminiscent of Iron Maiden, as well as shades of Thin Lizzy once again.  Even more surprising is that parts of this song actually remind me of Dream Theater or Queensryche.  Just another example of Orange Goblin having a lot more up their tattooed sleeve than we thought they did.

“BLOOD OF THEM” – With lyrics inspired by H.P. Lovecraft, and even more diversity in the vocal approach, “Blood of Them” comes across as an extremely heavy track both lyrically and sonically.   Love the spoken word at the beginning of the song.  Simply another great track on this album.

“THE SHADOW OVER INNSMOUTH” – The second instrumental on Back From The Abyss ends the album in style.  I found that this track reminds of “The Zoo” by the Scorpions, but with many more riffs and some off-beats.  Just a great guitar-based track which again proves that melody is becoming king to Orange Goblin.  In an interview, Ben Ward stated that they are thinking of using this track is their intro when playing live.  That would be a great choice.

In closing, Back From The Abyss impressively proves that Orange Goblin are not just a band writing heavy songs anymore.  Orange Goblin are songwriters that happen to play heavy rock and roll.  What category do you put Orange Goblin in now?  Who knows and who cares.  All you need to know is that this album is Top Shelf Rock.  Based on my previous experience seeing this band live, I can only imagine how good these songs will be to see live.  If you get the chance to see Orange Goblin live, you must do so.

5/5 stars

Ester Segarra

REVIEW: AC/DC – “Play Ball” (2014)

AC/DC – “Play Ball” (2014 Columbia)

Holy shit, AC/DC’s back. When we all heard about Malcolm’s health problems, I thought that was it. I really didn’t expect them to carry on with Stevie Young — but here he is, on AC/DC’s great new single “Play Ball”.

Judging by “Play Ball”, not much has changed in AC/DC land.  The flavour is still distinctly AC/DC: upbeat, great mid-tempo groove and solid riff.  And I swear you can hear some different fingers on the strings.  Listen carefully.  Yet regardless of losing arguably the most important member of AC/DC, it sounds like nobody else.  Brian’s still growling, his voice pretty much unchanged since the Ballbreaker album in ’95.   Musically, I’m thinking in territory similar to 2000’s Stiff Upper Lip.  I’ve heard the song six times as of this writing (three on the radio, three on my PC).  It’s nothing that will go down in AC/DC history as one of their greatest singles, but I can’t say anything bad about it either.

4/5 stars

Rock Or Bust tracklisting:

01. Rock Or Bust
02. Play Ball
03. Rock The Blues Away
04. Miss Adventure
05. Dogs Of War
06. Got Some Rock & Roll Thunder
07. Hard Times
08. Baptism By Fire
09. Rock The House
10. Sweet Candy
11. Emission Control

REVIEW: Skid Row – Forty Seasons: The Best of Skid Row (Japanese version)

SKID ROW – Forty Seasons: The Best of Skid Row (1998 Atlantic Japan)

US cover

US cover

The Japanese fans always seem to get the coolest stuff.  Look at this package: shiny silver, instead of the boring grey of the American release.  Digipack with foil stickers!  Bonus track!  So much cooler than the standard release here.  Hell, the Japanese title is even spelled F-o-r-t-y, where the American version has the briefer 40.  Why?  Not sure.  Either way I’m glad to have this version, which fell in my hands thanks to customer Conrad in the late 90’s.  He sold it to me with stickers intact and still sealed; all that is missing is the obi strip.

Whether you own Forty Seasons or 40 Seasons, the party starts with “Youth Gone Wild”.  Any commemoration of the Sebastian Bach years should open with that track.  Although “Youth Gone Wild” is Bach’s signature track today (along with “I Remember You”), he actually wrote neither.  Some fans would be surprised how little Bach has written in Skid Row, and indeed he only has two writing credits on this greatest hits disc.  What Bach brings to the party is his spirit, attitude, and incredible voice.  When Skid Row came out in ’89, Bach was almost instantaneously a 21 year old superstar.  He had the ego to deliver the rock star vibe in concert and in print, and he certainly had the vocal chops.  This is why Bach has remained a thorn in Skid Row’s side today, 15 years since hiring Johnny Solinger to replace him.

Track two is a little too soon for a mellow song in my opinion, but “18 and Life” works in this slot due to its dark vibe and powerful choruses.  The singles “Piece of Me” and “I Remember You” are the other representations from album #1, although I definitely could have done without “Piece of Me”.  Skid Row have written much better heavy rockers since.  “I Remember You” is a song I still haven’t really tired of, thanks to Bach’s timeless performance.  Every time Baz sang this tune in Toronto, the place went insane, as Bach always sang it for his old stomping grounds.  Rachel Bolan and Snake Sabo may have written the song, but when I think of “I Remember You”, I think of Toronto.

Skid Row’s second album Slave to the Grind blew away the first.  I’m glad “The Threat” was included.  It may not have been a single, but it was one of the outstanding album cuts.  Equally solid was the bass groove of “Psycho Love”, which is relentless.  Skid Row really turned up the octane on that second album.  I think both tracks outshine the single “Monkey Business”, but nothing can overpowerful the thrash metal of “Slave to the Grind” itself.  When it was released, I couldn’t believe how full-on Skid Row had become.  This is a high water mark of heaviosity.

“Quicksand Jesus” represents one of the three slow tunes on Slave; I would have selected “Wasted Time”.  “Quicksand Jesus” is an outstanding song, and so is the other slow tune not included here, “In A Darkened Room”.   “Wasted Time” is so clearly above and beyond either of those two, that I can’t understand why it’s not on this CD.  It has something special to it, like “I Remember You” did.

FORTY SEASONS_0005So the first half of the CD covers the first two Skid Row records with all the big hits.  The second half covers the rest, plus rare and unreleased stuff.  I love the third Skid Row record, Subhuman Race.  I consider it a great metal record in the context of the mid 1990’s.  For some reason, none of the Subhuman songs included here are the album versions.  I know the band fought with Bob Rock over the production on that album, and maybe that is why.  “Into Another”, which might be considered a slower song, is remixed making a little lusher.  The single “My Enemy” is also remixed, perhaps to tame down the St. Anger-esque drums.  My favourite Skid Row ballad, “Breakin’ Down” is remixed as well, but you have to know the song really well like I do to notice by ear alone.  (Listen to the guitar accents.)  Overall it’s more polished and finished, which is fine, because the album version was actually more or less just the demo version.  Lyrically the song is a message from Sabo to Bach, about their failing relationship.  Bach reportedly received the demo, sang to it, and that’s what was put on the record.

The excellent banger “Frozen” is presented in demo form, which is interesting but inferior to the excellent, slamming album version.  Finally, “Beat Yourself Blind” (Bach’s favourite song from Subhuman Race) is live.  What an awesome tune live.  This is from the Japanese Subhuman Beings on Tour EP. As great as the stuttery album version is, the live one is more fluid.   I’ve heard Rachel Bolan say the Subhuman album “sucked”.  I don’t understand how he can say that, and I think the five songs here prove my point.

The album closes with a pair of treats: unreleased songs!  “Forever” from the first album’s sessions is better than many of the songs on that record!  Who chooses these songs?  Perhaps it was a bit too derivative of other popular 80’s bands, but Sebastian makes it sound like nobody else but Skid Row.  This not only should have been on the album, but could have been a hit single.   Then there’s “Fire in the Hole”, a great little slammer that didn’t make the second album.  This time I agree.  That second album is incredible and “Fire in the Hole” isn’t up to those high standards.  It’s definitely better than many bands’ album tracks, but not Skid Row.

Last of all, the lucky Japanese got the Ramones cover “Psycho Therapy” from the B-Sides Ourselves EP (1992).  This is the only inclusion from that EP, and it’s a gooder.  Rachel sang lead (with Taime Downe of Faster Pussycat backing him).  We all know Rachel’s a punk guy, and I think that’s the side of Skid Row that clashed with Bach’s metal tendencies.  Just my theory.

Great CD, loads of fun and value.

4.5/5 stars

REVIEW: Van Halen – For Unlawful Carnal Knowledge (1991)

VAN HALEN – For Unlawful Carnal Knowledge (1991 Warner Bros.)

What a frustrating experience this album was for me.  This was supposed “the one”; the album that would please the DLR fans and finally unite Van Halen fandom.  Heavier with only one ballad, For Unlawful Carnal Knowledge was to be a statement.  Edward Van Halen had said that neither 5150 nor OU812 were ever properly finished to his liking.  In both cases, the band were under pressure to get out there and tour (OU812 because of the 1988 Monsters of Rock).  F.U.C.K. was to be the album that he finally got to spend time on and properly finish.  It was also Eddie’s first album using his new Ernie Ball guitars.   I expected my brain to be blown.

And it was, or it was by the first single at least.  “Poundcake” lived up to the promise.  Sure, lyrically it was…well, pretty stoopid, but musically?  Van Halen had some balls back!  This motherfucker grooves like a slow train.  As far as guitar tricks went, Eddie went all out with harmonics, taps, and…drills?  The shimmery guitars were subtly different from Eddie’s classic “brown sound”, but a guitar sound is an ever-evolving quest.  On this song, his rhythm guitar tones recall his friend, Brian May.  With “Poundcake” as a first single, I couldn’t wait to hear the whole album.

MuchMusic came close to banning this video

I was given the CD (same copy I still have) on my birthday in ’91, by childhood friend Bob.  I still remember popping the CD in for the first time that afternoon.  Then a few days later it was given to me again (this time on cassette) by my Aunt and Uncle!

Momentum is maintained on the second track, “Judgement Day”, heavier than the first.  The riff is anchored by a whammy bar trick, and it’s tasty.  I cannot find fault with “Judgement Day”.  This is what I wanted and hoped for from the new Van Halen album.  The groove is still there, Alex and Mikey gelling in a relentless way.  Sonically, both guys are recorded better than ever.  The bass and drums on For Unlawful Carnal Knowledge are really something to behold.

Then, things slide.  The awful “Spanked” is the worst song on the album, and possible contender for worst Van Hagar song yet.  “All you bad bad boys, call her up on the spank line,” sings Sammy with a straight face.  The sad thing is, the song would have been a fine instrumental, or basis for something with David Lee Roth.  Sammy ruins it with shitty lyrics and a shitty melody.  Too bad.  “Runaround” is a good song on first and second listen, but you tire of it quickly.  It’s bland, as is much of F.U.C.K.  The problem with “going heavy” for an album is the risk of losing diversity and texture.

The 7-minute “Pleasure Dome” can barely be called a song.  Organized chaos with some lead vocals, yes.  But it’s barely a song.  There are moments of brilliance contained within (the drums in particular) but it’s not particularly worthy.  And this was the side closer.

VHFCK_0002

As crappy as “Spanked” is, “In ‘N’ Out” is virtually a carbon copy.  It has some sparkling guitars to go with it, but like “Spanked”, the song sucks.  I can’t believe somebody didn’t say, “Guys, let’s cut the album down to 9 tracks like we used to do, and leave those two for B-sides”.   “Man On a Mission” isn’t much improved.  Just dull rock with dumb lyrics.  Totally uninspired.  It’s just four guys playing music without much direction other than, “turn it up!”

Things change up a little bit on “The Dream is Over”.  This also-ran isn’t a bad tune, though nowhere near single quality for Van Halen.  It’s at least a step in the right direction.  It feels as if the album was in a slumber, and it has now woken up — the title is apt.  And thankfully Sammy isn’t singing about girl parts for a change.

Van Halen didn’t consider “Right Now” to be a ballad, but it’s the only song with a keyboard.  It’s a welcome oasis in the desert of monotonous rock.  It’s a great song.  I don’t think anyone can say that it hasn’t been played to death, so I don’t need to comment further.  MTV awards, Pepsi, blah blah blah.

Nice suit.

“316” (named for Wolfy’s birthday 3/16/1991) is an acoustic guitar part that Eddie had been playing live for years.  Later, Eddie used to play this piece for Wolfgang while still in the womb.  But it’s just a brief 90 second instrumental, a segue into “Top of the World”, also a single.  It took a while for me to recognize the riff.  In fact, I didn’t pick up on it until I heard this song following “Jump” on the album LIVE: Right here, right now.   Only then did I realize:  it’s based on the outro riff from “Jump”!  So they re-used that oft-forgotten riff and built a new song around it.  It’s a good song, very pop rock, but a suitable album closer.

As high as this album charted (US #1), I’m convinced For Unlawful Carnal Knowledge is one of the albums responsible for the death of hard rock in 1991.  Sure, a lot of people bought it.  But a lot of people also didn’t like it very much.  Maybe they were getting tired of the schtick, but I do know I found it really hard to proudly blast this album out of the car.

2.8/5 stars

REVIEW: Journey – Red 13 (2002 EP)

Welcome to the end of Week of EPs! We checked out some famed and obscure EPs all week:

MONDAY: Aerosmith – The Other Side (1990)
TUESDAY: Wolfsbane – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990)
WEDNESDAY: AC/DC – ’74 Jailbreak (1984)
THURSDAY: Marillion (as “Remixomatosis”) – You’re Gone (2005)

JRNY RED 13_0003JOURNEY – Red 13 (2002 Journey Music)

I chose an obscure, semi-forgotten release to end the Week of EPs.  Time seems to move slowly in Journey-land.  Their first track released with “new” singer Steve Augeri was in 1998, and the album Arrival was released in 2000. (2001 in America.)  Generations wouldn’t come out until mid-2005.  There was a lot of upheaval at the time for classic rock bands like Journey who were lacking key original members.  No longer on a major label, Journey tried releasing a self-produced EP on their website in 2002.  It came and went without a lot of people even noticing.  Fans who knew what was going on were interested in what Journey might sound like now, free of the constrictions of a record company.

I don’t know where the title Red 13 comes from, but if you add up studio albums including the soundtrack Dream After Dream, Red 13 would be the band’s 13th studio release.

The fact that there’s an intro (simply called “Red 13”) tells you that Journey are at least stretching their wings a bit.  It’s an interesting intro, with programmed techno beats, new-agey prog keyboards, and noisy, exotic Schon licks.  Even though I loathe these kinds of beats, I am at least excited by the sound of Journey experimenting with their sound again.  This intro takes us directly into a song called “State of Grace” which expands on the exotic vibe.  It’s one of the heaviest things recorded by Journey to date.  Augeri lacks the vocal superpowers of Steve Perry, but he fills the role acceptably well.  “State of Grace” combines anthemic Journey with experimental, guitar-dominated hard rock.  It is a successful mix.  Red 13 is off to a promising start.

JRNY RED 13_0001The track simply titled “The Time” is a Zeppelin-esque slow groove, with nary a keyboard to be found.  Instead, Schon and Jonathan Cain lay on the rhythm guitars, complimenting what the other player is doing.  While something like “The Time” is an admirable achievement to a listener such as myself, I don’t think average Joe Six-pack Journey Fan will appreciate what the band are doing here.  They might consider it a “piss break” song.  Meanwhile I’m hanging on waiting to see what Schon’s going to do for a solo.    (Answer: he does what Schon does!)  I’ll also single out drummer Deen Castronovo as an MVP on this song.  I’ve always been candid about my preference for Steve Smith in Journey, but this song is a different kind of Journey and Deen’s frenetic fills are more than ample.

The third song “Walking Away from the Edge” was co-written by, of all people, Geoff Tate.  This is a solemn piano-based ballad.  It resembles some of the things the band did in the past with Steve Perry.  Unfortunately it’s not as memorable as, say, “Send Her My Love”.  It does boast a powerful chorus but at 6:17, the song is a little too long.  It fades abruptly, and then the final song is “I Can Breathe”.  This one is little more than a standard sounding Journey rocker.  It is not particular special unfortunately, until close to a 3-minute mark when a horn section kicks in.  They should have had the horns there from the start!

Red 13 is not a bad EP, but the production is sub-par, as can happen when bands self-produce.  However, had a producer been there in the studio the songs would undoubtedly turned out differently so that’s the trade off.  The worst thing about it is the band photo, which just looks cheap and bad.  What is that on your face, Neal?  Dirt?

3/5 stars

REVIEW: AC/DC – ’74 Jailbreak (1984)

Welcome back to the Week of EPs! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure.

MONDAY: Aerosmith – The Other Side (1990)
TUESDAY: Wolfsbane – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990)

AC/DC – ’74 Jailbreak (1984 Epic)

As most AC/DC fans are aware, their Australian and American discographies differed greatly in tracklists and cover art.  Australia also got one more record (T.N.T.) than we did.   This amounted to a number of Bon Scott tracks that were left off the original American releases.  It made sense to eventually release them, so in 1984, five tracks were released on the tenth anniversary EP, ’74 Jailbreak.  Of note, none of these songs are actually from 1974.

The track “Jailbreak” itself didn’t become a hit until this compilation was released.  It was originally on 1976’s Dirty Deeds Done Dirt Cheap in Australia.  It definitely sounds from that era, and it’s long been one of my favourites.  I found that little riff irresistible, then and now.  I love Bon Scott’s storytelling lyrics, still cool today.  “Big man lying on the ground, with a hole in his body where his life had been.” And c’mon, you have to love the music video, or you have no sense of fun in your rock!

The next four tracks were all from High Voltage, another favourite album of mine. “You Ain’t Got a Hold on Me” is one of those slinky Bon Scott rockers. I like the spare riff and Angus’ bluesy playing. Uptempo “Show Business” is a wry dig on the business side of rock and roll. “You’re smoking butts, they smoke cigars.” Angus’ playing here is especially tasty as he takes his Gibson SG for a ride. Then “Soul Stripper” takes it to a dirty place. AC/DC return to that slinky territory they used to do so well with Bon. “Soul Stripper” is a highlight among highlights, with those quieter bass-driven verses. “Pulled out a knife and flashed it before me, stuck it in and turned it around.”

A cover of “Baby, Please Don’t Go” closes the EP on a frenetic extended jam. Bon shrieks as if in agony. The band blast away as only one of the greatest pure rock and roll bands can. This is rock and roll 101, your teachers are in class, so pay attention to Mr. Young and Mr. Young!

None of the songs on ’74 Jailbreak are outtake quality. I never fully understood who decided what songs were to be left off American releases and why. Some of these songs were singles in Australia! As mentioned, these are only some of the songs unreleased on American albums. There were more and they too were pretty damn good. They are “Stick Around” and “Love Song” from High Voltage, “R.I.P. (Rock in Peace)” from Dirty Deeds, “Crabsody in Blue” from Let There Be Rock, and “Cold Hearted Man” from Powerage. All these songs can be had on the Backtracks box set today.

5/5 stars

REVIEW: Wolfsbane – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990)

Welcome back to the Week of EPs! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure.

MONDAY: Aerosmith – The Other Side (1990)
WOLFSBANE_0001WOLFSBANE – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990 Def American)

I only own one Wolfsbane release on CD, and it’s this EP.  I remember that their Rubin-produced debut Live Fast, Die Fast didn’t sound as good as a Rubin production should.  This follow-up EP was produced by someone named Brenden O’Brian, who is presumably a different producer than the famed Bredan O’Brien.  Whoever it is, there’s little wrong with the production here.  It has guts and clarity.  The drums could use some more oomph.

The opening track “Steel” is one that I remember from Blaze Bayley’s live album.  Hearing it again, it’s fucking awesome!  “Tough as steel!” repeats the chorus which is appropriate for this razor sharp attack.  The guitars by Jase Edwards are choppy and aggressive, and they really sell the song.  I like when the rhythm guitar drops out during the solo, and all you have is bass and drums — just like it would be live.

“Paint the Town Red” is good time hard rock.  It still has a toughness to it, because of the basic guitar-based production.  There’s a radio-ready chorus and plenty of rocking melody, so if you had to pick one song as a potential hit, it’s “Paint the Town Red”.  Then it’s on to the ridiculously over the top “Loco”.  This time the guitars are almost a parody of shredding, so insane are they.  I can’t say I’m overly fond of “Loco”, but it sure does rip.

In 1990, you had to have an accessible song with acoustic guitars on your CD.  “Hey Babe” is that song.  Blaze’s flat vocals lend it some character, but otherwise it’s a pretty standard sounding 1990 rock ballad.  The dry guitars are very tasteful, the highlight of the track.  “Totally Nude” is a pretty dumb title, but it’s actually a pretty good hard rocker.  As the guitars blaze up and down the fretboard, song works its way into your head.

“Kathy Wilson” is a little bit of a mini-epic.  Based on the classic film Invaders From Mars, it’s a little corny but absolutely cool at the same time.  Blaze acts out some of the movie lines in spoken-word segments, but wails away on the choruses.  It wouldn’t be a stretch to say that this is an impressive little track.  It’s a little more complex than the standard rockers, but has the same blitzkrieg drive.

Consider picking up All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! at a reasonable price for a nice brief addition to your metal and Iron Maiden collections.

3.5/5 stars

Part 320: End of the Line #6: The Birth of LeBrain

RECORD STORE TALES Part 320: End of the Line #6: The Birth of LeBrain

I discovered quickly that listening to rock radio in an office was much better than listening to CDs in the Record Store. They really hounded me about my in-store music selections.  With the radio, nobody yells at me about the music. I could just enjoy it as I worked, and the music has not been lame!  Just this week, I rocked out to Judas Priest’s “Painkiller” and Savatage’s “Hall of the Mountain King” at work on the radio.  Last week it was Slayer.  I doubt I ever played any of those songs in the Record Store.  Traffic reports are an added bonus.

Our office has its radio set to 107.5 Dave FM, and it is through them that I met new friends such as Marko Fox, Craig Fee, Simon McGhee, Patrick Dynamite, and more. It is there that I became “LeBrain”.  There was a daily contest…a near legendary contest…called the 4 O’Clock 4-Play.  Every day at 4:00, Craig would play four songs with a common theme.  Guess the theme, win the prize.  I started winning frequently, and had started submitting my own 4-Play quizzes for the show.  They numbered in the hundreds, I am certain.  Some have never been used.  Craig told me he had an email folder filled with my 4-Plays that hadn’t been used yet.

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Craig Fee with some beard douchebag.

This led to features on the station such as “Stump LeBrain Week”, where I was in the studio every day for a week as listeners tried to stump me. (The only day I was not in the studio was the Wednesday, where I was live on air with Marko at Chicopee ski club.)  Other listeners sent in their own 4-Plays specifically to stump me, and Craig picked his five favourites.  That was followed by LeBrainuary – an entire month of my own musical 4-Plays.  They also did a final LeBrain Week before they finally shut the contest down.

I still hear about that contest.  Every once in a while I meet someone new who knows me only as “LeBrain” from the radio.  There was one at Sausagefest this year.  I always get asked, “When are they bringing that contest back?  It was awesome.”  I wish I knew!  I’ve bugged Craig about it too.

While it lasted, it was awesome. I became a D-grade local celebrity! But I wanted more. I pestered and bugged Craig Fee daily. I sent him my reviews, early chapters of the Record Store Tales, rock news, rants, anything and everything!

You know what happened next. It was the “lightbulb moment”.  Craig said the magic words: “You need to start your own blog.”  

And so I did, and that’s why you’re reading this today.

I knew immediately I wanted to finally publish the Record Store Tales.  I started writing them over 10 years ago.  I originally envisioned a book version of Record Store Tales.  I started writing it with that in mind, but most of it hasn’t been used, because I felt some chapters were a little too off-topic.   Instead I mined my extensive journals to create new content.  It took about 2 1/2 years to post all of the Record Store Tales, at an average of one every three days.

So here we are, at the end. I knew this day would come eventually. I thought at most I’d come up with 100 installments, tops.  Having said that, the number of stories that I chose not to tell exceeds this body of work greatly.  Believe it or not, I decided to be nice.  There are many things done and many things said that have been left out.  I’ve tried to be candid and maintain my own integrity, and just tell the story of a very cool time in my life.  Not everybody gets to work in a record store.

Positives and negatives aside, the writing experience for me has been mostly healthy, sometimes cathartic, and immensely fun. I hope you have had fun too.

Thank you for your support, inspiration, kind words and contributions: Mrs. LeBrain, Craig, Marko, Aaron, Uncle Meat, Iron Tom Sharpe (Meaford’s greatest athlete), T-Rev, Lemon Kurri, my parents, and everyone else who has ever contributed or told me not to stop.

A huge thanks to the owner at the old Record Store. You gave me a chance and taught me so much.  You have my number.

Sincerest apologies to those I have hurt or offended.

Finally, thanks to YOU – the people who have read this stuff, whether you were a one-timer or a regular. I thrive on feedback and you made this a very rewarding experience.

I hope you’ll stick around, as we launch the Post-Record Store Tales (official title to be announced soon) and continue on with the awesome reviews! Live long…and prosper.

The End.

SPOCK

Part 320: End of the Line #5: A New Life

Part 320: End of the Line #5: A New Life

I enjoy meeting new people and learning new skills.  I spent a while at Aecon and I really liked it there.  Something I learned in my new workplace:  people love a music geek. I was at Aecon for three or four months, and then another place, and another, before finally finding myself working in a full-time-permanent position again. That process only took about two years, which is not bad at all.  One thing all those jobs had in common was that there were music fans everywhere.  As soon as people found out I used to work in the Record Store, the questions began! Did you have this? Have you ever seen that? What was it like working there? Can you make me a Bon Jovi hits CD?  (The answer was yes: I made her a double.  It included Cross Road as Disc 1, and my own custom made Disc 2 with all the rest of my favourites.  See below for my track list.)

I will always have a soft spot in my heart for my job at United Rentals.  We really had a lot of fun there.   They were very good to the staff, and even though I was non-permanent there, I was treated as an equal.  I really appreciated and respect that.  On the music side, we had the radio tuned to Dave FM (having switched from the uber-lame-o Chym FM).  I worked in a computer room in the back.  My boss at that job came in during “Cum On Feel the Noize”.  Excitedly he gasped, “Are they playing Quiet Riot?  That’s awesome!”  We then bonded over cheesy hair metal. I made him a custom May 24 Quiet Riot party CD.  I also made a Christmas rock disc for everybody in the office, two years in a row. That was a hit with a lot of people.

It was a sad day when United Rentals closed their Canadian office.  That unfortunately split up a wonderful group of people.  It did however open the door to where I am now.  Today, I work a satisfying job in the steel industry. It’s special for the same reason that all my jobs have been special: the people.

I like to say that I used to sell Heavy Metal, and now I sell heavy metal!

To be concluded…

REVIEW: Deadline – Tangible Vibe (1996)

DEADLINE_0005DEADLINE – Tangible Vibe (1996 Deadline Productions)

When we last checked in on this old Canadian indi band, it was on the 1994 EP So This is Limbo, which I rated a 2.75/5.  I haven’t played Tangible Vibe, the full length followup, in quite a few years.  I remember liking it back in 1996, when hard rock was all but dead and we were forced to seek out other kinds of rock music.  Will I still like it now?

“Another Low” is a pretty simple pop punk track, not the kind of thing I usually listen to.  It’s fast with heavy guitars and poppy vocals.  What stands in for a guitar solo is a simple melody.  It’s more annoying than likable.  “Frustrated” is more entertaining, taking the tempo back to a radio-ready pace.   Seems that I still like this one!  You’d be forgiven for thinking it’s a new single by Sum 41.  Hopefully you’ll forgive me for liking it.  Back then we didn’t call this stuff “pop-punk”, we called it “alt-rock”.

I recall liking “Living Proof” which sounds very much like Green Day.  It’s still a catchy little tune, that just it needs identity.  There’s certainly no reason it couldn’t have been a hit.  On the other hand, I remember not caring too much for “Headtrip”.  Its seemingly pro-drug message didn’t appeal to me and I didn’t think the song had much individuality going for it.  My feelings haven’t changed too much although I do appreciate the great vocal performance and guitars, but it could have been half as long.

Then and now, I love the title track “Tangible Vibe”.  Almost Monkees-like, it’s a soft rocker with a heavier chorus. I really like the recurring guitar melody.  Maybe I shouldn’t say Monkees-like, when I have heard Weezer do songs similar to this.  It’s a standout and now that I have re-discovered it, I plan on playing it a lot more.  Equally good is “Kill Me Slowly” which again is firmly in pop-punk territory, with vocal harmonies.

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As back in 1996, “Mary” bores me.  It feels like it’s a repeat of ideas from previous songs.  Such is the problem with these simple melodies.  Sure they’re catchy, but you run the risk of ideas that sound too similar.  There’s nothing wrong with it, but we’ve heard it before.  “Amore di Gatto” (“Love Cat”?) is a beautiful classical guitar intro to the dark song “Circus”.   This song has more in common with Deadline’s early hard rock roots than modern pop rock.  It’s mournful with with the strong melodies still intact, and a tricky guitar solo to boot.  It has the most emotion on on the album, and remains its best song.

“I Don’t Even Like You” is fast and fun; the drums are played with brushes and the guitars are acoustic.  It’s one of the shortest songs, which good because novelty songs are best kept short.  “Friend In Me” was the “hit”, and it’s the exact same version as on the So This is Limbo EP, which is great.  Closer “Go With the Flow” is another Green Day copycat, unfortunately.   It’s the early, heavier side of Green Day, but still the comparisons are unavoidable.

Shame.  A really great EP could have been made from the best songs on this album.

3/5 stars