heavy metal

REVIEW: Y&T – Ultimate Collection (2001)

Y&T – Ultimate Collection (Universal)

When Tim Durling, author of Down For the Count: The Y&T Album Review, found out I didn’t own any Y&T, he sought to rectify the situation.  As a passionate and knowledgeable fan, he knew that I wanted to start with a good compilation that covered all the songs I liked, and as many albums as possible.  The Ultimate Collection was the CD he vouched for, and he did not steer me wrong.  This is an amazing compilation.

The disc opens with four songs from Earthshaker, their first album as Y&T after two records as Yesterday & Today.  “Dirty Girl” is an unusual if brilliant opener.  It’s both slow and heavy, with a couple genius guitar solos, one different from the other, and each telling a story.  This track plods in the best possible way, with a cool signature riff and a stomping beat.  The chunky “Hurricane” and an epic “Rescue Me” follow, but “I Believe In You” is a real standout from Earthshaker.  This is a powerful metal ballad, like something the Scopions used to score hits with.  Dave Meniketti has expert control of his voice, with a vibrato to die for.

A clutch of songs from Black Tiger (produced by Max Norman) follows.  The title track from that album fades in from ominous jungle sounds (because tigers usually live in the jungle).  “Cat eyes!  She draws you in!”  Dave is singing about a different kind of jungle here.  The black tiger he’s singing about is of the feminine variety, and Dave wants you to heed his warning.  “She’s playing for keeps, so you better get away!”  Just a smoking metal track with stinging guitars.  “Open Fire” is just as heavy, if a bit faster.  These two songs boast hooks, both on guitar and vocals.  Y&T are experts at this high-velocity rock, but “Forever” could fool you into thinking it’s another ballad…until it storms off, bordering on thrash metal.  “Forever” definitely competes with the kind of heavy rock bands that were starting to make a name for themselves in the early 80s.  Leonard Haze pushes it over the top with his adrenalized drumming.

Chris Tsangarides took over production duties on Mean Streak.  We only get two heavy hitters, including the title track “Mean Streach”.  (That’s a joke – listen to the chorus.)  “Midnight In Tokyo” is the other, and by contrast, this song isn’t as simple or straight ahead.  Complex, jazzy verses collide with melodically heavy choruses.  Phil Kennemore must be credited for some really incredible, gallopy and melodic bass playing.

In Rock We Trust was produced by Tom Allom of Judas Priest fame.  We only get one track from this record, the big hit “Don’t Stop Runnin'”.   This one is especially notable for the backing vocals.  The band probably don’t get enough credit for that, and the thick and sweet chorus is all band.   Though I did see this music video on Toronto Rocks and the Pepsi Power Hour once or twice, it should have been a lot bigger.  This band had a number of circumstances against then, as discussed in Tim Durling’s book, available on Amazon.

The next couple studio albums were produced by Kevin Beamish.  Some may love, and some may hate, the direction this band evolved on Down for the Count and Contagious.  If the songs chosen here are any indication, the band were going for a more radio-oriented mid-80s mainstream sound.  They still managed to pack punch into the songs, but “Summertime Girls” and “Contagious” are notable more streamlined and polished.  The melodies and backing vocals take more prominent positions, and keyboards enter the fray.  I think these tracks are great.  They are among my childhood favourites.  I love the backwards-recorded drum parts on “Summertime Girls”.

A live track from Open Fire provides some much-needed music from the first Yesterday & Today album, which was on London Records and unavailable for this compilation.  Wicked riff from Joey Alves on “25 Hours A Day”!  Note the backing vocals once again.  Whether they were polished in the studio, it doesn’t matter.  The band can sing.  This fun rock groove has a little more power than the studio version.  Nice bass solo from Phil!

The end, temporarily, was 1990’s album Ten produced by Mike Stone.  The ballad “Don’t Be Afraid of the Dark” turned me off back in the day.  It was too soft for the direction I was headed.  Judas Priest was dropping “Painkiller” while Y&T released a ballad.  It just wasn’t what I wanted.  I should have given Ten a chance.  I love this song now.  Though the lineup had changed, and Journey’s Steve Smith was playing drums in the studio, it still sounds like Y&T.  Those melodies and backing vocals!  That “touch by touch, little by little!” hook just knocks me out, not to mention Meniketti’s voice and delivery.

Y&T came back in 1995, retaining Stef Burns and Jimmy DeGrasso from the last incarnation.  Musically Incorrect was the name of the album, and “I’m Lost” is an absolute smoker!  You’d think it came from one of the earlier albums…because it does.  It was originally on Struck Down and re-recorded here.  It’s one of the fastest songs on the compilation, and the raw 9o’s production gives it a vintage sound.  It’s challenging stuff.  DeGrasso absolutely smokes on the drums.  No wonder he ended up in Megadeth a bit later on.  The same lineup remained on Endangered Species in 1997.  A heavy ballad called “God Only Knows” represents that album.  It’s passionate metal, with the kind of wrought-iron arrangement you expect from a power ballad.  Absolutely killer lead solo work.

The final track takes us back to the beginning.  A live version of “Beautiful Dreamer” from 1991 is originally from the debut Yesterday & Today.  Again, it’s a little more complex, but still boasting the kind of melodies, riffs and singing that we expect from Y&T.  That is, high quality heavy rock.

This is easily the best first-purchase Y&T you can make.  It’s a great sampling of as much music as you can reasonably expect.  Solid listen front to back, and then back to front.  Liner notes are by the late Gerri Miller of Metal Edge magazine.

5/5 stars

 

 

 

REVIEW: Kick Axe – “Piece of the Rock” / 2005 remaster of Rock the World (1986)

Part Six-point-five of a series on KICK AXE!
Thank you to JEX RUSSELL for donating this to the collection.

KICK AXE – “Piece of the Rock” (from Rock the World – 2005 remaster) (2005 Amber Interactive)

The Kick Axe discography, though small, is difficult to complete!  There are the first two albums released on Pasha in the US, and the third album on Roadrunner in the US.  Rock Candy reissued the first two albums with bonus tracks, and the third without, so they’re fairly easy to get.  Then we also have a fourth independent album, an early independent single, a live track released by Playboy, and two songs on the original 1986 Transformers soundtrack (under a different name).  That’s about it, right?

Nope!

One important song almost slipped through the cracks.  When Kick Axe were working on Vices with Spencer Proffer, the producer was considering using the band to help write the next Black Sabbath album.  Additionally, Ian Gillan was out of the band, and they needed a singer.  Kick Axe’s George Criston was one of the singers considered, though Kick Axe didn’t want to lose their main man.  “Piece of the Rock” was one of the songs written for the Sabbath project.  Though Sabbath didn’t use it, like “Hunger”, it was recorded and released by King Kobra on their debut Ready to Strike.  As a result, the Kick Axe version went unheard for almost two decades.

That version, harder than King Kobra’s, is actually available on an obscure Kick Axe remaster that pre-dates the Rock Candy versions.  Strangely enough, it ended up on a reissue of Rock the World, an album it had nothing to do with.

The plot thickens.  Rock the World was remastered by Kick Axe’s Ray Harvey…who was not in the band when it was recorded, and is not on the album aside from the bonus track!

Kick Axe Career Retrospective

Things get crazier still – and this is something that isn’t documented anywhere, even on Discogs.  Upon listening, some songs are actually longer!  “Rock the World”, for example, opens with two seconds of pick-handling that is not on the original album.  The Fleetwood Mac cover “The Chain” has a much longer intro (almost double its original length), with a short section restored.    “Red Line” is also significantly longer.  Considering the Rock Candy release has no bonus tracks, this version might reign superior.  Ray Harvey clearly decided to re-edit some of these tunes as well as remaster.  There does not seem to be a remix.  The remastering isn’t as loud as the Rock Candy version, though it still sounds fabulous.

Where Rock Candy exceeds is in liner notes and packaging.  The Amber Interactive version doesn’t have the original artwork, and actually looks really cringe!  The back cover is a computer generated sword handle with a metal “X”.  Need I remind you, an axe is not a sword!  The front cover artwork is atrocious, even compared to the low budget looking original.  It does have the lyrics to “We Still Remember”, which is interesting in itself.  See how many references to other bands you can find.  “In the days of the haze, the colour was deep purple.”  “We ride the killing machine.”  “And the wind it cries Mary.”  “We won’t get fooled by helter skelter.”  References within references.

“Piece of the Rock” should have been released by Kick Axe back in the day, but here it stands on an album!  It sounds completely finished for release, with the lush backing vocals fully overdubbed and ready for radio.  The other nice thing is that it gives you an old school Kick Axe song on an album that was largely more complex and less instantly accessible.  That’s not to say that Rock the World is weak album.  Our review will attest to that (links at bottom).

This version of Rock the World deserves an extra half-point for the bonus track and lengthier versions of existing songs.  Extra unadvertised value is always good.  Shame they couldn’t use the original art (licensing issues), but small gripe.

4.5/5

Part One:  “Reality is the Nightmare”
Part Two:  “Weekend Ride”
Record Store Tales #773:  Rock Candy + Internet = Kick Axe!
Part Three:  Vices
Part Four:  The Transformers soundtrack (as Spectre General)
Part Five:  Welcome to the Club
Part Six:  Rock the World
Part Six-point-five:  “Piece of the Rock”
Part Seven:  IV
Part Eight: Career Retrospective on Grant’s Rock Warehaus
Part Nine: new album!

 

REVIEW: Deep Purple – “Portable Door” (2024 single from new album =1)

DEEP PURPLE – “Portable Door” (2024 EARmusic)

Deep Purple’s first new album with Simon McBride on guitar will be out July 19.  Called =1 (“equals one”), it is largely a mystery what the album will sound like.  Many predicted a return to “hard rock” after the last three more progressive albums.  The first single “Portable Door” is not all that different from the Steve Morse era.  Don Airey’s organ really dominates the solo section, as it should be.  Simon’s guitar work is sublime but not showcased as some had hoped.  He has this one cool lick in the riff that is really electrifying, but we want more Simon!

Ian Gillan? Reliable as ever, his voice has worn in like suede. He can still sing the hooks.  Haters call him “over and done” – fans don’t care. Ian Paice is the backbone, always smooth, always identifiable, infallible. With Ian Paice on drums, Deep Purple will always sound like Deep Purple. His work here is busier than the we’ve become used to…which is just fine!

How does “Portable Door” stack up against recent Purple singles?  It doesn’t have that instant “wham!” of “Vincent Price”, and it doesn’t have the hooks of “Johnny’s Band”.  It’s a strong, workmanlike latter day Deep Purple single that will grow with increasing listens.

Let’s just hope for more Simon next time.

4/5 stars

KICK AXE! Grant’s Rock Warehaus tackles one of the best Canadian bands with whom you’re not familiar enough! All albums ranked!

This weekend on Grant’s Rock Warehaus, we tackled a band that needs and deserves more attention:  Canada’s Kick Axe!

“Nobody’s talking about Kick Axe!” said Grant.  We aim to change that with this show.  Please give it a watch!  What are your favourite Kick Axe songs?

This is a show I am very proud of.  Our passion for these albums and songs comes through.  This might be the best Kick Axe content you’ll find on Youtube today!  Show notes are below, if you want the Cole’s Notes version, but you’ll have to watch the video to get our album rankings.

Formed 1976, Regina Saskatchewan as “Hobbit”.

Original lineup:

  • Victor Langen, bass, vocals
  • Gary Langen, drums
  • Larry Gilstrom, guitar

Ray Harvey added on guitar.

Moved to Vancouver BC, Gary Langen leaves band replaced by Brian Gillstrom, Charles McNary hired as vocalist.

1981 – Playboy Street Rock – live track called “Reality is the Nightmare”.

1981 – Weekend Ride / One More Time (Harvey on vocals).

Produced by Bill Henderson and Brian Too Loud McLeod of Chilliwack.

Wrote “Heavy Metal Shuffle” which opened Vices later on.  Attempted to record an album but never released it.

McNary replaced by George Criston, who brought in power, range and soul as well as a unique sound.

1984 – Signed to CBS in Canada, approached Spencer Proffer to produce because they wanted the same sound as Metal Health by Quiet Riot.  Proffer liked the band personally and thought highly of their musicianship.  Album Vices released on Pasha in the US.

Recorded existing material (2 songs re-written with Proffer) in Hollywood at S.I.R.  30 Days in the Hole – a cover, like Cum On Feel the Noize, but not intended to be a hit, just a showcase for their talents.  Released on the soundtrack to Up the Creek.

Ran into Tony Iommi and Geezer Butler – supposedly approached Criston to replace Ian Gillan in Black Sabbath.  Proffer was working with both bands.

Vices is their best album.  Proffer intended it to be a concept album about vices.  Not a bad song.  Bangin’ backing vocals.  Music video for On the Road to Rock made major impact in Canada, with the comedic video attracting attention.  The Vices mascot was one of my first “rock buttons”.

Vices did not perform to expectations, but Kick Axe wrote three songs for the next Black Sabbath album:  “Wild in the Streets”, “Hunger”, and “Piece of the Rock”, later recorded by W.A.S.P. and King Kobra.  Kick Axe did not want to lose Criston to Sabbath.  “Piece of the Rock” is one of the rarest Kick Axe tracks, only released on a 2005 issue of Rock the World.

1985 – Second album – Pasha wants band more streamlined for radio.  Brought in Pasha staffer Randy Bishop to help on lyrics.  Co-wrote 5 songs and co-produced Welcome to the Club.  Some of the heaviness is blunted, in favour of better song structure and melodies.  Recorded at Metalworks in Toronto.  Cover art by Hugh Syme, which the band never understood the meaning of.

Band brought in cover of Joe Cocker’s version of “With A Little Help From My Friends”.  Rik Emmett, Lee Aaron, Andy Curran, Alfie Zappacosta and more on backing vocals.  Very cool music video made of the recording session.

Pretty solid album, though not as banging throughout as the original.  The cover tune is completely different, but really excellent.

The band and Proffer blame lack of sales on parent label Epic.  No support.  Toured with Autograph, Krokus, Night Ranger, Helix and Triumph.

1986 – Ray Harvey returns home to deal with family matters.  Joins Rock & Hyde as touring guitarist (Bob Rock & Paul Hyde).

The Transformers soundtrack released.  Hunger, and Nothing’s Gonna Stand In Our Way released as Spectre General.  All done by Proffer, without knowledge of the band.  Due to pseudonym used, no benefit to band happened.

Still signed to CBS in Canada.  Next album picked up by Roadrunner in US.

Rock the World (initially “Fuck the World”) recorded as four piece.  Self-produced primarily by Larry due to lack of funds provided by CBS.  Recorded at Right Trak in Vancouver.  Also forced to mix the album themselves.  The cover tune this time is The Chain by Fleetwood Mac.

Band breaks up – sherrifs seize equipment due to unpaid debts.  Later immortalized in the song Rocking Daze on Kick Axe IV.

2002 – Kick Axe reunite with Gary Langen returning, this time on lead vocals.  George Criston remains active in country and more soulful music.  Has expressed no interest in returning to rock.  Has not participated with reissues.  Has worked as a guitar tech for Sarah McLachlan, Dido, Avril Lavigne, and k.d. lang.

2004 – Kick Axe IV self produced.  Best song Rockin Daze written by Brian Gillstrom.  Decent album but not memorable long-term except for Rockin Daze.  Gary Langen has a style of voice reminiscent of Phil Naro.

2008 – Gary Langen leaves band, replaced by Daniel Nargang.

2023 – Run to the Thunder, first new song in decades, to be followed by new album.

 

 

 

 

 

REVIEW: Tony MacAlpine – Edge of Insanity (1985 Shrapnel)

TONY MacALPINE – Edge of Insanity (1985 Shrapel)

Tony MacAlpine seemed to be in every guitar magazine when I was a kid, but I never got to hear his music. He looked cool, and he was highly praised as a shredder, but his music (on Shrapnel records) was impossible to find unless you ordered it from a specialty shop.  Like most of Shrapnel’s output, it was produced by Mike Varney.

His 1985 solo album Edge of Insanity features an impressive band:  Journey’s Steve Smith on drums, and of course it’s common knowledge that Billy Sheehan played bass.  The album is instrumental.

Opener “Wheel of Fortune” has a neoclassical vibe, with the rapid fire bassline enabling MacAlpine to focus on the melody rather than shred his way throughout.  There is certainly a commonality in terms of musical direction with Yngwie, but Tony’s approach is more easily digested.  Tony’s music has an actual bottom end thanks to Billy, and of course Steve Smith’s technique speaks for itself.  He’s more than capable of heavy metal hammering as he does on “Wheel”, but listen carefully and you will hear his signature cymbal work, so unique to me.

“The Stranger” discards some of the neoclassical robes, and rocks a more straight-ahead blitz.  Tony has a wicked keyboard solo mid-song, showing the breadth of his abilities.  The pulse of the song is all Sheehan, and Smith’s fills sound a lot like a certain band that started with a “J”.

A live solo called “Quarter to Midnight” is unaccompanied.  It reminds me of a Randy Rhoads solo.  There’s some nice whammy work near the end, which was so popular in the era.

A ballady song called “Angrionia” (mis-printed on the back cover, but correctly in the booklet) follows; quite a nice little tune with the occasional bursts of neoclassical guitar speed.  Billy has a couple nice rips as well.  MacAlpine multitracks his guitars for effect.

“Empire in the Sky” has a very cool keyboard intro, that leads into a gallopy metal number.  This has a mid-tempo vibe like Maiden circa Seventh Son when keyboards were happening.  You could imagine this coming from that era, though of course Tony was three years ahead.  His doubletracked leads set it apart from that, and there are some chunky riff chords happening beneath, though this is not a riff album.  There’s also some outro guitar twangin’ that is absolutely freakin’ rib-shattering.

An Yngwie vibe pervades “The Witch and the Priest”.  You hate to make comparisons, and it seems lazy, but when you hear a vibe there might be something to it.  Of course, Billy Sheehan and Steve Smith help make it sound less Yngwie.  Tony’s tone is warmer than the Swedish shredder’s as well.

“The Taker” is the only song with Tony playing bass and it’s less prominent for that reason.  This tune is a full-speed blaze, with Tony deftly weaving melody through all his playing, and then suddenly taking a left turn with harpsichord-like keys and then some organ for good measure!  “The Taker” keeps you on your toes.

Tony treats us to actual classical music next:  his spin on Chopin.  “Prelude 16, Opus 28” is performed on piano, and you’d never guess it wasn’t from a professional classical pianist.  This prelude leads into Tony’s “Edge of Insanity”, a deep cut title track and one that allows the chug-chug-chug of the metal to come through.  There’s still a soaring melody and flying bassline to absorb.  Smith’s drum parts are smashing – literally.  A great tune and a little easier to digest than the speedier stuff.

“The Raven” has classical keys opening a speedy metal rollercoaster ride.  Once again, Smith is classing up the place several notches with his signature fills.  Tony rarely lets up, constantly treating the listener to impressive shred.  He switches tones (and probably guitars) at some points, giving the lead work different voices.

The closing track, “No Place in Time” has some slinky Billy bass, and really allows him to have some of the spotlight.  His playing here is all about the groove he’s laying down, and how he complements Tony’s lead.  MacAlpine uses doubletracked guitars and plays a slow melody.  It’s not the most memorable track, and not the most effective closer.

Edge of Insanity is more accessible than a lot of instrumental guitar albums of the era.  If some of those other artists seem daunting but you’d still like a taste of neoclassic rock, then go for some Tony MacAlpine.

3.5/5 stars

 

RE-REVIEW: Europe – The Final Countdown (1986, 2019 Rock Candy remaster)

EUROPE – The Final Countdown (1986, 2019 Rock Candy remaster)

When Europe set in to do The Final Countdown, some changes were necessary.  The drum seat went from Tony Reno to Ian Haughland, a guy that Joey Tempest liked partially because his drum kit looked like Alex Van Halen’s.  Some new songs, such as “Carrie” and “Ninja” had already been road-tested on the Wings of Tomorrow tour.   The record label was gunning hard and hooked them up with Journey producer Kevin Elson for the third album.  What Elson brought to the music was not drastic change, but the essentially improvements that made the record what it is today.

Record?  In this case, CD.  In 2019, Rock Candy reissued The Final Countdown with six bonus tracks:  the same three live ones from the 2001 Epic remaster edition, plus three extra.  For that reason, let’s take a second deep dive:  It has been over 10 years since we last reviewed it.

With the ominous boom of synth, the anthemic title track opens The Final Countdown with regal, grand intentions.  The track was cut down from seven minutes to just five, and for that reason it was able to become the hit it was.  Today you hear it on TV commercials and shows such as Arrested Development (in hilarious fashion).   Back then, it was pushing the envelope about how much keyboard was acceptable in hard rock or heavy metal.  Europe really started as a metal band on their first album.   Yet here we are, with those big gongs of synth provided by new member Mic Michaeli.  When the trumpet-like main keyboard melody enters the fray, it’s all but over.  Your mind is now hooked!  The wicked John Norum guitar solo remains one of his catchiest and most memorable, with plenty of fret-burning action.  The lyrics tell the story of abandoning the Earth for Venus due to catastrophe.  Corny, but pretty unusual for its time.  “The Final Countdown” remains one of those career-defining songs that live forever.

“Will things ever be the same again?” begs Joey Tempest, before the chorus.  For the band, no.  Superstardom hit soon thanks to this unforgettable anthem.  Though their fortunes would fade and they would never hit these heights again, they wrote themselves into rock history with one song.

Straight-ahead party rocker “Rock the Night” was the infamous video that featured Joey Tempest using a ketchup bottle as a makeshift microphone.  Great song though, with that kind of shout-along chorus that Bon Jovi were also becoming experts in.  But listen to Ian Haughlaand’s drums!  Absolutely pounding.  All the elements come together in perfect balance here, with the keyboards taking a back seat to John Norum, who continues to burn on the solo.  His tone on this album was unique and very tasty.

“Carrie” was born on tour as a simpler arrangement with just Joey and Mic on stage.  When recorded for the album, it was a full band arrangement.  A little heavy handed, a little over-dramatic perhaps.  It too was a huge hit.  It still sounds good today, largely thanks to Joey’s impassioned vocal performance.  The man was at the peak of his powers, and it shows here.  Very few singers can do what Joey does on “Carrie”.

The rock returns on “Danger on the Track”, a tale of Joey fleeing from the strangers on his back.  And he was so right, apparently, but we won’t get into that!  This is clearly an album track, not up to the standards of the previous three singles, but still good enough for rock and roll.  It’s “Ninja” that surpasses the singles, with a ripping tale of the era of the ninja.  It has the rhythmic chug that the other songs don’t, and plenty of John Norum’s addictive, dramatic runs.

The final song written for The Final Countdown was one of its best:  the side two opener “Cherokee”.  It seems odd for a band from Sweden to sing about a dark period in American history, but the lyrics aren’t too far off the mark.  They were based on a book Joey saw while working in America.  This is probably the second most anthemic song on the album behind “The Final Countdown”.  It has a big keyboard hook too, and a chorus that sticks for days.

“Time Has Come” is only the second ballad, but it has some heavy guitars to keep it from going too soft.  Once again, Norum’s solo is a highlight, being a key part of the song’s melodicism.  Moving on to “Heart of Stone”, a memorable mid-tempo track, John Norum continues to shine.  This cool song boasts a killer chorus to boot.  There are cool stabs of organ a-la Deep Purple ’84.  You wouldn’t call it a heavy song, but “On the Loose” sure is.  This scorcher is among Europe’s best blasts.  It’s just a simple song about teenage frustration and energy.  This might have been the song that made me a John Norum fanboy in the first place.

Album closer “Love Chaser” is a melancholy mid-tempo romp.  It has a bouncy beat and keyboard hooks, and it ends the album just perfectly.  It even has a keyboard melody at the start that recalls “The Final Countdown” a bit, providing the album with a nice set of bookends.  Sadly this would be John Norum’s last appearance with Europe until a 1999 reunion.  He was replaced by Kee Marcello, who appears in all the music videos aside from “The Final Countdown” itself.

The first set of bonus tracks are the three live songs that appeared on the 2001 Epic remaster.  These are from the  taken from the Final Countdown World Tour VHS from the Hammersmith Odeon in 1987, and feature Marcello on guitar, though this information is not included in the otherwise excellent booklet.  It is audibly him.   “The Final Countdown”, “Danger on the Track” and “Carrie” are the three tracks included, though there is a clear opportunity here to do a 40th anniversary edition with the entire show on disc 2.  These are solid live versions, and it does sound pretty live especially in the lead vocals.  Joey Tempest is one of the most impressive singers in hard rock, and though the press was trying to build a rivalry with Bon Jovi in 1986-87, Joey was clearly the superior singer.

The first of the new bonus tracks is a rare 1986 re-recording of “Seven Doors Hotel” from their debut.  There are now drapes of synths over the piano opening, but the song still scorches hot as ever.  John’s guitar is doubled effectively for a more Lizzy-like approach.  It was clearly too heavy for The Final Countdown album but it could have been an excellent B-side.

Speaking of B-sides, a special B-side remix of “Rock the Night” is another rarity brought back to light.  This version could have been better than the original, but falls short of the mark.  It does not actually sound like a remix at all, but a completely different recording, at least vocally.  If you wanted to hear this song a little heavier, then this version might do it for you, except for the annoying looping of hooks.  “Rock now, rock now, rock now, rock the night!”  “What do you want?  What do you want?”  Stop looping the hooks, please!  It sounds so artificial.  This version is a minute and a half longer than the original.  It’s a slog, but it didn’t have to be.

Finally, the excellent B-side “On Broken Wings”, previously available on compilations, has been restored to the album as it always should have been.  It’s a hard rocker, a driving song, and could have fit very well on side two.  It would have been one of the faster songs, yet with another memorable Europe chorus.

This new Rock Candy remaster sounds sharp and vibrant.  An excellent remastering of a stone cold classic.  The booklet includes an interview with Joey Tempest on the making of the album.  Until they issue an expanded edition for the 40th anniversary (let’s hope), then this is the version to buy, hands down.

5/5 stars

 

 

Our Heavy Metal Origins with John Clauser, Reed Little, Roger and Jex Russell!

A longer episode, but worth it:   A treasure trove of memories unfurled on Friday night.  How did we discover heavy metal music?  What did we listen to before that?  What were our earliest metal records?  Johnny Metal (My Music Corner on YouTube)  came prepared with stacks upon stacks of rock (and Johnny Mathis).  Metal Roger brought a younger perspective, highlighted by Elvis Presley and Slipknot.  Reed Little left us spellbound by the stories he weaved of his Heavy Metal Origins!  Growing up watching MTV and MuchMusic, together we reminisced about Kiss videos, getting music from friends, finding our musical identities and generally rocking out to heavy music.  Family man Jex Russell joined in shortly after, with stories mix CDs, buying a turntable in 2004 (way before it became trendy again) and hearing the Heavy Metal soundtrack.

Several artists came up repeatedly.  W.A.S.P., Dio, Kiss, Iron Maiden, Judas Priest, Black Sabbath, Accept.  Regardless of some of the age differences here, certain albums were common to our stories.  Reed and I share a background involving a love of science fiction and discovering Kiss at an early age.   We also shared an aversion to rock music that was from a prior generation, for “old people” such as…Deep Purple!  Obviously we all grew in the years since, but when we first discovered metal, all of us went head first, all-in.

I hope you enjoy this show and this exceptional panel.  See you in two weeks with Jex Russell on Good Friday at a special afternoon time!

 

METAL: Point of Entry! Our introductions to heavy metal music with John Clauser, Reed Little, Roger and Jex Russell

GRAB A STACK OF ROCK With Mike and the Mad Metal Man

Episode 55: METAL:  Point of Entry

We are back to live streaming this week!  Tonight I am joined by John Clauser of My Music Corner, Metal Roger, Reed Little of the Contrarians, and Jex Russell joining in a little later at 8 PM!  The topic tonight is a simple discussion:  What was our “Point of Entry” into Heavy Metal music?

It’s an important question.  We are all passionate about the music we love.  We all have a story about how we got there.  What’s yours?

We will show off some old records, and talk about how we discovered and fell in love with this genre of music.  I will run some old promo clips from MuchMusic to illustrate our stories, and the fun will flow like molten lead!

Topics to cover:

  • What music did we listen to before metal?
  • What metal band or song changed that?
  • What were our first metal albums?
  • What were our earliest memories of listening to metal?

There will be vintage MuchMusic clips and lots of records.  All this and more with our fantastic panel!

 

 

Friday March 15 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic.   Enjoy on YouTube, or (HOPEFULLY) Facebook!

REVIEW: Cinderella – Live Train to Heartbreak Station (1991 Japanese EP)

CINDERELLA – Live Train to Heartbreak Station (1991 Mercury Japan EP)

Japan sure loves the rock!  That’s one reason they get such cool exclusives. (There are other reasons too, involving incentive to purchase domestic product rather than the less expensive US imports.) Live Train To Heartbreak Station, recorded in Little Rock Arkansas, is one such exclusive. A six song EP released in 1991, this was issued to support the Heartbreak Station tour. I was fortunate enough to witness a show on the Canadian leg of that tour, which suffered from poor ticket sales, an early harbinger of the grunge to come….

Having seen it live, this sounds purely authentic. I’m sure there are overdubs, 90% of live albums do have overdubs. However they are hard to definitively detect. Tom Keifer’s patented screech is right there, in your face, still in its glory days. The band is solid, augmented by organ and keys in the background. You can also hear the two female backing vocalists that the band were using at the time.

This EP consists of six tracks, two from each of the band’s three albums in existance at the time. All six songs were singles, although not all were hits. Even though it was not a hit, I think it’s safe to say that “The More Things Change” belongs on an EP like this  It’s a great song in the opening slot. They also sequence the two ballads (“Don’t Know What You Got” and “Heartbreak Station”) right in the middle of the EP, side by side. I like that idea, get ’em out of the way.  I think that was a smart move, albeit the girly audience screams can get old pretty fast. But man, the harmonies on “Heartbreak Station” are so sweet. I don’t care if the girlies loved it, that’s just a great song. Synth replaces John Paul Jones’ string section; a fair compromise for the live setting.

After the two ballads, the band cranked out their two best known rockers: “Shake Me” and “Gypsy Road”.  Man, this takes me right back to that summer of 1988.  I can remember a time when I thought “Gypsy Road” was the best thing since sliced bread. And you know what? It still ain’t bad!

This is still one of the best, if not the best, Cinderella live packages on the market due to the vocal problems that Keifer would experience later on. It’s a shame it’s just an EP, but context is important. This was just a taster, a sampler. Don’t forget Slaughter and Ozzy both released live EPs at the same time – it was the thing to do, I guess.

4/5 stars

REVIEW: Judas Priest – Invincible Shield (2024 Deluxe with bonus tracks)

JUDAS PRIEST – Invincible Shield (2024 Epic Deluxe with bonus tracks)

I don’t usually write “first impressions” reviews, because I like the albums to have time to sink in, and to consider my opinions.

I’ll break some rules this time.

Invincible Shield tops Firepower and could be the best Priest album since Defenders.  Or maybe even before that…

The highlights are many and the riffs are strong.  Rob’s voice has not changed in 20 years and he is still of the same power and range as Angel as Retribution.  As one goes deeper in, the songs continue to gain strength.  “Invincible Shield” didn’t really jump out at first, but does now with a very Maiden-y outro.  “Devil In Disguise” is another early highlight.  “Crown of Horns”, “Escape From Reality”, “As God is My Witness” are instantly likeable, with hooks aplenty and the odd adventurous lick or detour.  Richie Faulkner has been a godsend to this band, injecting them with new songwriting life, metallic riffs and speedy leads.  Meanwhile, you can hear Glenn Tipton too, illness be damned!  He trades off with Faulkner just as is Priest’s trademark.  The classical guitar solo on “Giants In the Sky” is something completely new for this band and a surprising delight.

Invincible Shield has most of the longer material stacked to the top of the album, with the short songs going on side two.  Even with 14 songs, the album is only just over an hour with bonus tracks, not overstaying its welcome, and inviting to repeated listens.  There’s no point in getting a version of this album without the bonus tracks.  You’d be missing out.  You can get them at Target, Sunrise, or Amazon in Canada.  They are “Fight Of Your Life”, “Vicious Circle” and “The Lodger”.  “Fight Of Your Life” might be the most necessary song of the album, as it really hearkens back to the early 70s albums like Sin After Sin.  It could be the deep cut of the record.

Lyrics have always been a shaky point in Priest history, and there are some cringey ones on Invincible Shield, but I doubt they will impede anyone’s enjoyment of this album.  It has summer written all over it, as we await the coming of the sun and the highway months.

Production by Andy Sneap sounds great to these ears, with Ian Hill’s bass rich and deep, and Scott Travis’ drums livelier than ever.  There are flashes back to the 70s and 80s, and some of Priest’s highest peaks of the past.

Martin Popoff may be right, but I’m not going as far as he did.  Still…

Album of the year.

5/5 stars