heavy metal

#1132: Youth Gone Not-So-Wild

RECORD STORE TALES #1132: Youth Gone Not-So-Wild

I love admitting to my past musical sins.  Perhaps others will learn from my mistakes.

I was in grade 11, a mere 16 years old, when the music video for “Youth Gone Wild” hit the airwaves.  Skid Row were the latest thing, a band promoted by Jon Bon Jovi himself, from his home state of New Jersey.  We didn’t know yet that the lead singer, Sebastian Bach, identified as a Canadian.  He grew up in Peterborough Ontario, just on the other side of Toronto.  In fact, I didn’t know that I already had something of Bach in my music video collection.  I had a brief clip of him, with teased up hair, in a prior band called Madame X.  This band was led by Maxine Petrucci, sister of Roxy Petrucci from Vixen.  They featured a young Sebastian Bach and Mark “Bam Bam” McConnell whom Bach would play with in VO5.   I wasn’t into any of those bands.  I was pretty hard-headed about what I liked and disliked.

In Spring 1989, I first encountered “Youth Gone Wild” on the Pepsi Power Hour.  It could have been Michael Williams hosting, but whoever it was, they hyped up this new band called Skid Row.  I liked getting in on new bands from the ground floor.  Made them easier to collect when you started at the start.  At that point, I wasn’t even sure how many albums Judas Priest actually had.  I was intrigued enough to hit “record” on my VCR as the music video began.  I caught the opening “Ba-boom!” of drums, and sat back to watch.

While I wasn’t blown away, I kept recording.  The key was the singer.  If the singer sucked, I’d usually hit “stop” and rewind back to where I was.  The singer passed the test:  he didn’t suck.  I kept recording.

After about a minute, I pressed the “stop” button, and lamented that this new band wasn’t for me.  What happened?  What did Skid Row do to turn me off so quickly?

I can admit this.  I’ve always been open about the fact that I was very image-driven as a teenager.  We all were!  With the exception of maybe George Balazs, all the neighborhood kids were into image to some degree or another.  I was probably driven by image more than the average kid, consuming magazines and music videos by the metric tonne.  So, what exactly was wrong with Skid Row?

I’ll tell ya, folks.  It was serious.

The bass player had a chain going from his nose to his ear.

I just could not.  I couldn’t put a poster on my wall with some band that had a bass player with a chain that went from his nose to his ear!  No way, no f’n way.

I pressed rewind, and prepared to record the next video over Skid Row.

That summer, the glorious, legendary summer of ’89, I went with Warrant.  I bought their debut album sight-unseen, based on a blurb in the Columbia House catalogue.  Warrant were the selection of the month.  “What the hell,” I thought, and checked the box to order it immediately.

Meanwhile, Bob Schipper and the girl I liked, named Tammy, were really into Skid Row.  They knew all about my issues with the nose chain.  They got under my skin about it a bit, but I wouldn’t bend on Skid Row.

“18 and Life” was the next single, a dark power ballad that was easy for me to ignore.  “I Remember You” was harder to pass on.  It was the perfect acoustic ballad for 1989.  You had the nostalgic lyrics, which Bob and I both connected with.  Somehow, we knew that 1989 was the absolute pinnacle.  We knew this would be the summer to beat!  Bon Jovi and Def Leppard were still on the charts.  Aerosmith and Motley Crue had new singles out with albums incoming.  We walked around singing “Summer of ’69” by Bryan Adams, except we changed the words to “Summer of ’89”.  We just knew.  “Got my first real six string…” we sang.  And we both had our own fairly new guitars that we could barely play.

“I Remember You” was a massive hit, and still I resisted.

“Because of the nose chain?” Bob Schipper questioned me.

Absolutely because of the nose chain!

I stood firm for two years.  Bob Schipper went to college, and Tammy was long distance and not meant to last.  I felt a bit like an island by the time 1991 rolled around.  I felt alone.  My best friend was gone, I had no girlfriend, and most of my school friends went their own ways.  I was a loner like I’d never been in my life before.  Music was my companion, and my beloved rock magazines were my library.

That’s how Skid Row eventually got me.  Sebastian Bach had a good friend in Drew Masters, who published the excellent M.E.A.T Magazine out of Toronto.  Drew’s praise for the forthcoming second Skid Row album, Slave to the Grind, was unrelenting.  He caught my ear.  I was looking for heavier music in my life, not satisfied with Priest’s Painkiller as one of the heaviest albums I owned.  I wanted more rock, and I wanted it heavy.

The other thing that got me was the collector’s itch.  When I found out that Slave to the Grind was released in two versions with different exclusive songs, I was triggered.  I had to have both.

“I’ll make a tape, and put both songs on my version!”  It was a pretty cool idea.

Costco had Slave to the Grind in stock.  They had the full-on version with “Get the Fuck Out”, the song that was excluded from the more store-friendly version.  Columbia House stocked the tame version, which had a completely different song called “Beggars Day”.  I bought the CD from Costco, the vinyl from Columbia House, and suddenly I was the only guy in town who had the full set.  I made my cassette with joy, recreating the Skid Row logo on the spine, and writing the song titles in with red ink.

“Get the Fuck Out” was track 6, side one.  “Beggars Day” was track 7, side one.  I still have them in that order in my mp3 files today.

Sure, there was an audible change in sound when the tape source went from CD to vinyl, but I couldn’t afford two CD copies.  Little did I know how cool it would be later on to have an original vinyl copy of Slave to the Grind.

I loved the album.  I loved all three of the ballads.  The production was sharp.  There were excellent deep cuts:  “The Threat”, “Livin’ on a Chain Gang”, and “Riot Act” were all as great as any of the singles.  Furthermore, the singer had taken it to new heights of intensity and excellence.

I let Skid Row into my heart that day.  It was a good decision.  Skid Row accompanied me through times good and bad, lonely and angry.  They were my companion through it all, and they’re still pretty good.  It was meant to be!

REVIEW: Twisted Sister – The Best of the Atlantic Years (2016)

TWISTED SISTER – The Best of the Atlantic Years (2016 Atlantic)

Nobody likes buying the same thing twice, so Twisted Sister have ensured this “greatest hits” album is vastly different from their other stand-by, 1992’s Big Cuts & Nasty Cuts.  That album boasted a side of live B-sides, now collected as Live at the Marquee.  As such, it only had 10 studio tracks, whereas this new compilation has 17 plus a previously unreleased bonus.

The repeated songs are the obvious ones:

  • “I’ll Never Grow Up, Now!”
  • “You Can’t Stop Rock ‘N’ Roll”
  • “I Am (I’m Me)”
  • “The Kids Are Back”
  • “I Wanna Rock”
  • “We’re Not Gonna Take It”
  • “The Price”

That leaves a whole lotta songs, including a few singles, that you’ll find here but not on Big Hits.  Notably though, that means this compilation doesn’t have “Shoot ‘Em Down”, “Under the Blade”, or “Bad Boys of Rock ‘N’ Roll”.

What makes this compilation a little more special is that the tracks go almost chronologically, and don’t skimp out on songs from Come Out and Play, or Love Is for Suckers.  Founding guitarist Jay Jay French mentioned in the liner notes that Suckers was supposed to be a Snider solo album, but we do get two songs.

Opening with Twisted’s first Atlantic album Under the Blade, we are treated to the 1985 remixes of “What You Don’t Know (Sure Can Hurt You)”, “I’ll Never Grow Up, Now!” and “Sin After Sin”.  It’s a nice one-two-three punch, with “I’ll Never Grow Up, Now!” being a bubble gum punk sandwich, stuck between two heavy metal hard hitters.  It’s actually a nice change of pace, getting the echo-laden remixes this time.

The heavy metal assault continues with what might be my favourite Twisted song of all time:  “You Can’t Stop Rock ‘N’ Roll”.

“Like a charging bull, it’s a juggernaut,With steam at full, never to be caught,Incarnate power, roaring from the sky,While others cower, rock ain’t gonna die.”

The slow intro, the chugging riff, the pounding drums of the late great A.J. Pero (my favourite member as a kid) and the roar of Dee Snider made this the perfect heavy metal song to entice a young teenager back in the 80s.  “You Can’t Stop Rock ‘N’ Roll” is part of a trio included from the same-titled album, joined by melodic metal masterpieces “I Am (I’m Me)” and “The Kids Are Back”.  When Twisted went all melodic, they drew upon classic influences, but combined with the heavy guitars, they almost sound like precursors to pop-punk.  In many regards, Twisted Sister were ahead of their time.  It’s a simple recipe:  Guitars chug, bass joins them, drums throw in some catchy fills, and Dee Snider delivers the hooks with the band on backing vocals.  Simple, but difficult to master.

The largest clutch of songs obviously comes from Stay Hungry, with six.  The three big singles are the obvious ones, but also thrown in are the classic deep cuts “Burn In Hell”, “The Beast” and “S.M.F.”  In these songs, you get the heavier side of “Stay Hungry”, minus the title track itself.  People who don’t actually know Twisted Sister might be surprised how heavy Stay Hungry could get once you ventured outside the safe singles.  “Burn in Hell” is an exersize in intensity that deserves every listen you can give it.  Perhaps the oft-forgotten “The Beast” is the most welcome here, as a true red-blooded slow burner metal monster.

Despite the quality of the lesser-heard Stay Hungry songs, one remains the pinnacle of Twisted Sister’s finest moments:  “The Price”.  Twisted probably took guff from the press and the doubters for attempting a ballad, but “The Price” puts the “power” in power ballad.  Notably, A.J.’s drums are far busier and heavier that you expect from the average paltry power ballad.  Dee Snider demonstrates his expert-level versatility here on the high notes, rendering this song very hard to sing note for note today.

This album wastes no opportunity.  Come Out and Play is finally given a fair shake.  The dark ugly duckling of the Twisted discography is represented by the title track, “Leader of the Pack”, “The Fire Still Burns” and the forgotten sing-along “You Want What We Got”.  They didn’t skimp out here, and you get the full length version of “Come Out and Play”, including the Warriors homage of “Twisted Sister, come out and play!”  Pero’s final album, and his drumming on this track is as blazing fast as it got for Twisted Sister.  “Leader of the Pack” is campy fun, but it really had to be included, being an integral part of Twisted’s early history and eventual failure (at least according to Jay Jay in the liner notes).  “The Fire Still Burns” has an intense flame indeed, though did Dieter Dierks’ production do it any favours?  Of note:  “You Want What We Got” is not the album version.  It is longer at 4:21, and contains an outro with Dee Snider talking, and dropping a deleted expletive!  This version is not credited as being unique, and it’s currently unknown where it originated.

Love Is For Suckers is often neglected.  The Beau Hill-produced album was written to be Dee’s solo debut, and included members of other bands from the Hill camp, such as Fiona, Winger and Kix.  Reb Beach played lead guitar, which led to a sudden change in sound, away from the heavy metal of Twisted Sister’s roots, and more towards what was popular at the time:  the subgenre they call “hair metal” today.  Joey “Seven” Franco replaced A.J., and was so nicknamed as he was the band’s seventh drummer.  Franco also followed Dee into his solo band the following year.  “Hot Love” was the single, which should have been a hit, while “Love Is For Suckers” was the only cover the band ever recorded without playing live first.

The final song is the bonus track, “Born to be Wild”, the Steppenwolf cover that they have indeed played live (going back to 1976, but more recently on Live At Wacken: The Reunion).  This new studio version was recorded in 2005 and produced by Mark “The Animal” Mendoza.  It was used prior to this release in a reality TV series called Knievel’s Wild Ride.  It’s tremendous fun, with Twisted Sister ripping into it with their usual reckless abandon.  Mendoza’s bass is delightfully bass, but Dee Snider really lets loose at the end.

This set, being limited to the Atlantic years, gratefully doesn’t include anything from Still Hungry or Twisted Christmas.  That’s fine and dandy; they would unbalance this release.  The Best of the Atlantic Years is the best single Twisted Sister compilation on the market.

5/5 stars

REVIEW: Pretty Maids – Red, Hot and Heavy (1984)

Thank you to Thor Blackmore for this CD!

PRETTY MAIDS – Red, Hot and Heavy (1984 Sony)

I ignored Pretty Maids when I first heard of the band.  “Pretty Maids?  What kind of name is that?”  Shallow kid stuff, but impactful, because now in 2024 this is my first real listen to Pretty Maids with intent.  Red, Hot and Heavy was the debut album for the Danish hard rock band, after a self-titled EP in ’83.  The six-piece band had some moderate success with the album, so let’s have a listen.

Opener “Fortuna Imperatrix Mundi” is actually an excerpt from Carl Orf’s “Carmina Burana”, and is credited as such on the back.  It’s just a few seconds.  The real opener is “Back to Black”, a scorching metal number with tempo and riffs sharpened and at the ready.  The raspy vocals of Ronnie Atkins differentiate the song from the works of other metal groups such as Iron Maiden and Judas Priest.  The keyboards give a highbrow neo-classical vibe.  It’s heavier and fuller than Dio, but with all the drama and guitar solo shenanigans.

The title track is slower and nastier.  A rallying cry for metal heads, “Red, Hot and Heavy” doesn’t pretend at being anything more than it is.  A slow metal banger, perfect for fist-pounding and shouting along with at the concert hall.  The shout chorus is custom made for the stage.  The duel guitar solo is pretty cool.  A stock metal chugger, but there is a need for a drum-bashing, stompy riff-rocking concoction such as this.

The highbrow keyboards return on “Waitin’ for the Time”, a very European sounding song which builds from a ballady opening to an upbeat pounder.  Sounds a bit like the Swedish band Europe during their Wings of Tomorrow era, with a hint of Def Leppard in the riff.  It’s an excellent song with light and shade, and a complete musical journey without exceeding five minutes.

“Cold Killer” begins with news broadcast dialogue, and then goes in a fast and ominous music unlike the other songs.  The rather clunky lyrics are about the weaponization of space, a hot topic in 1984 with Reagan’s “Star Wars” program in the nightly news.  But…clunky.  “There should have been a paradise, instead there’s a killer out in space.”  We’ll give them credit for trying at least, which is more than could be said for many bands of the 80s.  Musically it’s a terrifically fun ride through sweet guitar riff and solo action.  The keyboards add a progressive vibe, though some might say pretentious.

The anti-war theme flips over onto side two, with “Battle of Pride”.  Again, it’s not poetry, but the lyrical theme was very popular in metal at the time.  Musically it’s a fast Dio-like rocker with the keyboard accents giving it a different flavour.  Ronnie Atkins’ rasp continues to separate Pretty Maids from other bands, but by the time we hit side two, the ear is craving more variety in the voice.

“Night Danger” is a pure blitzkrieg, now more in the wheelhouse of a band like Accept.  These guys are not slouches when it comes to riffs over 80 mph in speed.  The irony is that, even at that speed, the song doesn’t really go anywhere.  It’s speed for its own sake, and that’s actually fine, because it’s plenty fun and doesn’t need to be anything else.

Acoustics join the electric guitars on “A Place in the Night”, one of the most impressive songs on the album.  Mid-tempo melodic rock, and dialing down on the vocal growls, is exactly what the album needed at this point.  The chorus explodes with passion and power at the right moment.  The keyboards add to the mixture by thickening up the melodic accents.  Brilliant deep cut late in the album.

“Queen of Dreams” has an Yngwie vibe again, though Malmsteen wouldn’t put as much emphasis on the other instruments.  The keyboards add a regal synth-trumpet sound over the guitars, but when the drums kick in, there’s no nonsense.  It’s that kind of metal that is obviously influenced by Deep Purple and Blackmore’s Rainbow, but amped up for the 80s.

The surprise is the closer:  a cover of Thin Lizzy’s single “Little Darling”.  Formerly a horn-laden rock classic, Pretty Maids heavy it up a bit and increase the tempo.  Though “Little Darling” will always be a personal favourite, I don’t think Pretty Maids did it any favours.  Their backing vocals are too shrill for the chorus, and without the horns, it loses that something special.  A swing and a miss for Pretty Maids, which is terribly unfortunate.

Red, Hot and Heavy is a strong debut.  Obviously the band grew and expanded their sound, and still continue today.  This is the foundation.

3.5/5 stars

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 show almost didn’t happen.  I wanted an expert on Kick Axe, so I asked Derek Williamson of Thunder Bay Ontario, who saw Kick Axe live back in the day and also interviewed the guitarist Larry Gillstrom.  He stonewalled me three times, so we decided to do it without him.

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 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!