Welcome to theWeek of EPs! No sooner do I finish the Record Stores Tales before I’m off on yet another series! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure. Let’s start with a major band: Aerosmith.
AEROSMITH – The Other Side (1990 Geffen EP)
The first time I bought this, it was on cassette in a mall in Calgary, Alberta in August of 1990. I also bought Judas Priest’s Hero Hero at the same store, also on cassette. A completist even then, there was no way I was leaving without The Other Side. Of all my finds on that trip, this one I had never seen before. I later replaced it on CD while working at the Record Store.
The Pump CD is a great album, probably my favourite. The two songs from Pump that are on this single are “My Girl” and “The Other Side”, neither of which are really as great as the rest of Pump. That’s in my opinion; “The Other Side” was a popular hit. Notably, “The Other Side” lacks its intro, “Dulcimer Stomp” which may make it interesting for some.
The CD also has two useless remixes of “The Other Side”. The “Matt Dike ‘Honky Tonk’ Version” is just as offensive as the “Club Mix”. Maybe the Matt Dike version is slightly less offensive, but the added backing vocals and dance vibe is just crap. Neither mix adds anything of value to the song, but they are dragged out to 5:09 (Matt Dike mix) and an agonizing 7:04 (Club mix).
The main track that I bought the disc for was “Theme from ‘Wayne’s World'”. I actually had no idea what Wayne’s World was, although my cousin Geoff apparently did. Back then, I wondered what the hell this was. There were no liner notes to help either. This track is a mere 1:29, and it’s a straight up recording of the Saturday Night Live performance by Aerosmith of that song. I didn’t give a shit, I love it now. Perfect filler for the end of a mix CD!
Since this CD consists of two album tracks, two pointless remixes and a 1:29 song, you must be sure not to pay too much for it. As a kid I rarely played it, and the same can be said of the adult version of me.
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.
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.
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!
Helix fans take note, since My Wicked Twin was 3/4 composed of former members of that band. Brent Doerner and his twin brother Brian first joined Helix in 1975-76, and both were members of that band more than once. Brent in particular clocked in a couple decades total in Helix. Brian spent a few years touring and recorded with Saga as well. Joining them on bass is Mike Uzelac aka “Uzi”, who played and wrote on their Capitol Records debut No Rest for the Wicked (1983). None of these guys seemed to have lost anything with the years.
My Wicked Twin evolved from Brent’s first solo outfit, Brent Doerner’s Decibel who released an excellent CD in 2006. From that earlier incarnation comes guitarist/vocalist Shane Schedler, a talented Kitchener-area musician whom I first met back in the 90’s at the old Record Store. Needless to say I’m a little biased when it comes to reviewing these guys. Being objective is the goal, so let’s get on with it!
On first listen it’s clear that Brent has raised the bar. This time there’s more music (12 songs), and it’s noticeably heavier. At the same time it’s also more diverse, and the production is improved.
I need to single out “Maybe Love” as a particularly outstanding track. When I saw them debut it live in ’07 it was obvious what a great song it was going to be. Its evolved into a superior hard rock song with a melodic vocal and a thoughtful lyric. There are top-tier rock bands who don’t put out material as good as “Maybe Love” on their albums. This is a song to be proud of, absolutely. Brent made a pretty cool video for the song too.
Most of the rest of the album is more raw, and more rock. “All The Action”, with its adventurous melodies, is a highlight. “One Big Bad Whoopie” is a lyric in which Brent shows his sly humour, something that comes frequently on this album. “Decibel City Hall” and “Get Your Game On” are fast boogie rockers a-la-Van-Halen-with-Roth. If you’re a hockey fan, you may have heard “Get Your Game On” before the album came out, as the band submitted it to the CBC for their “Write the new Hockey Night In Canada theme song” contest. (I prefer it to the selection they finally picked, but hey, it may be a tad too rock n’ roll for Hockey Night In Canada.)
Other standouts include “The Sting I Need” and “Love is What I Lean On”. “Alone Again, Face to Face” is a nocturnal, sneering rocker. “That Kind of a Love” is a guitar haven within a stunning power ballad. I tend to use the word “epic” a lot, but it does apply here, especially in the middle when it goes all Zeppelin. As one would expect with musicians of this caliber, the playing is more than competent. Brent and Shane weave cool lick after cool lick, while Brian and Mike groove with nuance. While everything is solidly rock n’ roll, the rhythms are not simplistic, and paying attention to the drums will produce many smiles.
Pick up My Wicked Twin’s Decibel Music, if you’re a fan of rock “the way they used to make it”. But give it time to grow on you. Some songs have a lot going on, and not many are instant. Play it a few times. You’ll be glad you found this band. Or, in their words:
“So don’t steal our record, Cause we gotta eat, So buy our record, Satisfies, ’cause we love the taste of meat, We love the taste of meat!”
I’ve seen the juicy ribs Brent eats, so I’m inclined to agree.
AC/DC – Back In Black (originally 1980, 2004 Epic DualDisc)
How many times have I bought Back in Black? How many times have you bought it? I know that I purchased it on CD first in 1990, and then four more times since. I currently own two copies: this DualDisc, and the one that came in the Bonfire box set. I don’t think I have it on vinyl, but I could be wrong. The DualDisc has a DVD side with some neat stuff including a documentary.
“The Story of Back In Black” begins in 1979, with Highway to Hell, fame and glory. New interviews with all five AC/DC members (Angus & Malcolm Young, Cliff Williams, Phil Rudd and Brian Johnson) provides a little bit of insight. We all know the story: February 19 1980, the death of Bon Scott, and the brave decision to carry on have become rock legend. But according to Angus, it was Malcolm who kept the band playing, if only to distract them from the pain of their loss. The band continued to jam and write without a singer, but producer Mutt Lange knew of one from a band called Geordie. Brian recalls a hilarious story of being invited to audition for the band. He went down to London and played “Whole Lotta Rosie” with AC/DC for the first time. They then went to the Bahamas with Mutt to record.
The band tells the stories behind several songs: “Hells Bells”, “Rock and Roll Ain’t Noise Pollution”, “You Shook Me All Night Long”, “Back in Black”, and “Shoot to Thrill”, while Angus and Malcolm demonstrate the riffs up close. Brian reveals “Back in Black” was a challenge, since it was intended as a tribute in song to Bon. No small feat to get the mood right. The 30 minute mini-doc ends with Back in Black selling 10 million copies. I guess they got it right!
You know the songs. You’ve heard ’em the radio, seen ’em on the video, hummed them in your sleep. “Hells Bells” is one of those archetypal AC/DC songs. When one pictures the “ominous AC/DC headbanger” song, “Hells Bells” should certainly come to mind. Then you can get your stompin’ shoes on for “Shoot to Thrill”. I do miss Bon Scott’s sly playfulness, but there’s nothing wrong with Brian Johnson’s full-speed-ahead screech either. “What Do You Do For Money Honey” is as catchy today as it was then, and has the benefit of being one of the songs that doesn’t get played every single day on the radio. I’m not as burned out on it. Same with “Givin the Dog a Bone”, but on that song all I can do is wonder what Bon would have done with that groove.
One truly outstanding track is the last song on side one, “Let Me Put My Love Into You”. Yes, that title is hardly clever. But the song kicks ass all over the place. It’s one of those late night prowls that AC/DC do so well, and it perfectly closes the first side.
The title track opens the second side with a bang. Then “You Shook Me All Night Long”, a classic that also needs no introduction. If you don’t know this song then you probably don’t listen to rock music. I can’t add anything to the discussion there.
“Have A Drink On Me” and “Shake A Leg” are both fine AC/DC songs. Nothing wrong with ’em, nothing exceptional about them. Thankfully they saved one of the best songs for last: “Rock And Roll Ain’t Noise Pollution”. This has been my favourite track since first getting the album 24 years ago. It’s an anthem, the kind of thing we can all agree on. Rock and roll ain’t noise pollution, baby. I’ll drink to that.
I don’t think Back In Black is the best AC/DC album, but it might be the best Brian Johnson album. It’s certainly the most important AC/DC album historically, and it’s a must for any serious rock fan to own. Choose your format according to your own wishes, but this DualDisc edition satisfies me fine.
4/5 stars
For those times when you can’t use the internet to tell you what songs are on what albums.
MARK ST. JOHN – Magic Bullet Theory (2003 Loch Ness Monster Records)
Mark St. John (1956-2007) is best remembered as the lead guitarist on Kiss’ 1984 Animalize album. He was however much more than just a Kiss guitarist. His exotic shredding was the basis of an instrumental solo album, Magic Bullet Theory. Thanks Lemon Kurri for hooking me up with this CD.
“AWOL” blasts the doors open wide: high-octane tempo, high-speed shred, high-tech tricks. There are Yngwie-like moments, Van Halen harmonics but also enough melody and song structure to keep it interesting. Mark’s solos feature a number of different sounds and styles. Intricate flamenco and electric guitars open the title track “Magic Bullet Theory”. Then it turns into a melodic instrumental with lead guitar center stage. Next, out of left-field comes the jazz workout of “Bourbon Street”. This delicate number features non-stop jazz guitar shredding, full speed ahead, which some will find to be just too much to absorb. “Too many notes,” some might say. I am not one who would say that.
It’s back to instrumental heavy metal with “Slave Driver”, which reminds me of Yngwie’s “Leviathan”. “Utopian Trip” is more laid back, and I can hear mandolin on this one. Mark lays a blistering lead guitar line over the largely acoustic track. “Communicator” offers plenty more shred, perhaps resembling the high pitched screech of some 60’s sci-fi communication device. “Baghdad” has guitars that sound like air raid sirens, certainly appropriate given the title. But the song itself is Arabic is style, with a lot of very complicated acoustic guitars.
“Wait No More” is more melodic instrumental hard rock, but with complex rhythms and tricks aplenty. “Between the Lines” is ballad-like, with layers of shimmering guitars,until the song gives way to a nice rock riff. This is of course accentuated by plenty of lead and melody guitars. Finally “The Lone Gunman” closes the album on a heavy note. (Notice how this title ties in with “Magic Bullet Theory”.) The is a riffy track, which frankly the album could have used more of. It’s also the longest song on the album, and probably the most epic emotionally.
Although Magic Bullet Theory is not as song-oriented as I prefer instrumental albums to be, it has plenty of memorable moments and tracks. It certainly shows off the talent that Mark had, that the world doesn’t know enough about. Magic Bullet Theory comes recommended to all dyed-in-the-wool Kiss fans, and those who enjoy intelligent shreddery.
3/5 stars
…But wait, it’s not over! After a five minute silence is an unlisted classical guitar rough recording, melodically lovely and astonishingly fast! A nice coda.
A World With Heroes EP – A KISS Tribute for Cancer Care(Anniversary release)
You’ve heard me talking a lot about this one lately. It’s a release I’m really excited about. The record shows that I heartily approved of last year’s A World With Heroes (A Kiss Tribute for Cancer Care), assembled by Mitch Lafon. Proceeds went to benefit the Vaudreuil-Soulanges Palliative Care Residence in Hudson, Quebec. And it was a killer, killer CD as my 5/5 star rating attested to. To hear there was an EP coming featuring more Kiss covers, that peaked my interest. Lafon always makes sure that there are quality tunes, performed by artists we care about.
The Killer Dwarfs do “C’mon and Love Me” just right. I like that Russ Dwarf throws in some of Gene’s mannerisms in the chorus, but also sings it in his own voice. If you like Killer Dwarfs and Kiss, you will love this, guaranteed. Once again, the A World With Heroes series has delivered a solid Kiss cover that is valuable to fans.
“Calling Dr. Love” as performed by Crash Kelly is a real rarity. You had to pre-donate to the original compilation CD to get an mp3 of it. Now you can buy it on the EP. They turn in a fun version of “Dr. Love”. They make it a bit more pop rock in feel, and Sean Kelly absolutely nails Ace’s solo note for note. It’s uncanny. We all know Sean is a talented axeman, but that solo was flawless.
“Save Your Love” is an awesome Ace song, but Matt Bradshaw’s take on it is unique to say the least. He transforms it into a funky acoustic ballad. But it works! I was prepared to hate it but was pleasantly surprised. It’s bizarre how the song completely works in this format. This is an example of an intelligent, innovative cover — something that is rare these days. Brilliant cover. Seriously.
“Every Time I Look at You” was originally from the Revenge album. Some fans assume that Bruce Kulick played the guitar solo, but it was in fact Bob Ezrin’s old pal, Dick Wagner. Dick Wagner passed away recently, at age 71. This was his last song ever, which makes his version of this song that much more poignant. His quavering voice speaks of the years past, but much like a late period Johnny Cash album, it only adds character to the song. He sounds like a cross between Bob Dylan and Keith Richards. The guitar work is lovely of course.
The Dwarfs return with “Nothin’ to Lose” from the first album. Once again Russ nails the Gene mannerisms, while still sounding like Russ Dwarf. This one is replete with piano and cowbell (Piano is by Bruce Stephen Foster, who also played on the Kiss original!). I gotta be honest with you, I like the idea of the Dwarfs covering Kiss songs. They can do more if they want. They’re allowed.
Sudden Flames are a metal band from Quebec City. They heavy up “Coming Home” considerably. It’s one of my favourite Kiss songs ever, so it’s kind of funny to hear it with drums blasting away like this. Like “Dr. Love”, this song was only available to those who donated in advance to the original CD. Now you can get it on iTunes too. I enjoy hearing their Québécois accents, truly one of the greatest accents on this Earth.
When The Cult finally reunited, the rock world rejoiced. It felt like a long time, in that post-grunge wasteland, since the world had been blessed with any new Cult music. Not only had they reunited (with their former drummer Matt Sorum, also formerly of Guns N’ Roses) but they had also reunited with producer Bob Rock, for the third time. Much like his last outing with the band (1994’s The Cult), this Cult album sounds like none before it. This time, The Cult have gone full-bore ground-shaking heavy metal. The template was a song the old band were working on before they split “In the Clouds”, from 1996’s High Octane Cult. The resemblance is uncanny.
“War (The Process)” invites you to the stage. Its weight is astounding; Duffy’s guitars crushing while Sorum attacks his kit as he always has. Duffy’s guitars have acquired a much heavier metallic tone. Bob Rock applies them in layers, which has always worked well for The Cult. When “The Saint” enters, your head could be blown from your shoulders. This is The Cult at their heaviest, but Billy’s melodic sensibilities are intact, and his guitars always sound like Billy Duffy. Ian, of course, sounds like Ian, howling at the ghosts.
The single from this album was “Rise”, which is no less brutal than the first two tracks. Its stuttering de-tuned riff recalls Kyuss or Queens of the Stone Age. Song after song, the album crushes. “Take the Power” is a rallying crying over a noisy Duffy arrangement. This time, the layers of guitars form this wall of awesome that threatens to fall on you at any moment. Astbury is delivering a lot more melody with his lead vocals than he did on The Cult.
“Breathe” offers a respite, but it’s only brief. It soon turns into a mid-tempo groove rocker, but a forgettable one. “Nico” is a highlight, an “Edie”-esque beauty. It would have been my choice for a single. Somebody should really start asking me.
No sooner have you had a chance to relax before “American Gothic” smashes through the wall. This is one of the heaviest Cult songs to date. Cult bassist Chris Wyse (back in the band today) has a solid groove but is overwhelmed by the sheer weight of the Duffy guitar layers. “Ashes and Ghosts” too is groove laden and heavy as plutonium. “Shape the Sky” has a little bit of the old Cult’s prowl, but it’s still pretty heavy like spent nuclear fuel. Ian has a knack for a cool chorus, and this is one of them. “Speed of Light” has a bit of that robotic pulse from 1993’s “The Witch” before it descends into a detuned metal riff and chorus. Then, “True Believers” gives you some breathing room again, although still slammed by electric guitars. This slow tune is a bit more about the melody than the headache.
The final song on most editions of Beyond Good and Evil is “My Bridges Burn”. The Cult bow out on a scorching rocker, blowing the speakers out for those who dare to follow them. Australia received an additional song, “Libertine”, on which to close. This song feels like a coda and is powered by an Anthrax-esque stomp. Top that with a soaring Astbury howl and those patented Duffy guitar melodies and you have a good summation of The Cult 2001.
I think many old-school Cult fans, the kind who think they made a wrong turn on Sonic Temple, would dislike Beyond Good and Evil. For those of us who don’t mind the Cult when they just fucking rock, I think it’s a brilliant album. The songs are not designed to be instantly catchy. They are designed to create a sledgehammer of an album that relentlessly powers its way into your soul. For me, it worked. You could listen to it once and say, “Sure, it’s heavy, but there are only a couple memorable songs.” Keep listening. Let Beyond Good and Evil pummel you with body blows until all you can do is let it sink in.
GUNS N’ ROSES – “The Spaghetti Incident?” (1993 Geffen)
The hype surrounding this album was palpable. The disappointment was legendary. When I began working in a record store in July 1994, less than a year after the release of “The Spaghetti Incident?”, we couldn’t give these away, no matter how low we marked them down. This disc effectively ended Guns N’ Roses domination and ushered in an era of a new wave of bands, the post-grunge onslaught. GN’R survived grunge only to be put to bed with this terrible album!
The reason is, while most of these songs are great in their own rights, these versions are not. The recording is sparse and basic, a far cry from the layered intricacy of the Illusions albums. While Slash’s goal was to get the production back to basics (read: Appetite), this album was an ugly beast and not even close to the shiny black gleam of Destruction. Some songs are just plain boring. “Since I Don’t Have You” was an odd choice for a single, and “Black Leather” just plain sucked. I think there were quite a few fans who were baffled by the number of Duff lead vocals too.
The best song (which wasn’t even recorded by GN’R), is Johnny Thunders’ “You Can’t Put Your Arms Around A Memory”. This is actually a Duff McKagan solo track, an outtake recorded for his first solo album, Believe In Me. Other standouts include Axl’s raging “I Don’t Care About You”, Duff’s “Attitude”, and “Down On The Farm” which had been played live way way back when Izzy was still in the band. A lot of fans were off-put by Axl’s faux-English accent on “Down On The Farm”, but that’s the way it was played live and I don’t mind. The New York Dolls’ “Human Being” is a great Guns cover. “Ain’t It Fun” is also an angry standout.
Nazareth’s “Hair of the Dog” is underwhelming although Axl does nail the lead vocal. Why GN’R covered a Soundgarden song (“Big Dumb Sex”) is beyond me, and of course there’s the worst track on the album, and most legendary — Charles Manson’s “Look At Your Game, Girl”. Axl’s obsession with Manson was just another nail in the coffin for GN’R, as most fans couldn’t wrap their heads around it. It didn’t help that Slash publicly said that the song “sucked” and that he refused to play on it.*
“The Spaghetti Incident?” will go down in history as the last music of the Illusions sessions to be released, and also is the only album of the Rose/Slash/McKagan/Sorum/Clarke/Reed lineup. By the time Guns N’ Roses released their next single (another cover, the Stones’ “Sympathy For The Devil”), Gilby Clarke was fired by Axl and replaced by Axl’s hometown bud Paul Huge. And that was the last straw for Slash, and the beginning of what would later be known as Chinese Democracy. And that was it. “The Spaghetti Incident?” is the last album to feature Slash, Duff, and Matt, and I think that is just sad and kind of weird too.
If you love Guns N’ Roses, then you already have this, because you have everything by the band. If you only “like” Guns N’ Roses, you don’t need this. You’ll play it a few times and then file it away, never to be heard again.
AEROSMITH – The Other Side (1990 Geffen EP)
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