heavy metal

Wish Us Luck: The Toronto Musical Collectibles Record & CD Sale 2014

TORONTO

Japanese Import Heaven

Dear friends, my budget is low, but my resolve has never been stronger!

Tomorrow (April 13) is the Toronto Musical Collectibles Record & CD Sale; T-Rev & I will once again be joined by Wes and newcomer Doug (?).  Last year was a tremendous success for me.  I am really hoping that the guy who sold me the Japanese imports will be back this year.  They were by far my best score at any record show in my over 20 years of attending them!

May the Force be with us!

Previously unseen video from last year

DVD REVIEW: I Love You Man (2009)

It’s the end of the Week of Rockin’ Movies.  All week we discussed movies with significant rock n’ roll connections.  If you missed anything, click below!  Thanks for hanging out.

MONDAY:  House of 1000 Corpses (2003)
TUESDAY: The Devil’s Rejects (2005)
WEDNESDAY: 2010: The Year We Make Contact (1984)
THURSDAY: Record Store Tales Part 284: The Impact of Movies
FRIDAY: Get Him to the Greek (2010)

I LOVE YOU MAN (2009 Paramount)

Directed by John Hamburg

I don’t know why it has taken me so long to review this rocking comedy. This and Fanboys arrived at roughly the same time, both movies featuring a character who loves the Holy Trinity known to Canadians as Rush. However only I Love You Man was able to score appearances from Geddy, Alex and Neil.

If you’re not a fan of the Apatow factory players – guys like Jason Segel, Paul Rudd, Joe Lo Truglio, Aziz Ansari, Nick Kroll, etc – then even the appearance of the Mighty Rush is unlikely to sway you to I Love You Man. You know what kind of humour you’re in for: dick and fart jokes, and plenty of them. If that’s not your kind of humour, that’s cool, man!

I happen to love fart jokes.

I Love You Man has some great fart jokes. But it also has heart, which is why I’m still into it five years later. Peter Klaven (Rudd) is newly engaged to his lovely girlfriend Zooey (Rashida Jones), but there’s one major issue: He doesn’t have any real guy friends. Zooey has plenty of bridesmaids, but Peter can’t think of anyone for the crucial role of best man. Klaven embarks upon a series of “man-dates” to get to know some guys better. These range from funny (Joe Lo Truglio’s gratingly high-voiced Lonnie) to disastrous (a vomit-filled poker game with Jon Favreau).

Klaven has a second problem. As a real estate agent, he’s landed a great client, but also a tough house to sell: Lou Ferrigno’s place. While Peter laments that it’s hard to sell a house with a giant-size Hulk statue on the lawn, it is at an open house that he meets Jason Segel’s Sydney Fife. Hitting it off, the guys exchange cards and agree to get some drinks later.

The critics really praised the on screen chemistry between Rudd and Segal, and it’s hard not to get drawn into their story. Especially when they realize they have a mutual affinity for Rush. This leads to the now-famous “Slappin’ Da Bass” scene, a phrase that Geddy may hear at just about every concert he plays, for all eternity.

The weakness with the movie (and many similar films) is the lack of strong female characters. Zooey is relegated to the character that is slowly pushed aside by Sydney. It’s not intentional of course, but a few missteps that Sydney makes end up upsetting Zooey, and eventually Peter, enough to jeopardize the best man slot at the wedding.

Can Peter, Sydney and Zooey reconcile in time for the wedding? Will Peter ever sell Lou Ferigno’s house? Will Rush be played at the wedding?

Of course you know what will happen, but this being a review, I’m obligated to stay away from spoilers.

I thought the cast was great, the story hilarious (if not the most original idea), and even the supporting cast were all standouts. J.K. Simmons as “the dad” and Andy Samberg as “the gay brother” were notable, even in their small roles. As a child of the 70’s, Lou Ferrigno was icing on the cake for me. The guy obviously has a good sense of humour, and the movie would not have been the same without him. Ferrigno rules.

I Love You Man has earned a permanent place in my movie collection, and not just for the Rush references!

4/5 stars

Paul Rudd as Peter Klaven
Jason Segel as Sydney Fife
Rashida Jones as Zooey Rice
Andy Samberg as Robbie Klaven
J. K. Simmons as Oswald Klaven
Jane Curtin as Joyce Klaven
Jaime Pressly as Denise McLean
Jon Favreau as Barry McLean
Lou Ferrigno as Himself
Rush as themselves

KISS Rock and Roll Hall of Fame induction speech

“The original Fantastic Four”

I was a little surprised when I heard booing at Tommy Thayer and Eric Singer’s names.  Not all fans are classy fans I guess, even if they had enough money to buy a ticket last night.

What I heard were four great speeches from four guys who absolutely, unarguably deserve to be in the Rock and Roll Hall of Fame, and as a lifelong Kiss fan I’m proud of my boys.

KISS HOF

GUEST REVIEW: The Winery Dogs – The Winery Dogs (by Jon Wilmenius)

After hearing so much praise for The Winery Dogs, I finally bought a copy.  I decided for now there was no point in writing a review:  After all, Jon Wilmenius already said it all.  So for my own review, all I’ll write is:  “What he said!”  Enjoy this review from Jon’s own excellent site, Music and Festival Reviews, reprinted with his kind permission.

Read the original here.

GUEST REVIEW by: Jon Wilmenius

THE WINERY DOGS – The Winery Dogs (2013 Loud & Proud)

Way back in the late 80′s / early 90′s supergroups were popping up like mushrooms in your garden. Bands like Bad English, Mr Big and Badlands had big success with the odd album or two before breaking up, but when the 90′s grunge era took over, supergroups were as rare as money on your bank account. Today, things have turned around and with the music industry looking like it does, musicians are forming different projects and bands with each other like never before. One guy that seems to involved a little everywhere are former Dream Theater drummer Mike Portnoy. As of now he is involved in no less than four different bands, Transatlantic, Flying Colors, Adrenaline Mob and now this thing. When The Winery Dogs started out in 2011, they consisted of Portnoy, bassist Billy Sheehan of Mr Big (formerly of Talas and David Lee Roth) and guitarist / lead singer John Sykes (Tygers Of Pan Tang, Thin Lizzy, Whitensake, Blue Murder), but since Sykes seemed to have too much on his mind, he decided to split and was replaced by multi musician and guitar player / lead singer Richie Kotzen, who also has a successful solo career going on, but also a former member of Poison, Mr Big and Forty Deuce.

Without hearing a note of their music, just by looking at the line up makes expectations rise like a virgin’s dong at the Playboy Mansion. That means that nothing worse than ‘great’ would be acceptable for this trio’s debut release. Now, I don’t know how much music that was written with Sykes in the band and how much of it that ended up on this album, but the fact is, Kotzen is all over this record. Kotzen’s solo career sky rocketed after he got the boot from Poison, at least quality wise and even a tone-deaf  could spot his style miles away. Just listen to Poison’s Native Tongue, the best album they ever released, and you’ll hear pretty fast which songs he brought to the table. He really should re-record them as a solo artist someday. So, if you’re a fan of Kotzen’s, this album is a no-brainer – as a matter of fact, it really should be a no-brainer for any a rock fan to buy this CD, because this is amazing stuff. “Elevate” kicks this album into motion with a bang, a rootsy rocker that sounds a lot like Richie’s solo stuff only with Sheehan’s famous and personal bass sound and Portnoy’s heavy groove. “Desire” follows and it is a brilliant tune, full of catchiness and groovy rhythms, “I’m No Angel” has a fantastic refrain and a killer melody, you’re stuck after the first chorus, on “The Other Side”, Sheehan and Portnoy totally rules the groove and the bass and drums are both one and separated at the same time and they give us a brilliant blues ballad in “You Saved Me”. It has a bit of a U2 – feel and Kotzen sings the hell out of it. The guy has got some feel, to say the least.

Both “Not Impossible” and “One More Time” has a lot of Kotzen over them and I find myself thinking that they probably would have been a great fit on his last album 24 Hours. “Six Feet Deeper” has a major swing to it and it strikes me that this is the first album I have heard where Mike Portnoy plays rock ‘n’ roll like this. I mean, he’s an amazing drummer, but his skills has always been in progressive metal where he doesn’t groove that much. This album shows that Portnoy is a lot more all round than people might think. “Criminal” on the other hand, is a heavy piece – not a far cry from how a Kotzen fronted Mr Big would sound. “The Dying” is a ballad, but it leans way more towards heaviness than anything else which is really cool – and it is a great song. The album ends with “Regret”, a classic Kotzen ballad, very bluesy in a 70′s style. Wow! This really is a super trio and they have made one hell of a debut album and hopefully enough people will buy this to convince the guys to keep this project alive. Another thing, has Billy Sheehan and Mike Portnoy ever played with such a groove like they do here? I mean, they are both ace players and with Kotzen, groove is in his blood, but on here Sheehan and Portnoy really makes the rhythm section swing. When we’re writing January 2014 and making a list on the best albums of 2013, this album will no doubt be up there as a contender for the number one spot. Jon says: Get this!

Jon Wilmenius (9/10)

 

DVD REVIEW: The Devil’s Rejects (2005)

Welcome back to the Week of Rockin’ Movies.  Each movie we take a look at this week will have a significant connection to rock music.  If you missed Monday’s installment, click below.

MONDAY:  House of 1000 Corpses (2003)

THE DEVIL’S REJECTS (2005 Lionsgate)

Directed by Rob Zombie

As stated yesterday, I’m generally not a horror movie guy.  I grew up on all the classics (good or bad) in the 80’s, but I thought I just outgrew the genre. Then I saw Rob Zombie’s House Of 1000 Corpses, and its sequel The Devil’s Rejects.

Picking up several months after the end of Corpses, the cops are closing in on the murderous Firefly family. The house is surrounded, and a surprisingly cool gun battle ensues.  It is only the first of many surprises in this cool conclusion. It may be a sequel, but its stark realistic texture is completely different from the bizarre original film. Set mostly outdoors in the deep south, the titular Rejects are soon on the run. But not all of them.

Mama Firefly (recast from Karen Black to Leslie Easterbrook) has been arrested.  Rufus is dead, and the giant Tiny has escaped. Hitting the road, Baby & Otis meet up with Captain Spaulding, who is revealed to be Baby’s daddy!  The three are on the run from a cop out to even a personal score. Like something out of a Sergio Leone film, music and scenery complement each other to take you on a trip that will shock and disgust.  There are no heroes, only victims and killers.  This is not for everyone.

There are buckets full of blood, lots of parts removed from the body to which they were originally attached, and lots of deeds beyond evil. I must stress again: This is not for everyone. The images contained herein will disturb. You may question why they even need to exist.  I suppose Rob Zombie would be the guy to ask, I don’t know.  All I know is, sometimes I can go for a good horror movie, and The Devil’s Rejects scratches the itch.

Much like the original, there is humour to break up the carnage.  Cranked up a tad, Captain Spaulding portrayed by Sid Haig always has a foul line to elicit a reluctant chuckle.   I enjoyed that, but I also enjoyed the sudden change of gears that is the epic ending.  Going out in a blaze of glory, I will never hear Lynyrd Skynyrd’s “Free Bird” again without seeing the three faces of the Devil’s Rejects.

As seen here, I own this movie with House of 1000 Corpses in a great DVD 3-pack.  The disc has plenty of special features on its own, including a tribute to the late actor Matthew McGrory (Tiny).  Also look for a cool deleted scene with Rosario Dawson and Dr. Satan that ties the two films together.  Included on the bonus third disc is a feature called 30 Days in Hell, which is the making of The Devil’s Rejects.  I enjoyed seeing Zombie work on the finer details; for example finding a specific T-shirt (Cheap Trick) for Brian Posehn’s roadie character.

4/5 stars, and 1 blood-splattered face.

Sid Haig as Johnny Lee Johns
Bill Moseley as Otis Driftwood
Sheri Moon Zombie as Vera-Ellen Firefly
William Forsythe as Sheriff John Quincey Wydell
Ken Foree as Charlie Altamont
Matthew McGrory as Tiny Firefly
Leslie Easterbrook as Gloria Firefly
Danny Trejo as Rondo
Diamond Dallas Page as Billy Ray Snapper
Brian Posehn as Jimmy
Tom Towles as George Wydell
Tyler Mane as Rufus “RJ” Firefly Jr

DVD REVIEW: House of 1000 Corpses (2003)

Hey! Welcome to another week-long series at mikeladano.com!  This time, the theme is Rockin’ Movies.  Each movie we take a look at this week will have a significant connection to rock music.  Enjoy!

HOUSE OF 1000 CORPSES (2003 Universal)

Directed by Rob Zombie

I’m generally not a horror movie guy, although I grew up on all the cheesy classics in the 1980’s. I thought I just outgrew the genre. Then my buddy Thuss implored me to see Rob Zombie’s House Of 1,000 Corpses.

Anchored by Zombie’s uncommon visual stylings and eclectic tastes, this House is rocking, don’t bother knocking. The setup:  An ill-fated foursome of young men and ladies are travelling cross country. They stop for gas and chicken at Captain Spaulding’s “Museum of Monsters & Madmen” (as played by the near-legendary Sid Haig). Spaulding is the best character written by Rob Zombie, both hilariously funny and mildly disturbing at the same time. Well, he’s a creepy clown. If you have a clown phobia, Spaulding’s the creepiest I’ve ever seen, but I can’t help but laugh every time he opens his sizable mouth.

Spaulding tips the kids (Rainn Wilson is the only “name” here) off to the creepy legend of “Dr. Satan”.  They then decide it’s a good idea to go hunting for Dr. Satan’s hanging tree in the middle of the night. In the rain. It is then that they meet the beautifully disordered Baby Firefly (Sherri Moon Zombie)…and get a flat tire. Things only go downhill for the young ones from there, as I’m sure you can imagine. Baby invites our young travelers to her family’s farm, where her brother can surely fix their flat tire.

Special mention must go to out to Bill Mosely who is terrifyingly unstable as the most amoral member of the Firefly family, Otis B. Driftwood. He only gets more interesting as a character in the sequel, The Devil’s Rejects…but that is another review.

Some horror purists can’t get into Zombie’s style. Indeed, he has a unique vision as any fan of his will know. If you like oddly proportioned monsters and robots, just go see him in concert. Zombie also likes to populate his films with 70’s southern stereotypes. Indeed, one would argue that the movie has no actual characters, just character types. That’s the kind of horror movie that I remember growing up with, and I believe his films pay homage to that very well. He also had a practical reason for setting his movies in the 1970’s.  No cellphones.  No-one to call for help.  No GPS. No way to call AAA and get a tire changed.  Isolation.

House of 1,000 Corpses is a visually disturbing film, and that’s one reason I can’t stop watching it. Other horror films are simply cheese-fests. Not this one. There are gallons of blood, body parts, and a couple monsters too, but all presented in a surreal nightmare setting that might have you avoiding country roads at night. Zombie went in a completely different direction in the next movie, so House of 1000 Corpses remains the “weird” chapter in this series.

Will there be justice on the Fireflys? Tune in tomorrow for my review of The Devil’s Rejects.

4/5 stars and 2 severed hands.

Sid Haig as Captain Spaulding
Bill Moseley as Otis B. Driftwood
Sheri Moon Zombie as Baby Firefly
Karen Black as Mother Firefly
Rainn Wilson as Bill Hudley
Tom Towles as Lieutenant George Wydell
Matthew McGrory as Tiny Firefly
Robert Mukes as Rufus “RJ” Firefly Jr
Dennis Fimple as Grampa Hugo Firefly

REVIEW: Europe – Rock the Night: The Very Best of Europe

EUROPE – Rock the Night: The Very Best of Europe (2004)

Europe’s successful reunion was one of the most unexpected of the last decade, but thus far four awesome studio albums have been the result. A tougher more rock-oriented Europe emerged with Start From The Dark, but not before this appropriate retrospective was released. Containing music from the first era of Europe, from their debut album to their fifth, Prisoners In Paradise, this compilation is the ideal summary of the 80’s and 90’s era of the band.

All the casual fans need to know is that all the hits are here, in their original studio versions: “The Final Countdown”, “Cherokee”, “Superstitious”, “Carrie”, and the title track. That’s enough to make this worth buying for many. But also included are great lesser known tracks, many of which were also singles: “Open Your Heart” (the original version from Wings of Tomorrow), “Dreamer”, “Sign Of The Times”, “Heart of Stone”, “The King Will Return”, and many more. Two of my personal favourites are included: The rhythmically powerful “Girl From Lebanon” and the pop yet inspiring “Prisoners In Paradise”.

The diehards are also baited with B-sides and rare tracks. Many of these such as “On Broken Wings” and “Mr. Government Man” have since been issued on Europe remasters and other compilations, but there were a couple I never had before: live takes of “Time Has Come” and “Let The Good Times Rock” from the 1980’s. There’s also a studio track that I’m unfamiliar with called “Here Comes the Night”. This appears to be from the Prisoners In Paradise sessions, previously unreleased, and it’s a decent track. Best for me was a later B-side version of “Seven Doors Hotel”, with Joey Tempest enunciating a lot more clearly.

For my personal tastes, I didn’t like Prisoners In Paradise much. I found it overproduced and way too commercial and American-sounding. Europe were always much more European sounding, like a more radio-friendly Deep Purple or UFO. So there are too many tracks here from Prisoners for me, including a few that I just hate: “Got Your Mind In The Gutter” (dull blooze-rock) and “Seventh Sign” are not that great. But, it is what it is. I preferred a lot of the songs from Out Of This World and previous albums. I would have preferred to hear “Tomorrow”, “Ninja”, or “Paradize Bay”.

But hey, it’s two CDs of Europe, right?  And Europe were and are a good band.  In North America, I don’t think they ever got any respect.  They are remembered here for the big hair, and the big anthem.  That’s too bad.  As this collection demonstrates, Europe had a lot more to offer then.  There are ballads indeed, but there is also mighty heavy metal, many grand melodies, and hard rock performed with precision.

Good liner notes, decent photos.  Good comp.

 

4/5 stars

 

Part 282 / REVIEW: Neurotic Outsiders – Neurotic Outsiders (1996)

OUTSIDERS_0001

RECORD STORE TALES Part 282:
T-Rev, Mike, and the Neurotic Outsiders…

T-Rev called me from his store one afternoon in 1996.

“Mikey!  Have you heard this Neurotic Outsiders CD?  It fuckin’ rocks!”

I had not heard the Neurotic Outsiders CD.

It actually took T-Rev some talking to get me to buy it.  (Playing it in-store was forbidden due to the foul language contained therein.)  I knew Duff McKagan and Matt Sorum were in the band, with Steve Jones and John Taylor from Duran Duran.  I was getting pretty bored with GN’R related solo albums, and while I found this combo intriguing, I was also inundated with other new releases at the same time.  These included a new Rush studio album, a Rush tribute album, a new Scorpions, and a new King’s X.  I had plenty of new music to keep me occupied!

He persisted, T-Rev did, and I caved and bought the CD.  It only took one listen to know that he was right about the Neurotic Outsiders.  They did indeed fucking rock.  I was hooked immediately.

We played Neurotic Outsiders in the car a lot that summer.  If I was driving, Trevor would be playing air drums along with Matt Sorum.  Trev’s a drummer and he was damn good at doing Sorum’s style.  You know that rolling drum intro to “You Could be Mine”?  T-Rev had that one mastered, and there’s loads of that on Neurotic Outsiders.  “Good News” is a great example.  Trevor used to say my car had “good bass”, but he wasn’t talking about my stereo system.  He was talking about the sound he could make when playing double bass on my floor with his feet.   He could bruise his legs (snare drums) just from playing in the car.

I didn’t really drink back in those days so I was usually designated driver, which worked out really well.  Driving home from a party, Neurotic Outsiders blasting, T-Rev playing slightly tipsy but always awesome air drums next to me.   I didn’t have a CD player in that car either, which would have been my old Plymouth Sundance.  Piece of shit car.  The left driver’s side speaker was blown, making everything sound absolutely weak and lopsided.  I recorded Neurotic Outsiders to cassette for car play.  T-Rev’s modus operandi was the mix tape, whereas I chose to record entire albums.  Either way, we heard “Good News” and “Angelina” a hell of a lot that year.

Fuck, that was a good summer.

NEUROTIC OUTSIDERS – Neurotic Outsiders (1996 Maverick)

This album kind of snuck in under the radar in ’96. Guns N’ Roses was disintegrating (Slash quit in October), but Matt & Duff teamed up with Steve Jones of the Sex Pistols and John Taylor of Duran Duran to form this supergroup of sorts. Lead vocals are handled by everyone except Matt Sorum, who provides plenty of his unique double bass/snare/crash cymbol pounding. In fact if any one member dominates in this album, I’d say it’s Matt Sorum!  The other three guys all have their own songs, but Matt is the consistent common thread.  Taylor tends to handle most of the slower material, Jonesy the heavy snarky stuff, and Duff sings a couple rockers too.

Very few stinkers on this album. Lots of winners. Lyrics with loads of attitude! “The good news is / You’re dying, the bad new is / I’m alive.” (“Good News”)  Then, there’s “Jerk”:

OUTSIDERS_0006“You’re a bitch, I’m a jerk,
I don’t think that we can work,
You’re a prat, I’m a prick,
I don’t think that we will stick,
I’m a cat, you’re a chick,
I think you deserve one more lick.”

There’s a Clash cover, a deliciously noisy “Janie Jones”, but even that great song is overshadowed by the Outsiders’ originals.  Check out the opener “Nasty Ho,” one of Jonesy’s hilarious and thunderous punk songs.  And if you have any doubts as to punk rock authenticity, I think Duff McKagan is well on record on a connoisseur of fine punk rock.

“Union”, a ballad, seems to be Jonesey lamenting that the Sex Pistols were never a real united band, slagging off everyone (himself included), except his “mate, old Cookie”.  It’s a slow song but it has some bite to it.  Two John Taylor songs are two of the heavier ones:  “Always Wrong” and the smokin’ “Feelings Are Good”.  Both these songs were also featured on Taylor’s solo album Feelings Are Good and Other Lies.  (The title track was renamed “Feelings R Good”.) Best tune is “Angelina”, a fast punk rocker (today would they call this pop-punk?) with an insanely catchy chorus.

The only tunes that I could skip over are the really slow ones:  “Better Way” and “Story Of My Life”.  Yet even so, they have some charm.  They’re not bad songs at all, just completely overshadowed by all the super-fun punk rock songs.  Producer Jerry Harrison captured a raw performance, and I like that you can hear the ambiance of the room on “Story Of My Life”.

OUTSIDERS_0007

As you read in the above Record Store Tale, I was hooked immediately on Neurotic Outsiders, and that proved to be a lasting feeling.  I wanted more, and at a visit to HMV Toronto (333 Yonge) I found the CD single for “Jerk”.  It contained a “clean” version of “Jerk” (kind of pointless, but you have to at least try to get played on the radio, right?).  Most interestingly was the B-side track “Seattle Head”.  Duff was born in Seattle and had a connection with many of the artists that came from that city.  (He was also one of the last people to speak to Kurt Cobain.)  I can’t say that this song has that “Seattle sound”, it sounds like Duff McKagan to me.  But it’s also obvious why it’s a B-side; because it’s the weakest of all the songs.

There was another single, a Japanese import for “Angelina”.  This one had two more B-sides: “Spanish Ballroom” and “Planet Earth”. I would really, really, really like to have that. Amazon is asking $45. Hard to justify for two songs (although I have done things like that before).

It’s a shame Neurotic Outsiders never made a second album. But maybe not — maybe a second album would have tarnished my memories. As it stands, it is just a one-off and will likely remain so, but it is also an album I still listen to 18 years later.

5/5 stars, and one middle finger!

REVIEW: Brant Bjork – Jalamanta (1999/2009 vinyl)

 

BRANT BJORK – Jalamanta (1999 / 180 gram vinyl 2009 reissue)

I still remember the circumstances surrounding me originally getting this on CD.  As recounted in an earlier Record Store Tale, Tom and I were at a party.  We were listening to some sHeavy, and Tom mentioned the Brant Bjork solo album as another must-have.  Being a fan of Brant Bjork’s drumming from Fu Manchu, I ordered it without hearing a single track.  Tom attempted to describe it by calling it “a cross between Fu Manchu and surf rock.”  Interesting.

10 years later, when Bjork reissued it on vinyl, he added the UFO-centric Blue Oyster Cult cover bonus track, “Take Me Away”.  Automatic re-buy.  It doesn’t really sound like the rest of the album, but who cares?  It’s Brant Bjork covering Blue Oyster Cult.  But that’s not the only reason to re-buy Jalamanta.

What a beautiful record! The first thing you’ll notice is the new cover.  All black with the Brant Bjork skull embossed.  Beautiful.  Open it up to get at the booklet with all new photos. The booklet truly is a work of art. Remember when you used to buy an LP, and you’d sit down in front of your stereo staring at the pictures, trying to make out every little detail until the record was done? Brant Bjork takes us back to that time.

The cover page is what appears to be an awesomely greasy Mexican meal, and then the final page is the empty plate — a satisfied customer. Just like with this LP.  You can really get stuffed on the grooves and tones contained herein.  There are plenty of low-key, incessantly grooving instruments.  The music is simple, repetitive, but effective.  It’s not heavy, but it feels weighty nonetheless.

The lyrics are included.  Here’s an example, from “Automatic Fantastic”:

The man shakes me down, that’s why I’m broke. Rich man’s got all the green but it ain’t the kind you smoke. So we turn up the rock, and we roll it slow. We’re always flying high, and the ride is always low.

Musically, if you haven’t heard this album before, I don’t really know how to describe the songs.  Bjork plays almost everything himself, and the vibe is laid back.  He sings on every song but “Toot” which is handled by Mario Lalli (Fatso Jetson). He’s chosen to mix his vocals way back and emphasize the unadorned guitars and drums.  The mix is spare, quiet at times, loud at others, but always trippy. Imagine driving down a deserted highway on a hot summer night with the windows down. This is the soundtrack to that ride.

This is one of those album that sounds like it was just meant to be heard on 180 gram vinyl. There’s no sound like it in the world. I noticed a heck of a lot more bass, the bassline on “Lets Get Chinese Eyes” being particularly sublime. This album just sounds stunning now.

5/5 stars

  1. “Lazy Bones” – 1:29
  2. “Automatic Fantastic” – 6:59
  3. “Cobra Jab” – 3:18
  4. “Too Many Chiefs…Not Enough Indians” – 3:44
  5. “Sun Brother” – 4:45
  6. “Lets Get Chinese Eyes” – 4:45
  1. “Toot” – 5:58
  2. “Defender of the Oleander” – 7:53
  3. “The Low Desert Punk” – 5:20
  4. “Waiting for a Coconut to Drop” – 4:17
  5. “Her Brown Blood” – 4:16
  6. “Indio” – 4:15
  7. “Take Me Away” – 5:35 (Blue Öyster Cult cover) vinyl only bonus track

REVIEW: Skid Row – B-Sides Ourselves (1992)

SKID ROW – B-Sides Ourselves (1992 Atlantic EP)

This was a great EP, ranking among some of the better examples of such a format in metal.  I love the MAD-Magazine-esque cover artwork.  I also loved the concept of this EP as a bit of a treat to tide the fans over during the excruciatingly long four year wait between albums. The five selections are all fun, performed competently, and sound like Skid Row. They also sound like a band who truly loves these songs and knows them backwards and forwards.  It’s not quite as satisfying as you want it to be, as it’s only about 18 1/2 minutes long.   (I mean hey, there’s a Ramones cover on here so there you go.)  This is meant to be nothing more than a fun snack, and as such pay no more for this than you’d be willing to pay for any 18 minute CD.

Tracklist time!

1. “Psycho Therapy”

Bassist Rachel Bolan sings this Ramones-approved cover (backed by Faster Pussycat’s Taime Downe).  It was chosen as the first single/video. Excellent cover, very authentic. So well received, it was even included on their Forty Seasons: The Best Of CD.

2. “C’Mon And Love Me”

Classic Kiss cover from Dressed To Kill! A great riffy Kiss song. Skid Row do it justice.  It’s one of those solid, meat & potatoes rock songs that requires no frills, just some solid guitars.  I think this is definitely one of my favourite Kiss covers ever.

3. “Delivering the Goods” (Live)

Featuring the Metal God himself, Rob Halford, in a duet with his buddy Baz! One thing that is immediately obvious is that Baz is absolutely pumped. But then again, he does state that he’s been waiting his whole life to share a stage with Halford.  Great cover, very live sounding, mistakes and all.  Still, “Delivering the Goods” is the weakest of these covers…yet it still blows away most bands.

4. “What You’re Doing”

Perhaps the best cover on the album. This is a first-album Rush cover. Back when Geddy was writing the lyrics, and before Rush were singing about how trees are talking to each other and how different sides of your brain works, or outerspace bullshit. It’s an absolutely ferocious, angry Skid Row cover with Baz paying tribute to his countrymen. Excellent, obscure choice and the only cover on the album that I hadn’t heard somebody else do before (or since).

5. “Little Wing”

A surprisingly great turn on the Hendrix classic. Very different from Jimi’s version (obviously), this sounds nonetheless authentic and classy. Of note, the Skids also did a live-in-the-studio version for the music video.  I wish that version was released on a CD as well.  Unlikely we’ll see that happen.

Covers records can be so very hit-or-miss, but this one is five hits.  Battleship sunk.  Just wish it wasn’t all over in 18 minutes.

5/5 stars

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