jeff beck

REVIEW: Ozzy Osbourne – Patient Number 9 (2022)

OZZY OSBOURNE – Patient Number 9 (2022 Epic)

It’s very easy to be cynical about any new Ozzy album since about Down To Earth and onwards.  Corporate constructions.  Special guest writers and performers. “Here Ozzy, sing these new songs we wrote for you.”  Prior to that, it felt like Ozzy had a band, and that band took different directions on each album.  Now Ozzy has Andrew Watt and a slate of big-namers.  It’s been this way a while.  This time the difference is, the process resulted in a pretty decent album.  Sure it’s still Watt at the helm, with special guests in big letters on the back cover and front stick.  Jeff Beck!  Eric Clapton!  Tony Iommi!  Zakk Wylde!  Of course without a real band, you don’t get that cohesive band sound, but what you do get ain’t bad indeed.

Each track (except for “Darkside Blues” which is either a new version or a new mix of the Japanese bonus track from Ordinary Man) has credits by Andrew Watt and professional songsmith Ali Tamposi.  She’s more known for Kelly Clarkson, Nickelback, and a slew of Justin Bieber and Miley Cyrus hits.  She also co-wrote most of Ordinary Man so there’s a formula at work here.  Other co-writers include Ryan Tedder, Duff McKagan, Chad Smith, Robert Trujillo, Tony Iommi, Chris Chaney, and the late great Taylor Hawkins.

Ozzy falls into his comic horror persona a bit too much.  There was once a time when he was trying to shed that “crazy madman” image but he’s really leaned into it again for the last couple decades.  As such the album opens with silly “insane asylum” sound effects that only delay us getting to the good stuff.  The opening title track is over seven minutes long with that nonsense attached.  It’s also one of the poorer of the new songs, overly formulaic and modern with robotic hooks.  Jeff Beck’s unconventional and slippery solo work makes it worth a listen (Watt and Wylde play the rhythm and fills).

Things really get moving on track two, “Immortal” featuring Mike McCready of Pearl Jam and Duff on bass.  Good riffing and grooving going on here, and the first memorable chorus.  The Hawkins co-penned “Parasite” is another grooving highlight, featuring the Foo Fighter on drums.  The chorus is really solid and just moves like a ‘Vette on the highway.  That’s Zakk on lead guitar, but he’s instantly recognizable.  Former Ozzy bassist and currently Metallicer Rob Trujillo on bass.

What’s really amazing is that with the help of Tony Iommi, this hodge-podge of creators managed to write a seriously Sabbathy dirge called “No Escape From Now”.  You’d swear it’s Geezer Butler on bass, but it’s not.  It’s actually Watt.  It’s as Sabbathy, if not more so, than most of the 13 album.  It feels a bit “token”, like, “Oh hey Sabbath fans, here’s a song with the riffs and time changes that you like.”  Yet it’s one of the songs you’ll keep returning to, and probably for those reasons.  Of note, this is the only song without Andrew Watt on rhythm guitar.  It’s all Tony and only Tony which is the reason it feels heavy as a bloody brick.

In a throwback to Ozzmosis, “One of Those Days” with Eric Clapton really sounds a bit like “I Just Want You”.  Clapton really adds a touch of class.  One could imagine that the chorus will upset certain people with it’s refrain of “I don’t believe in Jesus”, but it is one hell of a chorus – pun intended.  Unfortunately the ballad that follows, “A Thousand Shades”, is a throwaway, aside from the brilliant Jeff Beck guitar solo.  One of the Hawkins co-penned tracks called “Mr. Darkness” takes a minute to get going, seemingly a song about fan letters that Ozzy once received.  It and the next two songs all feature Zakk Wylde on guitar.  Dull verses, but awesome chorus, with an awesome Sabbathy change towards the end.  The only dumb part is the silly ending where Ozzy speaks, “You don’t even know my name you asshole.”  Just…no.

“Nothing Feels Right” is another ballad, very Ozzmosis-y.  Decent song, good chorus, with all the production bells and whistles.  It really smokes during the solo section.  Another Sabbathy sounding riff emerges on “Evil Shuffle” and it really seems clear that Andrew Watt is trying to channel Geezer Butler’s bass playing on this album.  Not that it’s a bad thing.  Then it’s the much-hyped “Degradation Rules” with Tony Iommi, a song about masturbation, but not as good as the prior Iommi song.  The main hook here is Ozzy’s harmonica playing, a great throwback to “The Wizard”.

“Dead and Gone” is a deep cut highlight, with a latter-day Priest-like groove and lots of Zakk Wylde chunk.  An album highlight buried way in the back end.  Finally, “God Only Knows” is the last proper song, but unfortunately sort of a last gasp rather than a late highlight.  Kind of a ballad, with lush backing vocals, but not a “Road to Nowhere” kind of late album winner.

The outro music, “Darkside Blues”, appears to be a remix of the original version from Ordinary Man‘s Japanese release.  You can compare the waveforms below.  It’s a swampy track with more of Ozzy’s harmonica, just a coda to the album.

It’s pretty amazing at this stage of the game that Ozzy is still cranking out new music, but of course he has a huge support team behind him.  This time, the team produced an album better than the last one by a pretty fair margin.  They could have cut two tracks and made it a more engaging and concise listen.  It’s always a balancing act between giving the listener added value, or a streamlined experience.  A minor quibble at the end of the day.

3.5/5 stars

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REVIEW: Def Leppard – Yeah! II (CD Collection Volume 3)

Part Thirty-Eight of the Def Leppard Review Series

DEF LEPPARD – Yeah! II (CD Collection Volume 3 Disc 5) (2021)

This disc, exclusive to the box set, isn’t really a sequel to Yeah! as the title implies.  This CD instead collects all the Yeah! bonus tracks (aside from the live ones – they’ll be coming next week) and a few other covers from single B-sides.  19 tracks total, this is the collector’s dream disc for knocking a few rarities off the list.  There are also B-sides here going back to Adrenalize, so well overdue to appear in this series of box sets.  If you were wondering, “Hey, how come ‘Little Wing’ hasn’t popped up in this set yet even though it goes all the way back to 1992?”, now you know.

There is a lot of information here to digest, so buckle up!

1. “Only After Dark”, the original B-side mix (as opposed to Retro-Active remix) leads us off.  This Mick Ronson cover was the first Adrenalize B-side, from “Let’s Get Rocked” in 1992.  The remix added guitar overdubs by Vivian Campbell, but this one is all Phil Collen.  Great tune, and perfect for Leppard to cover.  Upbeat, cool riff, great playing by Phil and vocal performance by Joe Elliott.

2. “You Can’t Always Get What You Want”.  This and the next track are by The Acoustic Hippies From Hell, which was Def Leppard plus three Hothouse Flowers:  Fiachna Ó Braonáin, Liam Ó Maonlaí, and  Peter O’Toole.  Tin whistle, piano and mandolin are interesting accents for Def Leppard, but this is a brilliant cover, essentially live in the studio.  These Acoustic Hippies tracks originated from the 1992 “Have You Ever Needed Someone So Bad” single.  Notably, this group also recorded the Leppard original “From The Inside”, so the sound is similar.  Brilliant if surprising.  Especially considering this song is so difficult to cover without wrecking completely.

3. “Little Wing”.  Also by the Acoustic Hippies From Hell, and also from the ’92 “Have You Ever Needed Someone So Bad” single.  Quieter, darker, and slightly trippy.  The tin whistle here is really something and is the only solo instrument.

4. “Ziggy Stardust”.  This track is from the 1996 UK “Slang” single, and it is another acoustic performance.  It would not be a stretch to say it is one of Leppard’s finest covers.  I daresay nobody covers David Bowie better than superfan Joe Elliott.  An shimmery acoustic stunner.

5. “Under My Wheels”.  Very rare track from the 1999 “Goodbye” single.  Not the first time Leppard have covered Alice Cooper, but we won’t get to the first time until next time!  Very confusing, I know.  Good, if stock, cover.  Lots of bands have tackled “Under My Wheels” over the years, but the unexpected sax solo is a treat!

6. “Who Do You Love?”.  Also from the “Goodbye” single.  This Ian Hunter cover is a bit forgettable unfortunately.  It replicates the thump of the original but lacks the same sass (and harmonica).

7. “Rebel Rebel”.  Back to Bowie and another great version.  Another rarity, originating with the 2002 single for “Now”.  Electric Bowie this time, and performed near-perfect.

8. “Led Boots” from the 1996 “All I Want Is Everything” single, and not performed by Def Leppard.  It was recorded by Vivian Campbell as a solo artist for a Jeff Beck tribute album called Jeffology.  This one is way out in left field compared to the others, being a funky zig-zag of a song.  That’s Jay Schellen from Hurricane playing those funky drums, and John Alderette from Racer X on bass.  Very much in the vein of early, jammy Journey and a side of Vivian you never get to hear.

9. “‘Cause We’ve Ended as Lovers”.  Phil Collen’s solo Beck cover featuring the same rhythm section as Viv’s, with Billy Sherwood on Rhodes.  From the same 1996 CD single as well.  This song cries; it just weeps.  Again, a side of the guitarist that you never get to hear.  You’ve never heard Phil play so slow!  (Don’t worry, he burns it up later.)  Full of feel and one of the guitarist’s most memorable performances.

10. “Search and Destroy”.  Finally, onto the bonus tracks from different versions of the Yeah! album.  The Iggy & the Stooges cover “Search and Destroy” originated on the Walmart bonus CD.  It features Phil Collen on all instruments and lead vocals.  If it wasn’t for the expert solo work, you could call it fully-fledged punk.  Phil captures a snotty vocal vibe, and you gotta say it sounds authentic.

11. “How Does It Feel?”.  SERIOUS RARITY ALERT!  The only way to get this track was by iTunes download, and only with the initial release of Yeah!.  The song was discontinued thereafter and you were out of luck.  Therefore, this is a first time physical release!  The piano-based Slade cover features Joe on all instruments (piano and acoustic guitar).  It’s a beauty that sounds very different from the typical Slade sound.  Melodic as hell and Joe does a bang-up job.

12. “Roxanne”.  Another serious rarity, a previously unreleased Phil Collen demo of the Police classic.  Unsurprisingly, Phil has a Sting-like voice, so it sounds about right, though Phil sings it in an understated way.  It’s funky and Phil’s solo is perfect butter on top.

13. “Dear Friends”, a Queen cover by Rick Savage, is an album highlight.  Originally from the Walmart bonus CD, it features Sav on vocals and all instruments.  And holy shit, dear friends, did Rick ever go in left field!  Although it begins similar to the Queen original with soft layered vocals, it then goes in a Live Killers “We Will Rock You” hard rock direction!  Almost a punk rock speed to it.

14. “Winter Song”.  A seasonal sounding acoustic Lindisfarne cover from the Best Buy edition of Yeah!  (One of two Best Buy bonus tracks, with the second one appearing on Yeah! Live.)  Lindisfarne were a folk rock combo, and this version is performed as a duo by Joe and Sav.  A great addition to your favourite homebrew Christmas mix CD.

15. “American Girl”.  Fabulous Tom Petty cover from the Walmart bonus CD.  Performed by Joe and Viv, with Mark Danzeisen on drums.  Another disc highlight.  Joe and Viv captured everything you like about the song.  Its spunky upbeat vibe lasts all night.

16. “Heartbeat”.  Joe calls this cover the most “out there” of them all, but I think that honour has to go to “Dear Friends”.  “Heartbeat” was by Jobriath, the first openly gay artist signed to a major label record deal.  He only made two albums before fading into obscurity.  It’s a beautiful piano ballad performed by Joe.  You could originally get it on the Walmart bonus CD.

17. “Space Oddity”.  The final Bowie cover and fifth & final track from the Walmart bonus CD.  Joe on all instruments.  Lovely version but it’s hard to top the sheer vibe of the original, no matter how faithful.  At best you can say it’s a nice reproduction.  At worst, it’s unnecessary.  However it was recorded as a gift from Joe to his dad, so can you really blame anyone?  Not at all.

18. “When I’m Dead and Gone”.  Target was the last chain to get exclusive bonus tracks, and like Best Buy they got two.  And like Best Buy, one was live and therefore appears on Yeah! Live.  The other Target bonus track was “When I’m Dead and Gone” by McGuiness Flint.  It is another folk rock cover, done up nice acoustically by Joe and Phil.  An album highlight; so damn melodic, upbeat and catchy!  And then it detours into “Ooh La La” for a minute.  The perfect ending!

19. “Stay With Me”.  Closing Yeah! II just like it closed Yeah! is The Faces’ “Stay With Me”.  This is an earlier B-side version from the “Now” CD single (2002).  Phil Collen takes on the raspy Rod Stewart lead vocal (and probably had to gargle salt water for several days after).  The version from Yeah! sounds more full than this original, but you gotta have ’em all or it ain’t complete, is it?

So there you have Yeah II, a mixed bag of a compilation from all kinds of singles and assorted releases.  One more disc of covers to go before we’re done, but Yeah II is the best listen of the three.  Though long, it has the variety and fearlessness that sounds great on the speakers compared to the original Yeah!.

4/5 stars

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection
  31. Yeah!
  32. Yeah! Bonus CD With Backstage Interviews
  33. Yeah…Nah!  (Recored Store Tales)
  34. Songs From the Sparkle Lounge
  35. “C’Mon C’Mon” (picture disc)
  36. Taylor Swift & Def Leppard – CMT Crossroads (DVD)
  37. B.Sides

Next:

39. Yeah! Live
40. Mirror Ball – Live & More (Japanese import)
41. iTunes re-recordings

REVIEW: Hollywood Vampires – Rise (2019 3 CD Japanese edition) Part 1

Part one of a two part review

HOLLYWOOD VAMPIRES – Rise (2019 Edel Japanese edition) – Disc 1

The first Hollywood Vampires was a covers album with a few originals.  The second is an originals album with a few covers!  It’s a little strange and kind of sounds exactly how you think it would.  Alice Cooper, Joe Perry, Johnny Depp and pals obviously set out to have fun, which is audible, but there’s also a weird bent that runs through.  Interestingly some of the best songs are the ones that sound like Aerosmith riffs, done up far better than Aerosmith would have lately.

At the outset, the Aerosmith flavour dominates the stew that is “I Want My Now”.  It’s “Draw The Line” meets Alice Cooper.  You can hear what it would have been like with Joey Kramer on drums, Tom Hamilton on bass and Steven Tyler shrieking up front, but instead it’s Alice, who has had a much more consistent output of late than Aerosmith.  In other words, Perry’s riffs are in good hands and the guy deserves to have a lil’ fun.  His guitar work has the looseness that Aerosmith shed years ago.

“Who’s Laughing Now” is psychedelic Alice, which could be the Depp influence. It’s a really good tune accented by 8-string bass (by Tommy Henriksen) and Joe Perry’s unmistakable guitar expertise. It’s also bookended by two weird instrumentals that appear to be Depp creations. Unfortunately all this lead-up ends at the slow and stodgy “The Boogieman Surprise”, probably the weakest tune. This starts a lull. A farcicle “Welcome to Bushwackers”, featuring Jeff Beck, is a token hillbilly country tune that doesn’t live up to its promise. The highlight, obviously, is Jeff Beck.

Course is corrected on Joe Perry’s lead vocal, a surprising “You Can’t Put Your Arm Around A Memory”, the Johnny Thunders song previously covered by Duff McKagan. Joe’s version is poignant and wise. “Git From Round Me” is a pulsing, hypnotic charge through the gates with Johnny Depp sharing vocal duties with Alice and Tommy. Depp takes one by himself on the Bowie cover “Heroes”, a surprisingly outstanding version. According to Cooper, Johnny Depp (who is currently fighting an acrimonious divorce battle with two-way accusations of domestic violence) had a lot of emotion to put into Rise.  Perhaps that’s what gives “Heroes” its weight, though it’s not a heavy song.

The best of the brief instrumentals is by second bassist Chris Wyse, called “A Pityful Beauty”.  The song it precedes, “New Threat”, is OK.  It is not up to the better material, sounding a bit like a stock riff & rhythm.  Fortunately “Mr. Spider” has a classic Cooper atmosphere, brimming with drama and horror.  Also sounding like classic Alice, but a different kind, is “We Gotta Rise”.  It’s “Elected” all over again with a Billion Dollar Babies mold, starring “President” Alice Cooper.  Alice isn’t political, but it’s hard to read these lyrics as anything but:

“We gotta rise, let’s rise,
We gotta rise, let’s rise above the lies,
It’s you and I, it’s do or die,
We gotta rise, let’s rise above the lies.”

Maybe that’s reading too much into it, but it sure does sound like a call to arms.  Regardless, “We Gotta Rise” is the best original song on the album.  Depp’s next lead vocal, the Jim Carroll cover “People Who Died” is just about its equal.  A rockabilly punk rocker, “People Who Died” is catchy as the flu, but better for you.

Rise concludes with an interesting spoken word track called “Congratulations”.  It works because Alice, Johnny and Joe have rich speaking voices.  Tommy Henriksen gets a spoken word portion too, using his more like a beat poet.  What you’d think would be a boring slog turns out to be an album highlight.

It’s hard to fathom where Rise will sit in six months time or a year.  It has moments less than stellar, where fat could have been cut, but the weirder escapades could warrant many returns.  Bad press aside, Johnny Depp is charismatic on record.  Joe Perry sounds like he’s having fun playing rock and roll away from Aerosmith.  And Alice?  When has he ever sounded like he wasn’t having fun?

Rise will probably have more longevity than the Hollywood Vampires’ covers album, it just needs to lose some dead weight.

3.5/5 stars

Come back tomorrow for a look at the Japanese exclusive Discs 2 and 3:  Hollywood Vampires Live.

 

 

REVIEW: Merry Axemas – A Guitar Christmas – Various Artists (1997)

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MERRY AXEMAS – A Guitar Christmas (1997 Sony)

Do you have a favourite Christmas album? Perhaps you need some Merry Axemas in your life.  The first one, in particular.

I used to have an annual tradition of making a Christmas mix CD.  I dropped it because after a while I ran out of good Christmas tracks. Something from Merry Axemas used to make the list every year.  Not only are there great traditional songs, but also the finest guitar slingers in the world.  For an album of (mostly) instrumentals, this one really rings the bells.

Louisiana blues rocker Kenny Wayne Shepherd gets things started with “Rudolph the Red-Nosed Reindeer”.  Anyone on board with the blues should enjoy the solid jamming going on here!  This isn’t for grandma.  This is for guitar maniacs!  Progressive stylist Eric Johnson has a beautiful “First Nowell”, on a classical and electric guitars with accompaniment.  Grandma won’t mind this one at all, in fact she might want a copy for herself.  The wizard of the wires, Jeff Beck, then presents his slide guitar version of “Amazing Grace” complete with choir.  A different mix of elements, but not too hard to digest.


Not the version from this CD, which is instrumental

The Brian Setzer Orchestra comes out swingin’ with their instrumental “Jingle Bells”.  If you ever needed reminding how awesome the former Stray Cat is on six strings, then check this out.  Brian keeps it all accessible while simultaneously blowing off your nuts.  The big band is icing on the cake.  Joe Satriani is next up to the plate with an adventurous “Silent Night/Holy Night Jam”.  This one is strictly for guitar-heads and players, as it’s more a Joe showpiece than anything else.  Picture Joe circa Flying in a Blue Dream and you’re in the right place, but not very Christmas-y.  This is the only song that has never made one of my annual Christmas mix CDs.  Steve Morse’s “Joy to the World” is far more successful as far as the Christmas theme goes.  Steve does do it his way, but at least you can tell which carol you’re listening to.  If anyone can capture angelic Christmas guitar tones, it is Steve Morse.

How big can these names get?  Try Steve Vai on for size.  You might recall “Christmas Time is Here” from the classic Charlie Brown Christmas special.  Vince Guaraldi made it popular for all ages, and Steve does a playful take on it, using his guitar like a voice.  And the names keep getting bigger.  Heard of Joe Perry before?  The Aerosmith guitar hero does Elvis Presley’s “Blue Christmas” as a Hawiian guitar instrumental which suddenly goes surf rock.  Rush’s Alex Lifeson then brings “The Little Drummer Boy”, with a low-key and quiet instrumental.

“‘O Holy Night”, performed by Richie Sambora formerly of Bon Jovi, swings and just barely misses.  It just doesn’t have that Christmas feel.  The Japanese guitarist Hotei has the final track, John Lennon’s “Happy Xmas (War is Over)”, which is actually a traditional that Lennon and Yoko Ono wrote lyrics to.  He goes a little over the edge partway through, but it mostly maintains the right feel.

Here’s the great thing about Merry Axemas.  Even if you don’t care for Christmas music, there is usually a need for it around, once a year.  Merry Axemas, with some modest editing, could suit your needs.  Don’t celebrate Christmas?  No problem — if you’re a fan of these players (particularly Morse, Vai, Perry, and Johnson) then you’ll want to hear what they did with these tracks.

4/5 stars

 

 

 

 

 

 

REVIEW: Duff McKagan – Believe In Me (1993)

scan_20170213DUFF McKAGAN – Believe In Me (1993 Geffen)

In 1993 Duff McKagan was not clean yet, at least not for good.  It would take a critical medical emergency for him to get close enough to death and stop drinking.  The cover of Believe in Me, a skeletal Duff bathing in a martini glass, reflects the last of the old Duff.  It was his solo debut, following Izzy but before Slash.  Guns’ own Spaghetti Incident? hit the shelves two months later, as the end of the original band creeped on the horizon.

Fans were probably experiencing a bit of Guns overload.  Two albums, two live concert video tapes, loads of touring and music videos…Guns were everywhere from 1991-1993 and then it was the dawn of Guns solo albums.

Duff’s solo debut was a grab bag of different styles:  punk, rock, funk, jazz and ballads.  It was also loaded with rock star guest shots:  Lenny Kravitz and Sebastian Bach sang one song a piece.  Dave Sabo and Rob Affuso from Skid Row joined Baz on the album while Slash laid down a couple trademark dirty guitar solos.  Jeff Beck dropped by, and just about every Guns member except Axl himself contributed.

Despite Duff’s ambition, the best tracks tend to be the rockers.  Opener “Believe in Me” was a very Guns-like single:  short, sweet, catchy and with a Slash guitar solo to hit it home.  “I Love You” isn’t a ballad despite the title, in fact it’s a rocker and perhaps the best tune on the album. “Just Not There” also rides the GN’R train, normally bound for hitsville.  Sebastian Bach’s “Trouble” is plenty of fun, and Lenny Kravitz gets angry on “The Majority”.  These songs would have made a fine basis for a Guns album, but Axl wasn’t looking for songs that sounded like Guns N’ Roses.

An angry “(Fucked Up) Beyond Belief” (a song birthed from GN’R rehearsals) is noisy punk-rap, while “Fuck You” itself is basically a rock rap song featuring a guy named Doc.  “Punk Rock Song” is exactly what it claims to be, but isn’t particularly memorable.  The biggest mis-step is the muted trumpet jazz number, “Lonely Tonight”.  At least Duff was trying something different, but his vocals and lyrics leave a lot to be desired.

During the period that Guns N’ Roses were inactive or just working behind closed doors, a lot of these solo albums really represented an alternate universe.  “What if the original members didn’t leave and instead recorded a new album?”  It’s possible these songs or songs like them could have been on that hypothetical album.  Instead, Believe in Me was a launch pad for plenty of Duff projects and albums:  Neurotic Outsides, 10 Minute Warning, Loaded, Velvet Revolver and many more.  Duff has proven that clean and sober, he can be one hell of a prolific songwriter.  Believe in Me is a good introduction to the many stylings of Duff McKagan.

3/5 stars

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REVIEW: Jeff Beck – Blow By Blow (1975)

Purchased at BMV in Toronto, $4.99

scan_20161111-2JEFF BECK – Blow By Blow (1975 Sony)

Jeff Beck’s first solo album, Blow By Blow, was co-produced by George Martin.  The talents of both need no elaboration.  A guitar god and “the” producer’s producer were bound to make something special together.  With an ace quartet (Max Middleton on keyboards, Phil Chen on bass and drummer Richard Bailey), there were no weak links.

Blow By Blow spans many musical genres, all augmented with Jeff’s sharp and slippery fingerwork.  Funk, jazz, blues, Carribean and progressive rock all collide in the grooves.  The songs are instrumental hybrids of styles, but Jeff keeps it consistent.  His guitar speaks.  There really isn’t a better way to describe what he does with tone, technique and technology.  There is even an uncredited Stevie Wonder cameo on “Thelonius”.  If you can’t get enough funky clavinet, you’ll love Blow By Blow.

This albums is tops in almost every conceivable measure.  The drum rhythms and bass grooves are hard hitting and relentless.  Musicianship like this is rare and valuable.  Without Jeff Beck there could be no Steve Vai — this, I firmly believe.

Play Blow By Blow, and then play it again.  Thanks to George Martin’s fine musical sensibilities, it reveals new nuances each time.  A complete triumph.

5/5 stars

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This has been a 200 word review in the tradition of the #200wordchallenge.

REVIEW: The Honeydrippers – Volume One (1984 EP, 2007 reissue)

scan_20161017THE HONEYDRIPPERS – Volume One (1984 Atlantic, 2007 Rhino reissue)

In 1981, Robert Plant felt like playing some old fashioned rock and roll again.  He assembled a group of friends including Jimmy Page, Jeff Beck, Nile Rodgers, Dave Weckl and Paul Shaffer.  With a handful of covers ready to go, The Honeydrippers Volume One EP went top ten in the US and Canada.  I have now officially bought this EP four times: First time on cassette, then vinyl, then CD, and now finally this remastered CD with one bonus track.  One bonus track is all they could be bothered to beef this up by.  A grand total of 22 minutes, up from 18.

Originally released in 1984, in a lot of ways this was as close to a Page/Plant reunion as we were likely to get in the 80’s, although this is very different from Led Zeppelin.  These are classic golden oldies, rock and roll and R&B hits: the sound like guys like Plant and Page grew up with.  So get up, get down and dance!

“I Get A Thrill” is an excellent track with which to open the EP.  It’s a great song with wonderful backing vocal harmonies.  A nice fast one to dance to.  Everybody should know “Sea of Love”, the lush, elegant slow-dancer. Today it is better known than the Phil Phillips original. The music video might be most notable for the speedo-wearing Frank Zappa lookalike on the xylophone.  Ray Charles is last for side one:  “I Got A Woman”.  It’s breakneck fast, and might be too much for those on the dance floor cutting a rug!  Don’t go and break a leg….


Does humour belong in music?

Plant croons his way through “Young Boy Blues”, a Phil Spector oldie done justice by Robert’s rich voice.  It’s as lush and brilliant as “Sea of Love” and easily as good as the better-known single.  Back to cutting a rug though, you’d better get up for “Rockin’ At Midnight”, another hit single for the Honeydrippers.  Jeff Beck nails the perfect guitar solo in the midst of a boppin’ horn section.  Rock perfection!

The one measly bonus track is a live version of “Rockin’ At Midnight”. It’s shorter than the studio version of the song by two minutes.  It’s hard to fathom how Rhino only had one bonus track to include.  Plant performed live with the Honeydrippers numerous times.  To think they only ever recorded one track live is pretty hard to believe.

This remaster (released in 2007 as part of the Plant remasters) sounds great, and despite the short running time, is worth your cash as long as you’ve never bought it on CD before. It’s fun, it’s warm, it’s a great listening experience and every one of these tracks is a bonafide classic. It’s kind of odd hearing Plant’s distinctive squeal on some of these songs, but it actually works.

4/5 stars, but only because they could have included more bonus material.

REVIEW: Jon Bon Jovi – Blaze of Glory (1990)

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JON BON JOVI – Blaze of Glory: Inspired by the film Young Guns II (1990 Mercury)

Billy the Kid was a fascinating character.  Perhaps he was the embodiment of the Old West itself: a charismatic outlaw, who reportedly had a hair trigger temper but also a heart of gold.  Unfortunately, the film Young Guns II seems more about a person called Brushy Bill, rather than William H. McCarty, also known as William H. Bonney, but best known as Billy the Kid.  Having killed his first man at 18, the Kid earned his nickname with his boyish looks.  He looked nothing at all like his screen counterpart Emilio Estevez, but it’s because of Emilio that Jon Bon Jovi recorded the soundtrack to Young Guns II.

A popular theory from the 1990’s was that Billy the Kid was not killed by Sheriff Patrick Frank Garrett in 1881.   In 1948, a character called Brushy Bill Roberts emerged claiming to be the Kid, alive and well.  There was enough facial resemblance, and also sworn statements from five people who knew the Kid. Roberts never proved that he was actually William McCarty, and today historians have dismissed his claims due to the number of facts that do not match (such as dates of birth).   Young Guns II, the film, operated on the popular theory that Billy survived, and that he faked his death with the help of Pat Garrett.

In fact Garrett did shoot the Kid and lived a life of shame afterwards, as the details of the shooting of the popular Kid didn’t paint him in a positive light.  Oddly enough, Garrett himself was shot and killed in 1908 by a rancher named Jesse Wayne Brazel, in New Mexico.  The interesting coincidence about this is Brazel was uncle to a Mac Brazel, also a rancher in New Mexico, near the town of Roswell.  It was on his ranch that something strange (almost certainly an actual UFO) crashed and was covered up.  It is an amusing intersection of two of the great folk tales in American history.

Billy the Kid. Source: Wikipedia
Pat Garrett. Source: Wikipedia

So along came this movie.  Emilio Estevez asked Jon Bon Jovi if they could use “Wanted: Dead or Alive” in the film.  Jon declined and said, “The lyrics don’t make sense.  That song is about touring, let me write you something more appropriate to the old west and Billy the Kid.”  This turned into an entire album.  Essentially Blaze of Glory is not a soundtrack album (since none of Jon’s songs are in the movie until the end credits) but a concept album based on the film.

The album begins with a snippet of dialogue:  “Yoo-hoo!” says Emilio/Billy.  “I’ll make ya famous.”  A gunshot and the song “Billy Get Your Guns” begins.  That’s Kenny Aranoff on drums in case you were wondering.  “Billy Get Your Guns” isn’t a hard rock song like Bon Jovi was doing at the time.  But it’s still rock and roll, featuring some great slide guitar riffing by Waddy Wachtel.  Jon’s voice is young, strong and loud.  It’s a sound I miss.  I think it’s impossible to dislike the excellent “Billy Get Your Guns”, especially when topped by a Jeff Beck guitar solo, who plays on pretty much the whole album.  (The album also features two Journey bassists:  Randy Jackson and Bob Glaub.)

Jeff even appeared in the music video for “Miracle”, the hit ballad from the album.  The lovely accordion and spare arrangement gives it quite a different feel from old Bon Jovi ballads. Once again I am reminded that Jon once possessed quite a powerful voice.  It’s also worth noting that Jon wrote every song himself.

“William H. Bonney, you are not a god.” – Keifer Sutherland as Doc Scurlock

“Why don’t you pull the trigger and find out.”  – Emilio Estevez as Billy the Kid

I still love “Blaze of Glory”.  It’s timeless, more so than a lot of Bon Jovi’s hits from the time — “Bad Medicine” and so forth.  I remember seeing Aldo Nova on TV playing the riff on an acoustic guitar, and it is perfect in its classic simplicity.  Aldo is one of Jon’s oldest friends and he plays on the whole album as well.  This dynamite hit song has become so loved that Bon Jovi play it live and included it on their greatest hits compilations, even though only Jon was part of it.  Jeff Beck’s smoking solo is as much part of the song as Jon is.  I cannot understate how great this song is. From quiet acoustic strumming to bombastic aplomb, the song is a great achievement.

“Blood Money” is a short ballad, with spare acoustics, tambourine and accordion.  Jon sings as Billy the Kid, directly to Pat Garrett.  Historically we don’t know if Garrett and McCarty were friends as they are portrayed in the film, but likely they were not.  Regardless, even though the lyrics are implausible historically, it is still a powerful little song.

This leads into “Santa Fe”, which is from the perspective of Doc Scurlock.   You want epic?  Look no further.  An album highlight, “Santa Fe” boasts strings, powerful Aranoff beats, and Jon’s most vivid lead vocal.  If it had been on a Bon Jovi album, I think it would be regarded as highly as a song like “Dry County” which it resembles slightly.

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Side two opened with Lou Diamond Phillips (Chavez y Chavez in the film) singing a native chant.  The song “Justice in the Barrel” refers of course to the barrel of a gun, and Jeff Beck’s playing in the opening reminds us why he is one of rock’s most legendary gunslingers.  The song however is more laid back, a slow rock groove.  “Never Say Die” is the most straightforward rocker on the album, and it features Robbin Crosby of Ratt on electric guitar.  This song most closely resembles Bon Jovi, the band, even lyrically.  It is followed by a song that sounds nothing at all like them, and also my favourite:  “You Really Got Me Now”.  From first listen, way back in 1990, to today, this is a song that always puts a smile on my face.  Imagine Jon Bon and Little Richard building a time machine, travelling back to 1881, and jamming in a saloon.  That’s “You Really Got Me Now”.  Richard plays piano and sings the second verse, and I love it.  It’s a shame this little tune is only 2 1/2 minutes long, but I guess it was a bit of a novelty.

“Bang a Drum” is a pleasant soft soul rock anthem, but the Hammond organ and Jeff Beck help maintain its integrity.  The soul comes from the backing vocals of Julia and Maxine Waters.  This is the climax; the denoument is “Dyin’ Ain’t Much of a Livin'”.  The delicate piano is provided by one Elton John (before he would become Sir).  Elton also joins Jon on backing vocals.  “All this fame don’t bring ya freedom,” sings Jon, a line that may apply to a rock star life as well as an outlaw.  The powerful song is a natural ending to a story such as this.

There’s a brief coda, an orchestral piece from the movie by composer Alan Silvestri called “Guano City”.  I always wondered why this piece (as good as it is, sounding like some of John Williams’ more exciting segments) was on the album.  Nevertheless, there it is, and the album is done.

Jon was very emphatic in stating that Blaze of Glory was not his true solo album.  It was 10 songs written specifically for a movie, to fit that movie.  His solo album would come seven years later with Destination Anywhere, but first it was time to get Bon Jovi, the band, back on track.  This began with a 1991 live performance of “Blaze of Glory” at the Academy Awards, by the full Bon Jovi band, augmented by additional guitarists Waddy Wachtel and Danny Kortchmar.

If you consider solo albums and soundtracks as part of the overall catalog, Blaze of Glory still clocks in as one of my absolute favourites.

5/5 stars

REVIEW: Def Leppard – “All I Want Is Everything” (2 part CD single)

Part 3 in my series of Def Leppard Slang reviews!  

Part 1:  “Slang”

Part 2:  “Work It Out”

DEF LEPPARD – “All I Want Is Everything” (1996 two part Mercury CD single)

“All I Want Is Everything” was the first song from Slang that we got to hear.  Def Leppard first revealed a live unplugged snippet on their Video Archive VHS.  I was still surprised when I heard the whole studio version: It is a lot darker than I expected.  I love it, don’t get me wrong.  I love its sparse, organic sound.  I think the chorus and verses are fantastic, but even better is the bridge.

A lot of my customers were turned off my Slang and songs like “All I Want Is Everything”.  While I could argue that this song is every bit as good as “Hysteria” or “Stand Up (Kick Love Into Motion)”, it is obviously a lot darker.  But it was also 1996.  In 1996, bands like Def Leppard moved with the times.  Bon Jovi made similar adjustments.   This is no singalong hit, but it is quality songwriting and production.

Next up on disc 1 of this single is “When Saturday Comes” performed by Joe, Phil and Sav.  This is apparently for a movie also called When Saturday Comes.  This song would be more satisfying to those wishing for an older school vibe; indeed it is a dead ringer for Van Hagar.  It is anthemic with some shredding from Phil.  It wouldn’t make my own personal Def Leppard mix tape, but I thank them anyway for including the song so I wouldn’t have to hunt down an obscure soundtrack.  “Jimmy’s Theme” performed by the same trio is an instrumental from the same soundtrack.  Out of context from a film I’ve never seen, it doesn’t do much for me.  It’s a nice slow blues with Phil playing some elegant melodies.  But it’s just “nice”, I don’t regularly come back to this one.  The CD ends with an edit version of “All I Want Is Everything” (whoop de do).

Disc 2, for whatever reason, also includes the same two versions of “All I Want Is Everything”.  Why not just put the album version on disc 1, and the edit version on disc 2?  Small gripe I guess but it got tedious when I had both discs in the changer and was too lazy to skip.

Also on disc 2 are a couple tracks from the Jeffology tribute record.  Phil Collen does “‘Cause We’ve Ended As Lovers”.   Personally I don’t think anybody can touch Jeff Beck on this one.  In fact Beck is so awesome on this, especially live, that I don’t really see the point of listening to a cover version.  Sorry Phil, that is nothing against your playing, which is really really great, especially when you start cookin’ around the 4 minute mark.  I just think nobody’s even in Beck’s league on this one, and I think that’s a fair assessment.

Vivian Campbell does “Led Boots” from Wired.  I love the original “Led Boots”.  It’s just funky, chunky and fucked up.  I think Vivian’s style is more suited to Beck than Phil’s is.  This is an enjoyable listen, Vivian gets to shred a bit.  It’s definitely less fucked up sounding than the original, but Vivian is just a pleasure to listen to, he is clearly enjoying himself.

The “Work It Out” single previous to this contained post cards of the first four Def Leppard albums.  CD 2 of “All I Want Is Everything” has the final four:  Adrenalize, Retro-Active, Vault, and Slang.

3/5 stars

GUEST SHOT: 30 Albums that Uncle Meat Thinks You Should Visit (Or Re-Visit) Part 2

Missed part 1? Click here.

Here’s part 2 of 3 – 30 albums essential to Meat’s being, that should be essential to yours, too!  So, without anymore preamble, I’ll leave you with Uncle Meat, as he discusses 10 more albums, in alphabetical order by title, that you need to visit (or re-visit).

 

HIGH TENSION WIRES  –  STEVE MORSE (1989)

Simply put, Steve Morse is my favorite musician of all time.  I have had the pleasure of seeing Mr. Morse a total of 6 times when you combine The Dixie Dregs, Deep Purple and The Steve Morse Band.  Unlike the releases of some of his contemporaries, High Tension Wires is not your typical shredder album.  Oh it shreds alright, but Steve Morse is much more than a trickster.  There are beautiful compositions, unforgettable solos and some just plain ol’ rocking too.  Included is the link to a live version of a track perfectly named “Tumeni Notes”.  For more examples of the greatness of Steve Morse, introduce some Dixie Dregs into your collection.  You can thank me later.

 

HOT HOUSE  –  BRUCE HORNSBY (1995)

When Bruce Hornsby said goodbye to The Range, he immediately said hello with Harbor Lights, a heavily jazz-infused turn that completely changed the music world’s perception of him.  Hot House sees Hornsby taking that one step further.  The album’s cover speaks a thousand words.  It is a painting of an imagined band session between Bluegrass legend Bill Munroe and Jazz legend Charlie Parker. Nuff’ said there.  This recording contains many musical giants including Pat Metheny, Jerry Garcia, Bela Fleck and Chaka Khan.   Hot House is very addictive.  I know most of the words off by heart on this record.  Hopefully someday you will too.

JEFF BECK GROUP  –  JEFF BECK GROUP (1972)

This album definitely falls under the underappreciated category.  Sometimes known as  The Orange Album, Beck’s playing has never been better on this collection of original compositions and covers.  I would call this more of a Soul album than anything.  The incredible vocals of Bobby Tench seem to highlight this record at times, as you will see on the live performance of “Tonight, I’ll Be Staying Here With You” I have included for this entry.   Also worth noting, this album is one of the first recordings of the late Cozy Powell’s career.  The guitar work alone on “Definitely, Maybe” is enough reason itself to seek this record out.  Perhaps a rock n’ roll legend’s best work.

JOHN PRINE  –  JOHN PRINE (1971)

I actually discovered the music of John Prine while working at the same record store chain that Mr. Ladano speaks of in this blog.  There is no one quite like John Prine.  Some artists write great songs.  Some artists write great lyrics.  Only a select few truly do both this well.  There is no doubt that John Prine’s self-titled album contains some of the best lyrics ever written.  “There’s a hole in daddy’s arm where all the money goes.  Jesus Christ died for nothin’ I suppose?”  That is just brilliant shit.  “You may see me tonight with an Illegal Smile.  It don’t cost very much, but it lasts a long while”.  I have said this many times and I am still saying it now.  John Prine is THE best lyric writer …. Ever.  Fuck Bob Dylan.  Yeah, I said it.

 

KRIS KRISTOFFERSON  –  KRIS KRISTOFFERSON (1970)

For the sake of alphabetical order by album, this Kristofferson follows the John Prine album on this list.  Really it should be the other way around.  While I stand by my earlier praise of Prine lyrics, I would certainly listen to the argument that there wouldn’t be a John Prine without Kris Kristofferson.  The songs on this album show a huge diversity and a sense of patience that just makes him so cool.  “Best Of All Possible Worlds” is just insanely-good storytelling and “Me and Bobby McGee” became a mega-smash for Janis Joplin.  Of all the great concerts I have seen, watching Kris Kristofferson and a guitar for two hours in 2006 will always be one of the best concerts I will ever see.  The true greats just need to show up.

LEGALIZE IT  –  PETER TOSH (1976)

After being a key member of Bob Marley & The Wailers for years, Peter Tosh embarked on a solo career.   On his first solo release, Legalize It, I personally believe Tosh recorded the greatest Reggae album of all time.  Fuck Bob Marley.  Yeah, I said it. (Wait why am I so hostile? Ha.)  Remember that one of Marley’s biggest hits “Get Up Stand Up” was co-written with Peter Tosh.  I love this album from beginning to end, and the album’s cover remains a visual anthem for Marijuana activists everywhere.  Sadly, Peter Tosh was taken from us when he was shot in the head during a home robbery.  Rastafarian music at its finest.

LITTLE EARTHQUAKES  –  TORI AMOS (1992)

There is only one way to put it.  During the spring of 1994 I became a literal disciple of Tori Amos.  By the end of 1996 I had seen her live 7 times.  Several of them in 2nd or 3rd row center seats, since this was back when you could actually wait all night for tickets and be rewarded for it.  This album spoke to me in a way no other album has, or really could.  Frustration with women, with Christianity and with life, I didn’t want to hear about hope in the horizon.  I obviously needed to experience the frustration of someone who understood.  I still have a red-head obsession because of Tori.  This is in my ten favorite albums of all time and always will be.  Little Earthquakes is full of intense and pretty compositions. The humor of “Happy Phantom” contrasts the pain of “Me and a Gun”.  And the included track here is “Precious Things”, which sees Tori Amos exposing herself as the angry and sexual piano player she truly is. Myra Ellen Amos is quite simply a beast.

 

MELISSA  –  MERCYFUL FATE (1983)

Mercyful Fate’s first two albums are among the best Metal albums of all time.  When you realize that this album came out a full year before Kill ‘Em All did you can start to see just how important this band truly were.  Mercyful Fate are the High Priestesses of underappreciation.  Yes King Diamond looks kinda ridiculous. And yes their lyrics are nothing short of evil incarnate.  Lines such as “Drinking the blood of a new born child” and “I’ll be the first to watch your funeral, and I’ll be the last to leave” sometimes are  so over the top that I guess it is understandable how an album this good could be ignored.  If Thin Lizzy and Iron Maiden had a baby, and that baby grew up listening to nothing but Black Sabbath, the end result would have to look and sound something like Mercyful Fate.  It’s no coincidence that the best thing Metallica has recorded since …And Justice For All is their medley-cover simply-titled “Mercyful Fate”.  One of the greatest Metal albums of all time hands down.  Click on the YouTube link and hear the start of “Curse of the Pharaohs”.  If you don’t immediately recognize “2 Minutes to Midnight” you are lying to yourself.

 

NEVER, NEVERLAND  –  ANNIHILATOR (1990)

After Annihilator’s first album, Alice in Hell, it was time for a new lead singer.  Out was the awful singing of the ridiculously-named Randy Rampage, and in was ex-Omen singer Coburn Pharr.  The second album of this Ottawa, Ontario band was a vast improvement  over the first album in every way.   Without question the guitar playing of Jeff Waters alone makes this an absolute must-have recording for fans of thrash guitar or just guitar in general.  If you can think of a better Metal album to  come out of Canada then I would love to hear it.  If you have never heard this album, and you consider yourself a “Metal guy” then you are missing out huge.  I am having a hard time trying to pick a song to post here for listening purposes.  That is how truly great this record is from beginning to end.

 

OPUS EPONYMOUS  –  GHOST (2011)

I know, I cannot believe it either.   Only the second of twenty (so far) albums to be released after 1999 that appear on this list.  This album by Swedish band Ghost is nothing but special.  Before I heard this album I was told that it sounded like a cross between thrash metal and Blue Oyster Cult.  As it turned out that description really was right on the money.  Melodic background vocals nestled in between heavy riffing.  I have to say that this album is my favorite Metal album in probably the last twenty years.  The PERFECT blend of melody and heaviness.  This is the only album that since I have got my iPod, every time I switch the music on it I leave this whole album on there.  Every minute of this album is pure genius and I am super-stoked for their upcoming 2nd album titled Infestissumam that will be released this spring.  Hail Satan!!!!

 

That’s it for now, stay tuned for part 3, coming soon…