judas priest

#930 Pour Some Sugar On ’88

RECORD STORE TALES #930: Pour Some Sugar On ’88

Ah, 16!  The age you’re supposed to get your driver’s license and go on dates with girls.  Maybe even get a part time job.  Except I did none of that.

The summer of 1988 was much like any summer.  It was marked by new music, trips to the cottage, and another visit from Captain Destructo, my cousin Geoff.  Predator was in the movie theaters and WWF wrestling was hot.  Summer was not going to suck.

Super Mario on the NES

I was well tanned from days at the beach, and when Geoff and family rolled into the cottage that July, Geoff brought his new toy:  a Nintendo Entertainment System (NES).  This was a whole new world for us.  I had never seen Super Mario Brothers or Mike Tyson’s Punch-Out.  I sure saw a lot of them when Geoff came to visit.  Saw.  Not played.  I played a little bit, but Geoff monopolised the game.  I’ll never forget when he was playing Punch-Out and he was down to the second last boxer.  He thought he was going to knock him out and move on to Mike Tyson.  However my dad walked in front of the screen, Geoff started screaming, and lost the game.  You would have thought he lost the invasion at Normandy for all the fuss.  Me, I just would have liked another turn at the game.

Video games were exciting, but nothing was better than playing outside.  With Predator hot in the cinemas, and lots of plastic guns to play with, we scattered into the forest hunting for the stealthy alien.  Geoff insisted he was Dutch (Arnold Schwarzenegger).  That made me Blain (Jesse Ventura).  We forced my sister Kathryn to play Hawkins (Shane Black), the worst character and first one to die in the film.  Eventually we let her play Billy the tracker (Sonny Landham).

I love how this trailer gives away the whole movie.

Leaping, dodging, climbing.  We owned that forest.

There is so much joy running through the woods with plastic guns pretending to hunt a space alien.  And the best part was, in the movie the Predator was invisible for most of the time:  we didn’t need anybody to play the bad guy.  It didn’t take much imagination to pretend to see movement in the forest.  We were a team of three on a quest.  I know that this is one of the happiest summer memories for all three of us.

After a few days at the lake, we returned home to Kitchener, with Geoff still in tow.  We hung out in the basement watching WWF and the Pepsi Power Hour.  Cinderella were hot with “Gypsy Road” and I had to get that album.  Long Cold Winter was an odd title for a summer album, but it was most definitely a summer album.  I could not wait to get it but I had a birthday coming and I wasn’t allowed to buy stuff for myself until after.

For what was probably the last time, we went with Geoff to his grandfather’s huge property for an afternoon in the pool.  One last splash, in the bright figure-8 shaped pool.  That giant pond behind us in the background.  Maintaining that summer tan.

The three big albums for me that summer were Long Cold Winter by Cinderella, Second Sighting by Ace Frehley, and Ram It Down by Judas Priest.  I loved it for all its flaws.  It was heavy and I thought it had five potential single-worthy songs:  “Ram It Down”, “Heavy Metal”, “Hard As Iron”, and “Blood Red Skies”, in addition to the already-released “Johnny B. Goode”.  Only the Chuck Berry cover made it to music video form.  I waited all summer for a music video for “Blood Red Skies” to finally hit.  I could always predict the next single, and I just knew it had to be “Blood Red Skies”.  Week after week, I waited. I dreaded missing it during vacation at the cottage.  I just knew it would be any week now.  I had a dream one night of what it would look like.  There Priest were on the bridge of some kind of spaceship, hovering over the landscape beneath the blood red skies.  It never came.  I thought if Priest released a video for “Blood Red Skies”, it would chart.  Into the fall, Priest never released another single.  A disappointment and a mistake.

Into August, I finally got my copy of Cinderella.  After one listen correctly predicted that “Don’t Know What You Got (‘Til It’s Gone)” would be the second video.  I always looked forward to the new videos by bands, but like Judas Priest, Frehley disappointed me by never releasing a second video for Second Sighting.  I thought there were a number of potential hits, such as “Fallen Angel”, “Time Ain’t Running Out”, “New Kind of Lover” and “Juvenile Delinquent”.

In Stratford, visiting my Aunt and Uncle, I picked up Live + 1, also by Ace Frehley.  The Space Ace had two releases in 1988, with one being a live/studio EP.  This weekend was the first time I experienced strong insomnia.  I remember tossing and turning the entire night, not falling asleep once for even a minute.  Seeing the sun come up.  I was getting more and more upset that I couldn’t sleep, which made it worse.

Another cassette picked up that summer in Stratford was High ‘N’ Dry, which became an immediate favourite.  Def Leppard were the biggest band in the world that summer.  Hysteria was selling like hotcakes.  It didn’t take off in ’87, but when “Pour Some Sugar On Me” hit, that was all it took.  Many nights were spent listening to the radio at the lake, waiting for “Pour Some Sugar On Me”.  Hysteria‘s singles were harder to predict.  I didn’t expect there to be seven of them, but I definitely thought “Love and Affection” would make it before “Rocket” did.

We visited with our friends the Szabos, we played games, and we listened to a lot of music.  I had my heavy metal, my sister had Glass Tiger and was starting to get into Def Leppard.  Our Walkmen came with us everywhere.  As the summer drew to an end we made a trip up to Tobermory to take the S.S. Chi-Cheemaun to Manitoulin island.  I loved boats and islands but the trip was a bit of a bore.  The gift shop didn’t have a lot to keep us entertained.  I bought one of those black and white wrestling magazines, and a wooden postcard to send to nobody.  It took a while for me to get my sea legs.  I felt nauseous and wasn’t sure I could eat.  Eventually the rocking of the boat became fun.  The wind on the top deck was exactly like the “Jack, I’m flying!” scene in Titanic.

There was more, much more, but who can remember it all?  Watching Rob Halford interviewed on the Pepsi Power Hour, recording it, and watching it over and over again.  Seeing new Van Halen (“When It’s Love”) on TV.  Suffering through rumours of Kiss breaking up.  Looking for the latest Def Leppard 7″ singles at Zellers.  So many memories, jumbled and out of order, hard to keep all straight.

The summer ended on a high, but what I didn’t know is that was only a precursor to my happiest school year, grade 11.  Hair metal was peaking but it was about to get even bigger in ’89.  Everything was in sync.  Summer, music, school — all extraordinary in 1988.

#922: Running Through Alberta (1990)

RECORD STORE TALES #922: Running Through Alberta (1990)

A long time ago, in a constitutional monarchy not far away, prices were lower.  The despised goods and services tax (GST) kicked in January 1, 1991.  This federal tax added a 7% levy to your average purchase.  In the before-fore times, in the Canadian province known as Alberta, there was no such thing as a “sales tax”.  What you saw on the sticker was what you paid.  It was an exhilarating time and place to be.  The GST wrecked that, but our last trek out west before the hated tax kicked in was nothing short of glorious.

School was out for summer, and I quit my part-time job packing groceries to hang out at the cottage and take a special trip to Calgary.  It was time for a visit with cousin Geoff, formerly known as “Captain Destructo”.  The most important things to do on any trip were two-fold:

  1. Pack appropriate music for the journey.
  2. Buy music on aforementioned journey.

I had just received two albums that were brand new to me from the Columbia House music clubSchool’s Out, by Alice Cooper, and Come An’ Get It by Whitesnake.  As my newest acquisitions, they had to come along.  I also brought Steve Vai’s Passion & Warfare which I was recently obsessed with.  Finally, I carried enough cash from my job that I had just quit, to buy as much music as I could find.  Stuff that none of the stores in Kitchener had in stock.

The clear memory of driving through the mountains with School’s Out blasting in my ears brings a smile to my face.  While some moments were undeniably weird (“Gutter Cat vs. The Jets”), I couldn’t believe how catchy the album was.  I still can’t.  Alice Cooper records were not necessarily designed to deliver catchy songs.  They were twisted, and School’s Out was like a Twizzler.  Regardless, “Gutter Cat” was entertaining while being unforgettable.  I couldn’t wait to share it with my best friend Bob.  He loved cats!  Another track that took me by surprise was “Alma Mater”, but I couldn’t get it out of my head.  The fact that I’d be graduating in a year was scary.  But the roaring “Public Animal #9” just made me sing along.  I also dug “Blue Turk” although I had no idea how to categorize it.  To me it sounded like something from an old musical from days gone by.  Here I was discovering this ancient music for the first time while the Rocky Mountains zipped past me in the back seat of a minivan.  I like to appreciate moments like that.  I just stared out the window while Dennis Dunaway buzzed my ears with bass.

Next up was Whitesnake.  I still love Come An’ Get It; it’s probably my overall favourite Whitesnake.  A few songs don’t click, such as “Girl”, but lemme tell you folks — “Child of Babylon” is another one of those songs that you just have to  experience while driving through the Rockies.  Bob and I were slowly discovering old Whitesnake.  He was the first to have Saints & Sinners, but I was the first to have Come An’ Get It.  It was something of a “blind buy” for me, since I didn’t know any of the songs.  By the end of the trip, I’d already love “Wine, Women An’ Song”, “Come An’ Get It”, and “Lonely Days, Lonely Nights”.

Two favourites in the making, it was already turning into a memorable vacation.  I enjoyed shopping at corny gift shops.  I bought some goofy round sunglasses with flip-open lenses.  Alberta is dinosaur country, and so I bought a casting of a Tyrannosaurus tooth.  At another gift shop I bought a totem knick-knack.  I remember Geoffrey and I climbing the modest mountains around the hoodoos at Drumheller, and finding a cave near the top where we paused and caught some shade.

When we hit the Calgary Zoo, Geoff showed us how to put coins on the train tracks to be crushed into minature copper and nickle pancakes.  They had a little train that took tours of the park.  It ran on a regular schedule so we always knew about when we should put the coins on the track.  I had heard that copper guitar picks were the best, but they were hard to find, so I crushed a couple pennies.  I turned them into guitar picks once we got home.  We didn’t crush anything more valuable than a dime, but sometimes you’d lose the coin if it went flying off the track.  (Incidentally, you can’t derail a train with a penny, that is a myth.)  We could tell the conductor knew what we were doing and was getting annoyed, so we cut it out.

When we finally hit a music store in a Calgary mall, I was elated.  I was always on the lookout for singles, and here I found a few notable ones.  Aerosmith’s The Other Side EP was an easy “yes”.  It had a number of remixes that, while not great, were exclusives.  It also had something called the “Wayne’s World Theme” live.  What was this “Wayne’s World”?  I knew not, but it wasn’t on the album, so I was happy enough.

Poison were hot on the charts with their brand-new album Flesh & Blood.  Bob was already raving about the album, and one song he pointed out was “Valley of Lost Souls”.  I found the cassette single for “Unskinny Bop” which included this song and an instrumental pretentiously called “Swamp Juice (Soul-O)”.  I never particularly cared for “Unskinny Bop”, but it was the current Poison hit, and “Valley of Lost Souls” was as good as advertised.  I also located Jon Bon Jovi’s solo single “Blaze of Glory”.  I didn’t know it yet but this single had some slightly edited versions of the album cuts — another exclusive.

The purchase I might have been happiest with was a re-buy.  Although it seems ridiculous that at age 18 I was already re-buying albums, it had begun.  My cassette of Judas Priest’s Sad Wings of Destiny was shite.  For all intents and purposes, it only had one channel.  I owned Rocka Rolla on vinyl, but didn’t really have a good way of playing it and making it sound decent back then.  I knew there was a cassette on Attic records with both albums on one tape, and I found it in Calgary.  I was glad to finally have a copy of Sad Wings that I could properly listen to.  I even gained new appreciation for Rocka Rolla on those mountain drives.  “Caviar and Meths” sounds amazing drifting through the mountains.

Not only did we find some cool stuff we couldn’t easily locate in Ontario, but we paid no tax.  Since Alberta had no provincial sales tax, everything we were buying, we were buying cheaper!

I wanted a cowboy hat.  We went shopping for them, but I was having a hard time deciding and then Geoffrey told me about an Alberta saying.  Something about “everybody in Alberta has an asshole and a cowboy hat.”  Either that or “every asshole in Alberta has a cowboy hat.”  Same difference.  Either way, I was dissuaded.

Geoffrey could be exhausting and I really wanted nothing more than to lie down and listen to some new tunes, so I was granted a couple hours of privacy.  We traded tapes back and forth for listening.  My sister Kathryn had the new single for “Can’t Stop Falling Into Love” by Cheap Trick so I listened to that while she borrowed my Poison.

Here’s a funny detail.   For the car trip with Whitesnake and Alice Cooper, I can remember being on the left side of the vehicle.  For Rocka Rolla, I seem to remember sitting on the right.  The view was always great.  Nothing like Ontario.  The air was different, and even the weather was unusual to us.  People left their doors unlocked, we were told by Uncle Phil.

Auntie Lynda spoiled us and took us on all these day trips; it was fantastic.  It was the last great summer holiday.  I know I kept a journal of the trip, which seems to be unfortunately lost.  Great trip though it was, I looked forward to coming home and seeing my friends.  Showing off my new purchases and sharing my new music.  The flight home was uneventful and we arrived late at night and exhausted.  I didn’t sleep much that night — I had recordings of WWF wrestling matches to catch up on.  The last great summer holiday was over, but never forgotten.

#907: Lake Listenin’

RECORD STORE TALES #907: Lake Listenin’

These days, I like playing music at the lake that takes me back in time.  Maybe that’s the curse of getting older.  Everything reminds me of something else.  Since that’s the case, I might as well make the most of it.  If I’m having a good time at the lake, there is nothing better than music that reminds me of having a good time at the lake.

I set the scene with a very relaxing drive, to the 80s tunes of Kim Mitchell’s self-titled EP, plus Shakin’ Like a Human Being, and The Sport of Kings by Triumph.  It was golden.

Instead of diving right into the nostalgia pool right away again upon arrival, I officially started the weekend with some music that is new to me:  Coney Hatch and Andy Curran.  My current favourite Coney Hatch tunes are “First Time For Everything” from Outa Hand, and “She’s Gone” & “Wrong Side of Town” from Friction.  Arriving Thursday night, these tunes, along with Curran’s “No Tattoos”, led our evening on the porch, watching the sun set.  Not only did the tunes get us psyched for the weekend, but also next week’s LeBrain Train.  Andy is our guest again, so I am preparing once more.

I closed the night studying up for the next day’s episode:  the Nigel Tufnel Top Ten Judas Priest albums.  This “remastered” episode was an update on one that Harrison and I did on Facebook Live a year ago.  I re-watched the episode from the previous year, very much enjoying myself.  Harrison and I had a great time the first outing, though the second one surely topped it!

When I’m at the lake, I try to keep the volume to a reasonable level.  I like to take a walk to the end of the driveway and down the road and check the levels.  A little music at the end of the driveway is OK but I don’t want to hear myself down the road.  However, I said “to hell with that” for the rest of the weekend, when the neighbours had a loud party on the Friday night.

“I hope they enjoy ‘Detroit Rock City’ at 6:00 am,” I said.

So that’s how my Saturday began:  Destroyer, cranked.  Destroyer has never been my favourite Kiss album by a long shot, but for some reason it just clicked with me that morning.  The cool breeze coming off the lake, the birds and squirrels bickering over my head; and Kiss Destroyer on the speakers.  Things you don’t think would go together, but in my brain, actually do.  I would have played Destroyer at the lake as a kid — many times.  The difference was, now nobody was telling me to turn it down.  Apparently that “if it’s too loud, you’re too old” thing doesn’t apply.  As I get older, I love it loud.

After Destroyer came Rock and Roll Over, Dynasty, and the complete audio to the video Exposed.  This included all the studio tracks from the music videos, all the live tracks exclusive to the video, and even that little nugget of Paul and Gene harmonizing on “I’ll Be Back” by the Beatles.  As a kid, I made something similar on a cassette.  I recorded all the live stuff and “I’ll Be Back” from the VHS tape and made an album out of it.  I left off the music videos.  Today, I ripped all the music from the DVD directly to mp3 and made a double album out of it!  I sat there in wonder listening, imagining what my younger self would have thought of such an audio miracle.

That’s a lot of Kiss though; solid Kiss with no other bands breaking the streak.  When I did finally need an intermission from Kiss, I chose Iron Maiden’s Piece of Mind.  I actually bought that album at the lake in the summer of ’85, at an old record store that used to exist on the main street.

As far as volume goes, keep in mind I’m blasting my music on a $24 pair of speakers from Amazon.  The guy partying across the street must have had something stronger because I could identify “The Impression That I Get” by the Bosstones easily from my seat on the porch.

“I hope they like Star Wars,” I said as I cued up The Empire Strikes Back on my Disney Plus.

I had another revelation while watching Empire.  Objectively, it could be the best Star Wars, but because nostalgia is my thing, I flashed back to 1980.  1981.  1982.  1983.  The golden era of Star Wars fandom.  For a long time, at that ripe age, we were left with two major cliffhangers.  What would happen to the frozen Han Solo, and was Darth Vader lying about being Luke’s father?  Hard to believe but we spent years — an eternity of a child’s age, a significant fraction of our lives — not knowing the answers.

We also had to spend this time making up things to do with our Han Solo figures.  He was frozen in carbonite at this time.  Sometimes I took my Solo figure and froze him in ice in the freezer.  We used our imaginations.  Empire was such a huge part of our childhood.  For me the Empire era ran from age seven to just before age eleven.  It was the Star Wars for which I had all the collector’s cards (first series), the soundtrack, the “story of” record, the comic, the novel, colouring books, and just about everything else you could buy.  The bedsheets — check.  Dixie cups — check.  Burger King glasses — also check.  We had a good chunk of Kenner figures from that era.  We had everything we could possibly get our hands on.

Except the movie itself.  That, we could not recreate on a whim.  We brought our toys, our comics and our cards to the lake so we could re-imagine the movie.  But we could not watch it.

That was a luxury that was not lost on me as I sat on the porch watching the Battle of Hoth.  I smiled ear to ear knowing this.  Something unimaginable during the actual Empire era.  Though, we did indeed see The Empire Strikes Back at the lake.  And it wasn’t the special editions.  We saw the original, at the drive-in.  It was in a double feature with a bicycling movie called Breaking Away, which we slept through.  My sister slept through most of Empire, too!  She was only three.

I took a break in the middle of The Empire Strikes Back to take a dip in the water.  But the Sooners had come.

“Sooners” is how my dad refers to the people who show up to go to the beach for day.  I wondered what “Sooners” meant so I looked it up.  He must have got it from one of his cowboy movies.  Sooner:  “a person settling on land in the early West before its official opening to settlement in order to gain the prior claim allowed by law to the first settler after official opening.”

I don’t see how that applies to the beachgoers, but the name stuck.

Anyway there were a bunch of Sooners at the beach.  There was Man-Bun and his two girlfriends, and a family of seven who parked their bikes right in front of our place.  I know my dad would have had a fit.  The bikes were well out of the way, but it’s no fun trying to back your car out of the driveway with any kind of obstruction, so I get it.

The Sooners weren’t as bad as the renters.  They had a huge dog — the size of a small pony — that kept going after Jen any time we walked down the path to the beach on our own property.  They’d scold the dog but not put him on a leash.  I say “him” because his name was clearly Frank.  Who names their dog Frank?  Seriously.

I don’t know who held the party that night.  The salvos of US-grade fireworks began when I was sleeping.  Jen says they were still going off at 1 am.  I say “US-grade” fireworks because I know the difference.  There are the kind you can buy in the convenience stores here, and there are the ones you can’t.  This was the stuff you can’t.  On and on and on it went.  It seemed to be coming from the renters’ place.  When I went down to the beach the following morning, their firepit was still smouldering.  Late night party fire?

What could I do?  I woke up and blasted Aerosmith.  I played them while packing the car, on the car system, doors open.  I hope you like Toys in the Attic.

Sooners and renters aside, summer has gotten off to a tremendous start.  Maybe next time, I’ll play all new albums and make some new memories.  It doesn’t particularly matter — the setting is conducive to to anything you want to listen to.  And now that I can bring my entire music collection with me in my pocket, I am limited only by my own whims.

I am a lucky guy.

Delivering the Lists: Judas Priest – Nigel Tufnel Top Ten…Remastered

Three brilliant lists tonight, and a new level of graphic majesty from Geoff Stephen!  Am I ever glad we decided to “remaster” our Judas Priest top albums list from last year!  With the addition of John Snow and Geoff on graphs, we took it to the next level.

Geoff also took his graphs to record peaks.  Each album was weighted according to its place on our lists.  A #11 pick was worth one point.  A #10 was worth two points.  A #1 pick was worth 11 points.  A perfect score of 33 points would be possible if all three of us picked the same #1.  Spoiler alert:  one earned 32 points.

Great comments and audience participation this week too!  Your panel was myself and…

Plus a rabbit spotting, and great tunes from Max the Axe, Clockwork Orange, & brand new Tee-Bone!

 

The Priest is Back! Nigel Tufnel Top Ten…Remastered

The LeBrain Train: 2000 Words or More with Mike and Friends

Friday – Episode 68 – Nigel Tufnel Top Ten Judas Priest…Remastered

“Judas Priest,” you ask?  “Didn’t you do Judas Priest last year already?”

Yes we did, hence the “Remastered” Nigel Tufnel Top Ten.  The old show was on Facebook Live with just Harrison the Mad Metal Man and myself, and most of you missed it.  Everything we did a year ago, we can do better now.  This will be a quality list show.  Why?  Because this time you will get some bonus tracks:

The audience participation part is why you want to catch the show live!  All Judas Priest studio albums qualify for our lists.  Then Geoff will graph ’em all!

To see the original Priest list show with just Mike and Harrison, you can view it below.  This is roughly a one-year anniversary show for Harrison.  His first appearance was May 30 2020.

Our “Remastered” version will be a celebration of Harrison, of Judas Priest, friendship and rock and roll. And you can watch it at the links below.

Friday June 4, 7:00 PM E.S.T. on Facebook:  MikeLeBrain and YouTube:  Mike LeBrain.

#905: Growing Up With Video

“Live videos > fake live videos any day of the week.” Harrison the Mad Metal Man

RECORD STORE TALES #905:  Growing Up With Video

Music videos of the 80s could, in theory, be broken down into three major categories:

  1. Conceptual videos.  Sometimes with a storyline intercut.  Occasionally the musicians got to act.  Other examples have no musicians at all.  (Iron Maiden’s “Can I Play With Madness”.)  Conceptual were majority of music videos — usually combining the conceptual part with the band performing on some kind of stage.  Not to be confused with…
  2. Stage videos.  Or, as Harrison calls then, “fake live videos”. Lipsynching the hits, on a stage, sometimes in front of a crowd, with no conceptual content.  Sometimes these were simply live concert videos dubbed over with the album tracks.  “Thrills in the Night” by Kiss, for example.
  3. True live videos.  Many Van Halen videos we grew up with, from “Unchained” to “Best of Both Worlds”, were live in concert — audio and video both.  In some cases you could not buy these live tracks on any kind of release.

Of course there are more categories and sub-categories, just less significant.  Some videos are entirely animated, which is more common today.  We also have something new — the lyric video.

I can remember the sixth grade.  Mrs. Peterson’s class.  Van Halen’s 1984 was out and Quiet Riot were burning up the charts.  These were pretty much the only bands I heard of.  I hadn’t seen the music videos and I didn’t even know what Quiet Riot looked like.  The only pictures I had ever seen of Quiet Riot were the buttons that the masked guy is wearing on his vest on the front cover of the cassette version of Metal Health.  I squinted hard, but the Kevin DuBrow I imagined on that button looked nothing like the real deal.

The teacher was getting us started on simple surveys.  To make it fun, she took a survey of all the most popular music in the class.  Each kid got to name one favourite artist.  I named Quiet Riot, and Kevin Kirby named Van Halen.  Michael Jackson and Duran Duran were the top two.

As the discussion proceeded, many of the kids mentioned that they liked the music videos.  Michael Jackson was at his peak, and he was the pioneer of the modern music video.  Other artists like Culture Club made an impact with their image, which came across best on video.  The teacher was curious about all this, so the class explained what a music video was.  Something dawned on the teacher, and she exclaimed, “So to be a music star today, you not only have to be able to sing, but you also have to be able to act!

No, and yes.  You didn’t have to “act” per se, but you did have to be able to present yourself and play to a camera.  David Lee Roth was not an according-to-Hoyle actor.  Some would say he’s also not a singer, but he is a master at playing for the camera.  Staring deep into the lens, gazing with the come-hither look, just so.  Doing easily what other rock stars couldn’t, or didn’t want to.

So yes Mrs. Peterson, in a sense, to be a star in 1984, you had to be able to “act”.  Video didn’t kill the radio star but it sure took a bite out of them.

Kids used to catch the videos on various cable shows.  There was one called The Great Record Album Collection on WUTV that I sometimes caught before dinner.  The Canadian movie channels (Superchannel, First Choice) would run music videos in the dead minutes after the credits rolled, to the top off the hour.  Until MuchMusic came along, we Canadian kids didn’t have a one-stop-shop to watch all our music videos.  Fortunately, having MuchMusic coincided with getting our first VCR.

Once we became seasoned in the way of the music video, we developed clear favourites.  12 and 13 year olds didn’t have a lot of money.  We also had never attended a concert.  Therefore, live videos with music that wasn’t what we were getting on the album were rarely favourites.  We preferred the “fake live”, as Harrison the Mad Metal Man calls them.  Then our immature ears could hear the songs clearly, and that would help us decide if were going to spend our nickles on a new tape.

Best of all though were the conceptual videos.  Some were not good (just ask Billy Squier), but some really captured our imaginations.  In Record Store Tales Part 206:  Rock Video Night, we discussed some of my favourite clips to show to younger folks who weren’t there in the 80s.  They were all conceptual clips.  Many of them involved a band on a mission of some kind.  There were so many of that kind.  Thor had “Knock ‘Em Down”, Queensryche had “Queen of the Reich”, and Armored Saint had “Can U Deliver”.  These videos featured, at least partially, a band on a quest.  They also featured scantily clad women, and lots of “fake live” footage.

But the “fake live” footage often featured cool angles and close-ups.  That meant we could examine the finer details of the outfits and guitars.  You couldn’t just look up pictures of your favourite stars on the internet back in 1986.  “I want hair like that!” Bob said about Eric Brittingham from Cinderalla.  “That would look cool in red!”  Meanwhile, I wanted Rob Halford’s leather jacket from the “Turbo” video.  Of all these videos, we liked the Iron Maiden clip for “Wasted Years” best, which we watched in slow motion, pausing to identify every single Eddie.  There were many we had never seen before.

We just weren’t as interested in purely live videos back then.  For example, MuchMusic had two versions of Judas Priest’s “You’ve Got Another Thing Comin'”:  the original and the live one from Priest! Live.  After the live video came out, that’s the one they primarily played.  It was disappointing because if I was going to only hear Priest on TV once that week, I preferred the original.  Frankly, we didn’t buy a lot of live albums as kids.  When we collected bands, we would try to get all the albums including the live ones.  But when we wanted to buy one tape from a band, we didn’t go for live ones.  Some live albums we heard scared us off from the format.  The Song Remains the Same wasn’t the kind of thing we had patience for.

That all changed for me in highschool.  I wanted to buy a Triumph album.  It would be my first.  On recommendation from a kid in my history class, I picked Stages.  And it was like a lightbulb went off in my head.  Virtually every song was awesome!  In fact the only track that wasn’t was a studio track!  And then I had the joy of making those live versions my first Triumph loves.  When I got the studio renditions, they seems thinner and colder by comparison.  I never had that experience before.

I wonder if any of this will be interesting to anyone at all.  Videos are irrelevant today as far as heavy metal goes.  Today, we are not interested in the same things we were in our youths.  We don’t care what the singer is wearing or what the drummer did to his hair.  We care more about how the band is sounding, and how the crowd is responding.  A new music video by a metal band is not as interesting as pro-shot live footage from Wacken.  We want to listen carefully for backing tapes, we want to see the band gel on stage, and we want to cheer along when it’s good.

It is incredibly fortunate to have grown up in the 80s, when videos were in their prime, and still be rocking today when all that stuff is available at our fingertips any time we need a blast of nostalgia.  Younger readers will never know the tense excitement of hitting “record-pause” on a VCR and waiting for the premier of the newest video by Maiden, Priest, or Def Leppard.  Seeing the carefully edited stage moves paired with salon-fresh hair.  It was a glorious time even if was completely ridiculous.

VHS Archives #102: Rob Halford Interview ’91 (The day of his last gig with Priest before quitting!)

19 August, 1991.  Operation Rock and Roll, featuring Alice Cooper, Judas Priest, Motorhead, Metal Church and Dangerous Toys rolled into Toronto.  The last show of the tour.  Unfortunately the day lives on in infamy.  It was the day Rob Halford hit his head (right on the bridge of the nose) on the drum riser, knocking him out cold!  Priest performed “Hell Bent for Leather” as an instrumental while Rob lay unseen in a cloud of artificial fog!  On top of that, and unbeknownst at the time, it was Priest’s very last gig with the Metal God for a decade.

This pre-accident Pepsi Power Hour interview by Michael Williams is interesting because Rob discusses their forthcoming compilation Metal Works a full two years before it was out.  At that point the plan was to try and write a couple new songs for the compilation, and then go back into the studio to record a brand new Priest album some time in 1992.  Needless to say, that did not work out!  As the last show of the Painkiller tour, this day was actually the last time Rob even saw his bandmates until they reconciled!

The Complete Priest Directory

Let this directory be your Point of Entry to the mighty Judas Priest discography!  Complete reviews below, in chronological order.

JUDAS PRIEST REVIEWS

REVIEW: Judas Priest – Priest, Live & Rare (1998 Japanese import)

JUDAS PRIEST – Priest, Live & Rare (1998 Sony Japan)

Fun fact:  in 1998, there were three Judas Priest live albums released.  First was the official ’98 Live Meltdown, featuring then-current singer Tim “Ripper” Owens.  There was also Concert Classics, an unauthorised CD from the British Steel tour that the band swiftly took legal action to remove from store shelves.  Finally, a CD called Priest, Live & Rare released by their old label Sony in Japan, featuring a smorgasbord of live B-sides.

Judas Priest’s B-sides don’t garner a lot of attention, but are worth looking in to.  Fortunately, a large assortment of them are collected on this compilation.  Covering a period from 1978 to 1986, Priest released a number of live B-sides (and one remix) that are included here.  Only two (“Starbreaker”, and a version of “Breaking the Law”) were released on CD in the 2004 Metalogy box set.  Because Priest were conscious of giving value to fans, the live B-sides are not the same familiar versions from live albums.

From the “Evening Star” single in 1978 comes “Beyond the Realms of Death”, Judas Priest’s “Stairway to Heaven”, or so some said.  It’s a rather weak comparison, but “Beyond the Realms of Death” does hold special status.  Glen’s solo, though imperfect, drips with the tension that comes from the live performance.  From the same gig, but lifted from the “Take on the World” single comes “White Heat, Red Hot” and “Starbreaker”.  You can hear the life in the songs, from Les Binks’ organic drum work to Rob’s impassioned performance.  The man is in top voice especially on “White Heat, Red Hot”.  Les Binks has an extended energized drum solo on “Starbreaker”.  These are fantastic live versions that need to be in a diehard’s collection.

The next single visited is 1981’s “Hot Rockin'”, with two live B-sides:  “Breaking the Law” and “Living After Midnight” from that year in Holland.  The drum stool has changed hands from Les Binks to Dave Holland, and it is like the band has had a heart transplant.  The difference is notable given that on this CD, Binks went out on a drum solo.  It’s like a pacemaker has been installed and the pulse of the beast has been tamed.  But that’s 80s Priest for you, and with that said, these are two excellent versions of some serious Priest hits.  Refreshing to hear, after the same familiar ones over and over again.

Priest’s set at the 1983 US Festival has not been released on CD yet, but here are some for you.  (The Festival on DVD is not an issue — the deluxe Screaming for Vengeance contains the whole thing.)  Here you get “Green Manalishi”, “Breaking the Law” and “You’ve Got Another Thing Coming”.  “Green Manalishi” is a fantastic version (at least for one with Dave Holland on drums!) and Rob is peak Halford.  These three tracks are sourced from a live 1983 Japanese “Green Manalishi” EP that costs some fair funds on its own.  (This is the version of “Breaking the Law” that you can also find on the Metalogy box set.)

“Private Propety” (originally from 1986’s Turbo) is a rare live take from St. Louis. It was originally released on the “Parental Guidance” 12″ single.  Therefore it’s not the same one from Priest Live, nor the Turbo 30th anniversary set.  This one predates the release of the others and has a nice untampered quality.  Finally, also from the “Parental Guidance” single, is the only disappointing B-side in this collection.  It’s the “Hi-Octane” extended remix of “Turbo Lover”!  Extended remixes were a popular thing in the 80s.  Every mainstream artist did them; for example Def Leppard, Kiss and Aerosmith.  “Turbo Lover” is one of the poorer such examples.  Were any dance clubs likely to play Judas Priest?  No, but the Priest did try.

Unweildy ham-fisted “Turbo Lover” aside, Priest, Live & Rare is a highly recommended collection to get 10 rare Priest B-sides in one fell swoop.  Definitely cheaper than tracking down all those singles.

4.5/5 stars

 

 

REVIEW: Judas Priest – Defenders of the Faith – Part Two – Special 30th Anniversary Deluxe Edition and 2001 Remaster

For yesterday’s review of the original album, click here.  

JUDAS PRIEST – Defenders of the Faith (2001 Sony reissue, 2014 Special 30th Anniversary Deluxe Edition)

Let’s start this review by taking a quick look at the bonus tracks that were added to the 2001 Sony remastered CD.  The first is an acoustic ballad called “Turn On Your Light”.  With lead guitars overdubbed later on, this spare acoustic ballad would have been a sharp left turn for the band had it come out on the next album (Turbo).  It’s very light, even more so than the material that made the album.  On the other hand, given the musical climate of the era, maybe it could have been a hit that propelled Priest to heights previously unseen.  We’ll never know.  The second bonus track comes from Long Beach on the Defenders tour.  It is the duo of “Heavy Duty” and “Defenders of the Faith”, but we’ll get into it later as it’s also included (albeit remixed) in the 30th Anniversary Deluxe Edition we’re about to discuss.  Important to note:  the 30th Anniversary does not include “Turn On Your Light”.  If you want to get that song, you have to get the 2001 version.

When I was a kid, around the time of Defenders of the Faith, I can remember listening to a live Priest concert with the next door neighbour George.  We were on his picnic table in the side yard, listening to it on the radio.  That must have been Long Beach, May 5 1984, the show included in the Anniversary Deluxe set.  Spread over two discs, it’s a full Priest show with nine of the ten new songs played.  Only the controversial “Eat Me Alive” was not played.

“Love Bites” is an unusual set opener, but of course they did use “Out in the Cold” on the following tour too.  The mix is bass-heavy with Ian Hill up front for some reason.  Barking Rob spits out the words like bullets.  Sticking with new material, it’s “Jawbreaker”, the second track on Defenders, performed at light speed.  Rob says hello to 13,000 heavy metal maniacs and then dives into the oldies.  Three well-received number from British Steel in a row:  “Grinder”, “Metal Gods”, and “Breaking the Law”.  Though robotic in tempo these songs were and still are landmarks for the band.  “Breaking the Law” is the most lively, with Rob acting as the cheerleader in concert.

They reach way back for “Sinner”, which again suffers from the Dave Holland treatment on drums.  It’s too fast and stiff.  Fortunately, Halford belts out the chorus in scream-form with earnest.  “Desert Plains” comes next, a song for which there are few live versions available.  It’s a bit too fast, with pulse of the original song lost, but strong nonetheless.

Another batch of new songs follow, all awesome in their own right:  “Some Heads are Gonna Roll”, “The Sentinel”, “Hard Hard Ride Free” and “Night Comes Down”.  It speaks to the strength and popularity of the album that the set looks like this.  These are ably performed, though Rob’s voice sounds very raw on “The Sentinel”.  The crowd goes completely nuts when, before “Rock Hard Ride Free”, he announces that five million people are listening live on the radio!  Unfortunately due to his sore-sounding voice, the version on Priest…Live makes for better listening.  “Night Comes Down” (issued in an alternate live mix on the Ram It Down 2001 remaster) is one of Priest’s most unsung triumphs, a ballad of sorts set in the dusk.  Try listening to it when the sun is going down some time.

Strangely, “Electric Eye” is the first song from the previous hit album Screaming For Vengeance, an album that is largely ignored here in favour of the new one.  Next it’s a last gasp of new songs in the form of “Freewheel Burning” and the anthemic duo “Heavy Duty” and “Defenders of the Faith”.  These are a treat.  Rob uses “Defenders” to get the crowd to do a singalong.  “Freewheel” is pretty manic, and then it’s into the set-ending classics.

“Victim of Changes” can’t help but be the centrepiece of the set.  It’s a serious Priest epic and isn’t rushed through like other songs.  This version is just a little bit different.  “Green Manalishi” is dutifully tough, though every version with Dave Holland is intrinsically and unfortunately inferior to the one with Les Binks.  The guitar solos are note perfect and full of sparks.  Moving on to “Living After Midnight”, it’s big blockheaded fun.  “Hell Bent for Leather” is a high speed thrill as always, and then Priest finally end it on “You’ve Got Another Thing Coming” and the inevitable and annoying “Oh-oo-oh-oo-oh-yeah” crowd singalong.

The 30th Deluxe has a booklet with several live pictures — none of former drummer Dave Holland however.  (If you don’t know why, Google him and guess.)  The remastering of the album itself may be new, but the real emphasis is on the complete concert.  The fact that the setlist contained almost all the new album makes it unique among Priest releases.  It’s a show worth returning to and playing again.  If Rob’s voice was less rugged that night, it might have been a live album in its own right.

3.5/5 stars