Deep Purple’s first new album with Simon McBride on guitar will be out July 19. Called =1 (“equals one”), it is largely a mystery what the album will sound like. Many predicted a return to “hard rock” after the last three more progressive albums. The first single “Portable Door” is not all that different from the Steve Morse era. Don Airey’s organ really dominates the solo section, as it should be. Simon’s guitar work is sublime but not showcased as some had hoped. He has this one cool lick in the riff that is really electrifying, but we want more Simon!
Ian Gillan? Reliable as ever, his voice has worn in like suede. He can still sing the hooks. Haters call him “over and done” – fans don’t care. Ian Paice is the backbone, always smooth, always identifiable, infallible. With Ian Paice on drums, Deep Purple will always sound like Deep Purple. His work here is busier than the we’ve become used to…which is just fine!
How does “Portable Door” stack up against recent Purple singles? It doesn’t have that instant “wham!” of “Vincent Price”, and it doesn’t have the hooks of “Johnny’s Band”. It’s a strong, workmanlike latter day Deep Purple single that will grow with increasing listens.
Tony MacAlpine seemed to be in every guitar magazine when I was a kid, but I never got to hear his music. He looked cool, and he was highly praised as a shredder, but his music (on Shrapnel records) was impossible to find unless you ordered it from a specialty shop. Like most of Shrapnel’s output, it was produced by Mike Varney.
His 1985 solo album Edge of Insanity features an impressive band: Journey’s Steve Smith on drums, and of course it’s common knowledge that Billy Sheehan played bass. The album is instrumental.
Opener “Wheel of Fortune” has a neoclassical vibe, with the rapid fire bassline enabling MacAlpine to focus on the melody rather than shred his way throughout. There is certainly a commonality in terms of musical direction with Yngwie, but Tony’s approach is more easily digested. Tony’s music has an actual bottom end thanks to Billy, and of course Steve Smith’s technique speaks for itself. He’s more than capable of heavy metal hammering as he does on “Wheel”, but listen carefully and you will hear his signature cymbal work, so unique to me.
“The Stranger” discards some of the neoclassical robes, and rocks a more straight-ahead blitz. Tony has a wicked keyboard solo mid-song, showing the breadth of his abilities. The pulse of the song is all Sheehan, and Smith’s fills sound a lot like a certain band that started with a “J”.
A live solo called “Quarter to Midnight” is unaccompanied. It reminds me of a Randy Rhoads solo. There’s some nice whammy work near the end, which was so popular in the era.
A ballady song called “Angrionia” (mis-printed on the back cover, but correctly in the booklet) follows; quite a nice little tune with the occasional bursts of neoclassical guitar speed. Billy has a couple nice rips as well. MacAlpine multitracks his guitars for effect.
“Empire in the Sky” has a very cool keyboard intro, that leads into a gallopy metal number. This has a mid-tempo vibe like Maiden circa Seventh Son when keyboards were happening. You could imagine this coming from that era, though of course Tony was three years ahead. His doubletracked leads set it apart from that, and there are some chunky riff chords happening beneath, though this is not a riff album. There’s also some outro guitar twangin’ that is absolutely freakin’ rib-shattering.
An Yngwie vibe pervades “The Witch and the Priest”. You hate to make comparisons, and it seems lazy, but when you hear a vibe there might be something to it. Of course, Billy Sheehan and Steve Smith help make it sound less Yngwie. Tony’s tone is warmer than the Swedish shredder’s as well.
“The Taker” is the only song with Tony playing bass and it’s less prominent for that reason. This tune is a full-speed blaze, with Tony deftly weaving melody through all his playing, and then suddenly taking a left turn with harpsichord-like keys and then some organ for good measure! “The Taker” keeps you on your toes.
Tony treats us to actual classical music next: his spin on Chopin. “Prelude 16, Opus 28” is performed on piano, and you’d never guess it wasn’t from a professional classical pianist. This prelude leads into Tony’s “Edge of Insanity”, a deep cut title track and one that allows the chug-chug-chug of the metal to come through. There’s still a soaring melody and flying bassline to absorb. Smith’s drum parts are smashing – literally. A great tune and a little easier to digest than the speedier stuff.
“The Raven” has classical keys opening a speedy metal rollercoaster ride. Once again, Smith is classing up the place several notches with his signature fills. Tony rarely lets up, constantly treating the listener to impressive shred. He switches tones (and probably guitars) at some points, giving the lead work different voices.
The closing track, “No Place in Time” has some slinky Billy bass, and really allows him to have some of the spotlight. His playing here is all about the groove he’s laying down, and how he complements Tony’s lead. MacAlpine uses doubletracked guitars and plays a slow melody. It’s not the most memorable track, and not the most effective closer.
Edge of Insanity is more accessible than a lot of instrumental guitar albums of the era. If some of those other artists seem daunting but you’d still like a taste of neoclassic rock, then go for some Tony MacAlpine.
JOURNEY – Departure (1980 CBS 8-track, Remastered 2010 Sony CD)
CD from the set 3 Original Album Classics
Changes were afoot in Journey, and alluded to on Departure. Aside from the Japan-only soundtrack Dream, After Dream, this was the last stand for Gregg Rolie. While he would also appear one more time on the Captured live album, he was not there for the new studio track included. For all intents and purposes, Departure is his “last album”, to use an inaccurate but easy term. For the man who once was Journey’s only lead singer, Departure only has one of Rolie’s lead vocals, and only two co-writes. (In the discography, Departure directly followed 1979’s compilation of early material, In the Beginning, featuring early material and a large number of Rolie vocals.)
With Steve Perry leading the charge, Departure commences with the party anthem “Any Way You Want It”. Those who don’t know it, know it. It has been featured in the Simpsons, twice! A rare honour, and mega-exposure, for good reason. Perry’s impeccably arranged chorus is irresistible. Rolie’s organ is the perfect accompaniment to keep in the realm of classic rock and roll. Of course Schon’s solo is also tasty as heck, but this song is know for its party-hardy chorus. For those who like to dig deeper, Ross Valory’s pulsing bassline goes underappreciated today, and Steve Smith’s smooth cymbal work is often taken for granted.
A surprising twist is taken on track two, the laid back blues pulse of “Walk Like A Lady”. Sounds like Smith is playing with brushes, and Neal really plays it classy. Then, a jab of organ and the players are off to indulge themselves. “Oooh yeah!” shouts Perry, as if enjoying the jamming himself. Soulful harmony vocals by the band really take this out on an authentic note.
Third song, third musical direction: power balladeering! Rolie sings a duet with Perry backing him on “Someday Soon”, a melancholy but punchy ballad. Though it was not a single, perhaps it should have been. There’s a cool, unique angelic vocal section near the end that nicely complements Steve Smith’s drum fills.
“People and Places” is like an exercise in creative vocal arrangements, if not showing off. Neal Schon sings lead with Steve Perry on this complex track. It’s more like the Dream, After Dream material than a lot of Departure. If only the modern Journey were unafraid to create more unique music like this. It still has room for a powerful melody and some warming cascades of guitar. This song moves directly into “Precious Time”, which has a vibe like the still-in-the-future track “Liberty”. Lyrically it foreshadows the “Line of Fire” on side two, and also has Rolie on harmonica. It turns into a more typical Journey rocker by the midpoint. Lots of tasty Schon guitars to be savoured here.
Unusually for an album of 1980, Departure had 12 tracks: five on the first side, and seven on the second. This is where we’d flip.
The big concert rocker “Where Were You” kicks off the back end of Departure. This one pounds the pavement with beats, riffs and boppin’ piano. It too could have been a single, though it did open their concerts on tour. Then, a completely different mood drops: “I’m Cryin'” hits like a cold wave of grief, though not without its musical thrills. Soon it’s over and the rockin’ “Line Of Fire” brings the party back. There’s no better way to describe it than a fast, good time rock and roll song. “So don’t go sayin’ Steve is a liar!” warns Perry to some young lady who done him wrong. “Bye bye bye Susie, so long girl!” (He sure got over what was bothering him on “I’m Cryin'” pretty fast.) Take note of Schon’s technical solo work here.
“Departure” / “Good Morning Girl” is softly progressive, with strings and light guitar, and little else. This is over quickly, and then it’s the ballad “Stay Awile”, one of the sweetest songs Steve Perry or Journey have ever done. Once again, listen to the bass and drums for a different perspective. Perhaps the only thing better than Perry’s lead vocals are when he does it live.
Fortunately, Journey had the wisdom to end the album on a rocker: “Homemade Love”. Some of Perry’s worst words accompany some of his most acrobatic singing. Still, at least it’s a good jam to go out on, with some fretboard burning fingerwork by Neal.
Interesting, the 8-track tape might have what would be called a bonus track here: a reprise of “Line of Fire”. It’s here mostly for timing reasons; there are no songs split between tracks anywhere on this album. So, 8-track buyers got an uninterrupted listen, plus a reprise of “Line of Fire”. Information is scarce, but it would be fun to hear the tape this way,
On remastered CD, we got some slightly more interesting bonus tracks than 8-track offered. “Natural Thing” is a bluesy B-side, which was later released as the B-side to “Don’t Stop Believin'”. Chronologically though, it is from this era and is as strong as any similar material on the album. Funny how some tracks don’t make the cut when others do. If you were told this was a standalone single, you wouldn’t have a reason to doubt it. The CD also includes “Little Girl” from Dream, After Dream which is a difficult album to find and Rolie’s studio farewell. It is a string-laden power ballad, very progressive, and far darker than anything on Departure.
Departure features an unusually rougher sound than other Journey albums. The production seems unpolished despite the complexities of some tracks, with the vocals sometimes occupying a strange space that’s not quite in front of the music. Still, a classic album is a classic album and there are so few flaws with Departure that it’s easy to dismiss them all.
RECORD STORE TALES #1107: Dark Clouds &; Silver Linings: CD & Vinyl Haul, and Grab A Stack Of Rock spotted on WWE Wrestling
Jen has experienced a few health setbacks. Last week, she took another hard fall. It wasn’t a seizure this time, but a pothole in the sidewalk. She took a tumble, busted her expensive therapy glasses, and ended up with a bruise on her forehead that became its dominant feature. During a moment of levity, I dubbed her Mikhail Gorbachev, which she took to heart with a comedic post on Facebook about her resemblance to the former Russian president. You have to laugh sometimes. Despite this, all the setbacks have taken a toll on my own health, and I really have not been doing well either.
One night last week, I was so stressed out that I slept for 10 hours and still woke up feeling like a zombie. My head banged and every limb ached. I really struggled to come down after some of the recent events and scares.
However, as always, there are good things amongst the rest.
I took Jen to the eye doctor after her fall, and killed some time at the local Record Store. They had a bunch of cool Marillion and Fish in stock, so I snagged all of it.
Marillion – “Incommunicado” 5″ CD single – damaged packaging, but this is a duplicate CD and will be donated to a worthy friend
Marillion – “Freaks” (Live) 5″ CD single
Marillion – “Hooks In You” 3″ CD single
Marillion – “Uninvited Guest” 3″ CD single
Fish – “Big Wedge” 5″ CD single
Fish – “A Gentleman’s Excuse Me” 5″ CD single
Boston – Greatest Hits CD
Iron Maiden – The Number of the Beast 40th anniversary LP
I’ve been wanting a complete collection of classic 80s Derek Riggs Iron Maiden on vinyl, so why not. I remember when Sam the Record Man had Powerslave, brand new, for $5.99. Beast was $39.99. Holy moly. The total haul was $92.
New music is good for the soul, so this haul, expecially the 3″ discs, was especially satisfying. I did notice a few things about the Record Store.
Back in my day, there was a “not hats” rule. That was hard and fast. I had bad hair a lot of days and couldn’t hide it under a hat. On this visit, one guy had a touque, the other a baseball hat.
Neither guy asked me if I wanted any help. That also used to be a hard and fast rule. You had to ask every single person who walked in the door. Give ’em a minute, and ask. Neither guy bothered. Things sure have changed in the last 20 years.
I had to laugh at a couple things though. An older man came in and asked about a movie on DVD. The guy at the counter told him the movie was still new in theaters. I remember having that very conversation in my days at the Record Store.
I also observed people coming in with boxes and tubs full of CDs, movies and videos games, reminding me of my busier Saturdays in the days of yore. I really didn’t enjoy buying used CDs by the tub, but in came the discs regardless! By the tub, bag or box, the CDs came in a never-ending stream of media. I spotting a woman bringing in a Tragically Hip Phantom Power CD from 30 feet. I still got the skills.
I think I did well at the store today. I did even better after. Cooler than a CD haul at a Record Store though, was the surprise that Johnny Clauser had for me.
John Clauser, from My Music Corner on Youtube, is one of my favourite music people. He was off to a televised WWE event, Road to Wrestlemania Smackdown, in Birmingham Alabama. Johnny had ringside seats. Rumour had it that Dwayne “The Rock Johnson” was going to be there that night. He was.
On national television, John Clauser can clearly be seen, wearing his Grab A Stack of Rock shirt. It’s there for the world to see.
When the Rock enters, it appears he sees the shirt, and stares at it for a few seconds. John says he was staring directly at the shirt…the Grab A Stack of Rock shirt! You can see it happen on video.
Regardless of the rumours, John planned two weeks in advance on wearing my Grab A Stack of Rock shirt to the event. I didn’t know of his plan until he started sending me pictures from ringside. By the next day, people were sending me screenshots and video clips of John at ringside, on national television.
John, I cannot tell you how much this means to me. To see my shirt on your chest on national television. To have this image of the Rock and my shirt together…it is beyond words. I cannot express my gratitude to you. It’s beyond measure, sir. I’m sure John has plenty of shirts. Thank you sir, for making my day a little sunnier.
As it turns out, the sun came out Saturday for the first time in many days. It was glorious to behold.
Spring is closer and closer. Better days ahead. I smell the what the future is cooking!
THE FORREST WILLIAMS DEMOCRACY – “The Optimyst” (2023 single)
Forrest Williams, Scott Maybee, and Matt DeMatteo are back with their third single (check out the firsttwo if you missed ’em), and this is the best one yet. The Democracy play a hard-to-pigeonhole mixture of 90s and classic rock with a dose of progressive, among other elements. When these elements fuse, the molecules of music produced have been radiant. With three songs released to date, we can now track a trend: each song is better than the last, therefore the future is looking bright for The Democracy!
Fellow reviewer Jex Russell noted that “The Optimyst” reminded him of “Solsbury Hill” by Peter Gabriel, and I hear what he’s getting at. There’s something in that bright rhythm of the guitar part, and the uplifting vocal melody (verses by DeMatteo and choruses by Maybee, if the music video is to go by). But there’s so much more to this track than just the melodic. Listen to the drums! Williams makes creative use of toms and cymbals to form an integral part of the song’s landscape. The drums don’t distract, but they add a hell of a lot of depth and hookiness. They carve hills and valleys in the music.
The lyrics are uplifting and the message is universal. “‘Cause bad times will get better!” Don’t give up hope! “You feel hopeless, got to pay the Monday dues.” That’s pretty accurate! “I’m all fired up by Wednesday, it’s Friday soon…” Amen, brothers! I think most people will be able to relate to this song, and I hope they can feel its sunny vibes, to feel better about whatever is getting them down.
Everyone needs to hear “The Optimyst”, no matter what mood they’re in. It’s that good and it deserves to be heard far and wide. Positivity is often in short supply these days, so thank you to The Forrest Williams Democracy for bringing some sun in December.
SAVATAGE! This Florida metal band reigned from 1979 to 2002, and is now back ready to unleash a new album called Curtain Call! They never received the recognition they deserved over the course of 12 mostly excellent albums. Let’s fix that here and now!
We begin our story with tragedy, but also triumph. Lead guitarist Criss Oliva was killed by a drunk driver, almost ending the band permanently, and shattering the soul of his brother Jon. Jon Oliva was not even a member of the band anymore, having abdicated the mountain king throne to new singer Zack Stevens a year prior. Undaunted, Oliva wrote and recorded almost all the instruments on the next Savatage album Handful of Rain. Even though bassist Johnny Lee Middleton and drummer Steve “Doc” Wacholz are pictured inside, they did not play. Jon did. Joining him on lead guitar was former Testament master-shredder Alex Skolnick. An immensely powerful team up. They produced a somber album, but not without power and thrills. The title track, available as a 5:25 extended edition or the standard 5:02 version, boasts acoustic verses and a powerful chorus that will stay with you for days.
The final Savatage epic from the final Savatage album. Jon Oliva was back on lead vocals. Zack Stevens departed to form his own band, Circle II Circle. This song utilizes a powerful, relentless riff and a host of backing singers taking care of a complicated vocal counterpoint. Different lyrics and melodies all overlap to form a cohesive and weighty segment of an already powerful song. With piano and guitars intertwined with equal emphasis, Savatage may have taken their new operatic metal style to its peak here. Though a comeback is planned, the band has remaining largely inactive ever since. Regardless, at least they finished their first life in style, and with masterful progressive metal music.
Though this song commences with a corny keyboard bit and a ballady melody, it is far from that! The battle grunts of the “warriors” soon join in with a sharp metal riff. An alloy of iron and titanium, “Warriors” boasts a relentless chorus. The verses are fun too. “Armed to attack! The soldiers react!” Not poetry, but it matters not when Oliva screams. This is simply heavy metal, down to the basics, and executed with youth and naivete. The thing is: it’s really good and catchy!
A shorty, at under four minutes. The tempered steel of Criss Oliva’s riff is the main hook. Much would improve later on, such as Jon’s lyrics and the band’s writing skills, but they had everything they needed from the get-go. There’s a slower breakdown in the middle that only serves to re-ignite the powerful riff later on. Oliva’s shrieking was already in place, fully formed and under his complete control. Because the song is so short, you just have to go back and play it one more time.
Producer/manager Paul O’Neill was working with a little band called Badlands in 1989, featuring former Black Sabbath singer Ray Gillen on lead vocals. He made a hell of an impression before Badlands as a backing vocalist on “Strange Wings” by Savatage! This song, which boasts a powerfully simple riff, contains one of Savatage’s mightiest choruses! A melancholy metal song with oodles of power, “Strange Wings” is one of Savatage’s top deep cuts. There are many to choose from, but Ray’s singing on this one sets it apart. His voice, mixed with Jon Oliva’s, offers a rare metal duet of stainless steel.
A classic Criss Oliva riff, backed by the haunting screams of brother Jon! This song introduced Savatage to the metal masses. Few songs can top the power of its mighty riff, or the unholy notes that Oliva hits on the chorus. Not overly complex, but neither is it simple. After Criss’ solo, Jon simply lets loose with the howls of a banshee gone mad! Many would rank this song much higher than #5. Perhaps the Metal Man is one. It is extremely difficult, since Savatage have so many songs of different flavours. Of their era of pure metal majesty, this song is tops.
4.“The Wake of Magellan” from The Wake of Magellan (1999)
Savatage have utilized counterpoint vocals numerous times on their albums from Handful of Rain to Poets and Madmen. It is arguable that “The Wake of Magellan” is their most effective use of the technique. Multiple vocal parts and lyrics overlap over each other, with uncountable Zacks singing complementary parts over each other. Fortunately, the melodies are strong enough to stand out in the storm! While the band and orchestra cooks behind, Zack Stevens sings all the parts, overdubbed for simultaneous power. The first layer: “Don’t see the storms are forming, don’t see or heed the warning, don’t hear the sound of tyrants, surrounded by the silence.” Then a second Zack joins, singing the same. A third Zack emerges overtop, singing the extremely fast and challenging lines: “Columbus and Magellan and De Gama sailed upon the ocean in a world of ignorance with thoughts so primitive. That men were killed with no more will than that they simply had the notion, but in this world of heartless men this thing they never did.” Imagine singing that live, which the band had to do, at machine gun speed! Another Zack doubles those lines. Then a fifth Zack joins: “Don’t hear it, don’t hear it…” Then another Zack: “Got to keep it underground, pretend you never heard a sound.” More Zacks join with the lines “If they find it, kill it, blind it,” and “Lord tell me what is to be,” until all the voices coalesce together in the line “They whisper, and I…” Has there ever been a more epic song in any genre?
New singer. New lease on life. Zack Stevens was sometimes compared to Geoff Tate when he first debuted in 1993 on Edge of Thorns. The first single from the first album of a new era, combining the metal of Savatage’s early years and the piano epics of the previous two records. The brilliant title track from Stevens’ debut still raises goosebumps on the arms. An apex of this style of metal, “Edge of Thorns” has no dull surfaces. Every edge cuts deep, the scarlet blood stains lingering in your heart forever. “I have seen you on the edge of dawn, felt you here before you were born. Balance your dreams upon the edge of thorns…but I don’t think about you anymore.” Yet he clearly does. This theme recurs through the album on songs like “Conversation Piece”. Another genius Criss Oliva guitar solo is the cherry on top. Few bands can meld their different styles from separate eras together like Savatage did on “Edge of Thorns”. A masterpiece of a song.
I’ll never forget hearing that opening piano figure. Loosely, Jon Oliva plays: “ding, ding, ding…” Then as he plays the notes become stronger and the tempo more steady. Suddenly the band crashes forth and “Gutter Ballet” careens through your stereo, into your soul. Savatage had never incorporated piano like this before, and by breaking new ground they broke down walls. No longer were they a simple heavy metal band. The doors to a whole new world of concept and drama had opened. Welcome to the Gutter Ballet. This track combines an epic piano melody with incendiary guitar riffs, an orchestra, and street-smart Oliva/O’Neill lyrics about the nasty gutters of New York City. “Balanced on their knives, little parts of lives, such a strange reality. Kill the unicorn, just to have its horn, soon he’s just a fantasy…” And the Criss Oliva guitar solo! A composition unto itself, backed by strings. Power, emotion, skill and fire combined together into one incredible song. An epic song that few bands could top. Few…except Savatage.
Within the context of the Streets story, the main character D.T. Jesus witnesses a luminous spirit emerge from a dying homeless man, that he follows up several flights of stairs to a roof of a building. D.T. opens his heart, and hears the voice of God. “Believe” is the perfect ending to an epic emotional journey. With all the power that Savatage can muster — overblown, dramatic, and pompous — “Believe” ends the rock opera (and this list) properly. Interestingly, it retains an epic section that was lifted directly from “When the Crowds are Gone”, as the two albums share a genesis. So epic is this segment, that Savatage had to re-use it. Then later, on the Savatage album Handful of Rain, part of it was re-used again, along with other parts of “Believe”. “Believe” ends this album on the bright up-note that you want a story to end with, your soul awash with light and musically uplifted. “I’ll be right there, I’ll never leave, and all I ask is believe”
Journey began scoring hits when they acquired powerhouse vocalist Steve Perry on Infinity (1978) and Evolution (1979). Why not issue a compilation sourced from the band’s first three Perry-less records, with new cover art that ties into their present? Seems like a no-brainer. And so we have Journey’s first compilation album (and a double length at that) called In The Beginning. Thank you Tim Durling for gifting this copy for the collection and for review.
In The Beginning contains five of the seven tracks from Journey’s self-titled debut. It begins with three. As on the original LP, “Of A Lifetime” opens. The long organ and guitar-drenched opening gives way to a slow and passionate Gregg Rolie lead vocal. Were Iron Maiden influenced by this song when they wrote “Strange World” for their own debut? Probably just coincidence, but it can be heard. The main hook in “Of A Lifetime” was the unmistakable guitar hook. At this early stage, Journey boasted two guitar players: Neal Schon and the late George Tickner. They have to share the spotlight with an absolutely raging Aynsley Dunbar on drums and Rolie tearing it up on the synth. Undervalued bassist Ross Valory also must be mentioned, playing concrete but melodic foundations under the feature players.
George Tickner’s instrumental “Topaz” goes second, starting slow and then taking on a jamming, progressive jazz rock fusion vibe. This complex track is not to be taken lightly. Just absorb every different section as they hit you. Once again, Dunbar is a monster. Third is “Kohoutek”, the memorable Schon/Rolie instrumental that was also track three on the debut album. On vinyl, in both cases, it closed Side One. It’s another challenging track with a cool galloping section. (There’s a reason I’ve heard Dunbar referred to as an octopus – he sounds like he’s playing with eight arms!)
Rolie’s “On A Saturday Night” from album #2, Look Into the Future is a completely different style from the first three progressive sprawls. Under four minutes with a bopping piano, this is just great rock and roll! Tickner was out and the band was reduced to a quartet with Schon as the sole six-stringer. Shades here of where the band would head once they figured out their future direction. Schon’s solo is an example of melodic composition. The Beatles cover “It’s All Too Much” from Look Into the Future follows. It fits this new concise straightforward Journey sound, and it is quite excellent. Rolie was the perfect guy to sing a George Harrison song, and the backwards ending is suitably trippy. The blues “In My Lonely Feeling/Conversations” takes us back to the debut album. This Rolie/Valory composition scorches with passionate fretwork. Not surprisingly, the bass is the foundation. Also from the debut, “Mystery Mountain” closes side one. A short, but jamming track with subtle use of the wah-wah pedal.
Opening (cassette) Side Two, “Spaceman” from Next (album #3) was a melodic single. Journey were honing in on that simple pop rock ballad. “Spaceman” is one of their first. As it did on album, “People” follows “Spaceman”, featuring synth and acoustics. Very psychedelic for Journey. The back to album #2, “Anyway” rocks hard and slow, like a monumental Whitesnake track from the 70s. (Dunbar later joined Coverdale & Co. for 1987.) From the same record, “You’re On Your Own” switches from slow and bluesy verses to a pounding chorus, enabled by Aynsley. There’s a Beatles influence here in “I Want You (She’s So Heavy”).
We’re into the last tracks here, as vinyl listeners would have been flipping to side four for “Look Into the Future”, a brilliant ballad and one of the band’s early best. “Nickel and Dime”, a legendary jam from Next feels like a throwback to the first album and for good reason: it’s a leftover Tickner co-write! And finally, In The Beginning closes with the epic “I’m Gonna Leave You”, the same song that closed the debut Journey. Coupling some killer organ with with a heavy riff, this bluesy rocker also boasts some of Rolie’s best vocalizin’. Legendary!
For those who only know Journey as a lovin’, touchin’, squeezin’ band of crooners and balladeers, this compilation would come as a shock to the system. But a shock can be a good thing. In The Beginning is a great way to get many of the key tracks from the first phase of Journey in one purchase. This stuff doesn’t usually make it onto regular Journey compilations. It’s a good set to own.
Thanks to Aaron of theKMAfor sending this record for my 50th birthday! 50th anniversary edition for my 50th trip around the sun.
JETHRO TULL – Thick As A Brick (Originally 1972, 50th Anniversary Chrysalis Steven Wilson remix, cut 1/2 speed vinyl edition)
This review is focused on the remix and packaging of the 50th anniversary edition. For a more music-focused analysis, read our 25th Anniversary CD review. That CD came out in 1997. How does that make you feel? Here we are on the 50th anniversary of this great album already.
Even those who dislike remixes often approve of those done by Steven Wilson. In 2012, for Thick As A Brick‘s 40th anniversary, Wilson created new stereo and 5.1 mixes for the album. Such remixes work best when you play the album and can’t quite tell exactly what has changed. Such is the case for Thick As A Brick. The bass sounds deeper and the album sounds bigger. You may notice musical elements you didn’t pick up on before, but the remix was clearly done with respect and never deviates too far from what you know.
The 5.1 remix is scheduled for a reissue in the fall, as even the 40th anniversary edition will get a reprint after nearly a decade out of print.
This vinyl LP was cut at 1/2 speed at AIR Studios. According to the front sticker, this was performed on “a fully customized Neumann VMS80 lathe with fully recapped electronics”. According to the same sticker, the 1/2 speed cutting allows better recreation of high frequencies. I probably can’t hear them anyway, but in short: the record sounds amazing! The nuances of the flute, the organ, the acoustics…all here. All thick as a brick! Punchy. More three-dimensional. Because everything is so clear and in your face, this is my preferred way to listen to Thick As A Brick. There is no struggling to hear any of the parts. It’s all there, with good separation too.
For this reissue, the newspaper packaging has been reproduced full size. The actual sleeve of the album is a 12 page newspaper. This was, of course, discontinued for most reissues over the past decades. Like a real newspaper, this packaging include crosswords and advertisements, all fake and meticulously assembled to entertain and baffle those who stumbled upon it. The outer page, which becomes the front cover, is of harder paper stock than the inner pages. There have been complaints of bent and damaged pages inside the shrink wrap, but this copy was perfect upon opening.
In case you need to be told, Thick As A Brick is one song, split over two sides of vinyl. “Thick As A Brick” sides one and two; there’s your complete tracklisting! It must be said that though side two tends to get less appreciation, the last 10 minutes are pure progressive rock delight. The album just gallops on side two.
Get your newspaper and a coffee, and sit down to enjoy the Steven Wilson remix of Thick As A Brick. It’s a lovely way to spend your day.
That’s pretty monumental. Rush were releasing two key tracks from their forthcoming studio album, a full concept album this time, well in advance. Two years in advance. Notably, this was a full concept album start to finish. In the 70s, Rush were more known for half concept, half non-conceptual records. The bands that Rush inspired like Queensryche and Dream Theater had done full concepts. Now the original masters were taking a shot.
On the final album, “Caravan” is track one and “BU2B” is track two. On this single the order is swapped. “BU2B” (“Brought Up to Believe”) opens, although its intro changes on the album version. “BU2B” absolutely slams. “I was brought up to believe that the universe has a plan…” Perhaps it opens this single because it sums up the overall album concept. In a fictional world run precisely by a “Watchmaker”, a rebellious protagonist feels pulled in a direction different from that assigned to his life. Questioning his reality, he embarks on his own adventures despite his mandated mundane role in society. Musically, after the metallic riff has done its business, Neil Peart takes the spotlight a moment as the song shifts. Geddy lays down the heavy bottom end while Alex strikes hither and yon with lightning-like licks. Clearly a classic in the making.
“Caravan”, the final album opener, sounds pretty much the same as the record. It establishes the setting, “in a world lit only by fire…” The riff is a major feature, a deliberate, descending rock monster that feels just right in the guts. The lyrics paint a picture of a steampunk world, half explored, with alchemy and ancient knowledge.
Clockwork Angels wound up as one of the greatest final albums by any band anywhere any time. This single is a nice add-on, a reminder of the long careful gestation period that created a masterpiece.
KING’S X – “A Box” (1996 Warner Germany CD single)
In 2022, the “King’s” are returning, so today let us look back on some of their fine 90s output. 1996 was the year of Ear Candy, the progressive giants’ most commercially accessible album to date. It was produced by Canadian Arnold Lanni (ex-Frozen Ghost, Sheriff) and the songs were straightforward and hook-based compared to what came before and after.
Last year, we curated some King’s X lists with Martin Popoff right here, and he rated the single “A Box” in his top five. The version included on this single is an edit, over a minute shorter than the album cut, with the cut material being mostly outro. Dug Pinnick is always passionate but you can really feel him on “A Box”. “There is no room inside a box,” goes the chorus, and one has to wonder if this box is one to break out of, to retreat to, or both. The song gives voice to loneliness and anger, but also sings of “a place to run and hide, just a place to free your mind.” It is a ballad with strong lyrics, unforgettable melody, Ty Tabor’s signature guitar glow, and an absolutely wicked Jerry Gaskill drum sound, thanks to the magical knob-twiddling touch of Arnold Lanni.
One album cut is included, which is “Looking For Love” from Ear Candy, another one of its strongest tunes. This one smokes of anger and frustration. It also contains the key lyric, “I guess I lost my faith,” which is true. Dug was once Christian but left the church around Dogman. Yet it’s also melodically one of the strongest songs, which helps back up that killer Ty Tabor riff.
The non-album B-side is a rarity called “Freedom”. Unlike the album which was recorded with Lanni in California, “Freedom” came from a self-produced session in Houston. Sonically it does not fit with the boldly in-your-face Ear Candy, but it does offer another Ty Tabor lead vocal. It’s a bit more sparse and hard-hitting, but still boasts the patented King’s X harmony vocals on the chorus. There’s a cool melody buried in the outro too. Overall, it is not as strong as Ear Candy as a whole, but as a bonus track, it’s more than adequate. Ty’s singing will be the highlight for many fans as he really goes for it.
Great single, and thank you Martin Popoff for inspiring the purchase.
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