rock music

#462: The Deep Purple Project

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GETTING MORE TALE #462: The Deep Purple Project

If loyal readers know one thing about LeBrain, it is that he owns a lot of CDs.

A LOT.

I haven’t done a count in ages and I’m giving up on keeping track of these things.  I estimate over 3000 CDs are in inventory currently.  Add to that a few hundred tapes, LPs, DVDs and other miscellaneous musical formats.

For Christmas this year, I received a number of Deep Purple releases.  Some of these releases would presumably replace older Deep Purple discs in my collection.  For example, I expected the 5 CD box set Hard Road 1968-1969 to replace the first three Purple albums in my collection, and I could retire those discs permanently.  This was not the case.  I began checking, track by track, and it turns out the individual CD versions have tracks that are not on the Hard Road box set.  “Hush” live from US TV is one such track.  There are also BBC Top Gear sessions on the remastered CDs that are not on Hard Road, but I believe all of these are duplicated on yet another Deep Purple CD, BBC Sessions 1968-1970.  On top of all that, there is another CD called The Early Years that covers the same ground, but it too has one exclusive track on it.  That is an alternate take of “Kentucky Woman” that I don’t have elsewhere.  This is crazy!  How can anyone keep track of it all?

I’ve been ripping all the CDs in my collection to the computer in bits and pieces for a couple years.  It didn’t have much rhyme or reason.  If I wanted to listen to something, I ripped it at that time.  If it was a new arrival, I’d rip it to PC on first listen.  This Deep Purple situation got me to go over my entire Purple collection, looking for duplicates and redundant releases.  (I didn’t find any.)   This in turn prompted me to get the rest of my Purple albums ripped and digitized for good.  This has turned out to be a monumental task.

My Deep Purple folder had 74 sub-folders in it, each one an album or a disc from one.  That’s a lot of Purple.  So how many did I have still to rip?

At first count, it was 64 more discs.  That includes 12 discs from a box set called The Soundboard Series (the second of two 12 disc live Purple box sets I have!).  It includes all the multi-disc sets I got for Christmas.  With the exception of the Hard Road box set, these are all live discs, and all official releases!  Then, I had to adjust my count.  I found two more box sets tucked away (as box sets sometimes are, due to their odd shapes):  On Tour MCMXCIII (4 discs), and Live Encounters (2 CDs, plus 2 DVDs too).  Last week, a double live from Japan arrived at LeBrain HQ, called Live in Verona.  Up that count to 72 more discs.  So far, I’ve ripped 25 of them.

This isn’t even all the Deep Purple I have left un-ripped.  I have some things that I don’t particularly need to listen to.  The 3 CD Live in Japan was a great package for its time.  It contained a remixed and expanded version of Made in Japan.  While I always want a unique official remix in my collection, just to have it, I don’t need to listen to it since it has been usurped by the remixed (again) 4 CD deluxe Made in Japan.  Who cares about a remix they did in ’93?  Obviously I only care enough to keep it (for “completion”), not to play it.  There are more like that, such as an earlier mix of California Jam that has since been replaced by a better, more complete version.

Now that you have a glimpse at what Obsessive Compulsive Disorder looks like up close, I’m sure you have one specific question.

“How many versions of ‘Smoke on the Water’ are there?”  Well, it appears that I have 63 versions on CD.  63. Different. Versions. Of.  “Smoke on the Water”.  By Deep Purple.  None of these are covers by other bands.

This, folks, is a shat-ton of Deep Purple!  Won’t you join me each day this week for some live Purple action?

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TV REVIEW: American Dad – “Why Can’t We Be Friends?”


AMERICAN DAD! – “Why Can’t We Be Friends?”
(Episode 5, season 9)

Seth MacFarlane’s American Dad is a very musical show.  That’s why this is the second episode I’ve reviewed so far.  It’s rare to find a cartoon with so much musical integrity.  From an episode based on a song by Wax Fang, to another showcasing the band My Morning Jacket and their lead singer Jim James, they really stuff the show full of tunage.  Not to mention they also use plenty of original music!  There was one episode featuring Cee-Lo Green as a talking, singing hot tub.  For real!  Then there’s the original song  “He’s Got a Kink”,  with a dirty, dirty message!

You’ve got a kink,
You’ve got a kink,
Don’t be afraid to put a finger in the stink!

While the episode “My Morning Straightjacket” was probably one of the most musical episodes of any comedy show anywhere, it was “Why Can’t We Be Friends?” that earns top marks at LeBrain HQ.  Why?  Rush. 2112!

With Steve Smith dressed as a glammed-up Alex Lifeson, and his best friend Snot Lonstein as Geddy, the episode opens with the two best friends rocking out in the garage, playing air guitar to Rush’s immortal epic “2112”.  When Steve’s dad Stan comes home, he is none too amused by the tight costumes, wigs and finger-flicking.  “I-I don’t know where to start.  Look at you two.  Best case scenario, you’re telling me you’re gay with each other,” complains Stan.

AMERICAN DAD 2

Steve and Snot defend the air guitar, but a furious Stan smashes Snot’s tape deck and forbids Steve from seeing him again.  Of course this does not work, so Stan does the obvious thing to get rid of Snot.  He stages a fake mafia hit in front of the young kid, and then takes him away to be in the CIA witness protection program…forever.

Snot goes into hiding (the apartment building is #2112).  While delivering Snot his weekly groceries, Stan finds that he actually likes the kid.  They begin to hang out.  When Steve finally figures out what his dad has done, he tracks Snot down…only to find him playing air guitar to “2112” with a wigged-out Stan!

The episode is dedicated to “BFFs everywhere”, and I admit I get the feels at the end.  In an homage to Say Anything, Snot and Steve reunite, with a glorious air-guitared version of “Always With Me, Always With You” by Joe Satriani.  Yes, the episode is a tribute to best friends.  I think it is also a tribute to the pure joy that is air guitar.  The two things go together.  I played many many hours of air guitar with my best friend Bob, and nothing can erase the sheer happiness we had doing so.  I identify with this episode!  Not the dad breaking up the friendship part, but the friendship itself.

Highly recommended for nostalgic air guitarists everywhere.

5/5 stars

AMERICAN DAD 3

 

REVIEW: Jethro Tull – Too Old to Rock ‘n’ Roll: Too Young to Die! (TV special edition – 2CD/2DVD set)

JETHRO TULL – Too Old to Rock ‘n’ Roll: Too Young to Die! (1976, 2015 Chrysalis TV Special edition 2CD/2DVD)

I foresee a future time, when every man woman and child will be able to buy deluxe multi-disc box sets of just about every album ever made.  While old geezers with greying beards will sit back in a rocking chair (a hovering one, no doubt) listening to multi-track backing tapes for every single Poison CD, our children will be able to do the same with a comprehensive book-box version of the NSync debut album.  It’s going to happen eventually, so we may as well get good albums like Tull’s Too Old to Rock ‘n’ Roll: Too Young to Die! in box set form while the concept still has validity.

Of course this isn’t the first Jethro Tull album to get this kind of treatment.  A super deluxe Aqualung was a fairly recent release, and I received Benefit myself for Christmas last year.  The bold four-colour album cover for Too Old to Rock ‘n’ Roll makes for a splendid book-form box with plastic CD trays inside.  An absolutely massive (80 page) full colour booklet awaits you inside.  Rare photos are the norm of course, but a features such as “From Carmen to Tullman” about the late John Glascock are valuable reads.  Detailed liner notes will help you make sense of the track listing, and the multiple versions of each song included.  Almost all of this material is rare, previously unreleased, or newly mixed material by studio wizard Steve Wilson.

IMG_20151227_162750

Scan_20151229First of all, I was not aware that all of Too Old to Rock ‘n’ Roll was re-recorded for a UK television special, included here on DVD.  Anderson had a theatrical presentation in mind, so playing live wasn’t of interest to him.  But, apparently due to British law, the LP Too Old to Rock ‘n’ Roll could not be used for backing music on a “live” TV special.  Anderson’s vision seemed to involve the band miming to the album while pulling amusing faces and occasionally acting out the lyrics.  In order to mime and do it legally, brand new recordings of every song had to be made!  In fact the band painstakingly took great care in recreating the album, although there are also obvious differences.  For the DVD and CD, these tracks been newly mixed and are available for the first time.  CD 1 contains the standard stereo mix of the re-recorded album.  DVD 1 has the special in both stereo and 5.1 surround.

The original album was also meant to be remixed top to bottom in 5.1 by Wilson.   This was not possible, because the original multi-track tapes survived for only five songs, almost the whole second side:  “From a Dead Beat to an Old Greaser”, “Bad Eyed and Loveless”, “Big Dipper”, “Too Old to Rock ‘n’ Roll”, and “The Chequered Flag”.  Tull’s semi-acoustic nature lends itself well to a good 5.1 mix.  The audio field is filled out, but not to excess.  It’s a good balance and the tracks included in 5.1 shine with fresh light.  Do not be surprised to hear parts you didn’t hear before.

The bonus associated tracks are a light collection of rare Tull.  The two bonus tracks from the prior 2002 remaster, “One Brown Mouse” and “A Small Cigar” are included here unaltered on CD 2, or on lossless 96/24 stereo PCM on DVD 2.  The unreleased tracks are excellent.  “Salamander’s Rag Time” sounds like the Jethro Tull collaborating with the Beatles via “A Day in the Life”.  Meanwhile, “Commercial Traveller” is a lushly arranged and recorded ode to the road with full strings and Martin Barre guitar blazes.  “Strip Cartoon” also has quaint Beatles-isms though it is really just a bright Tull acoustic jaunt.  An incredible instrumental take of “Salamander” is pure delight, hearing it ring in live perfection.  There is also a bare acoustic version of “A Small Cigar”, and earlier versions of “Quiz Kid” and the title track.  As always, these are available on both the CDs and DVDs.  Four of these (“Salamander’s Rag Time”, “Commercial Traveller”, “Strip Cartoon” and the acoustic “Small Cigar”) can be heard in 5.1, again mixed by Wilson.  Expect the same level of lushness and quality as the album tracks, although with the acoustic arrangements, it’s more about the spaces between.

One of the great advantages of the DVD format is the ability to re-release classic Quadrophonic mixes for modern audio systems.  Like many rock bands (and especially progressive rock bands) of the early 1970’s, Jethro Tull released Too Old to Rock ‘n’ Roll in Quad.  That long unavailable version is right here in 4.0, on DVD 2.  It’s certainly an interesting animal.  Where Steven Wilson’s 5.1 mixes envelope the listener in clouds of Tull music, the Quad mixes things hard into individual channels.  It’s an interesting experience.  The vocals are mostly on the right, the flute behind, and the other instruments tucked into their corners.  If you want to hear it as if the music is coming from four separate corners of the room, then this Quad mix is that exactly.  There is something to be said for this, because you can clearly hear each instrument isolated, and easy to study.  You can easily lose yourself in a particular part of the mix, which is the benefit and weakness of the format.  Regardless, the classic 1976 Quad mix has parts you won’t hear elsewhere, and it’s available again, and that is a good thing.

With all this talk of extras and remixes and surround sound, the original album is almost overlooked!  Fear not.  A bit like an afterthought, the original, stereo, classic Too Old to Rock ‘n’ Roll: Too Young to Die! is here, as the final 11 songs on CD 2.  Even the Benefit super deluxe box set didn’t include the original album on CD.  If you prefer lossless stereo, it’s there on DVD, too.

What of the original album, then?  Well, I reviewed that in 2012, and you can read all about it here.   A brief summary:


 

SAM_1882Like many Tull albums from the mid-70’s, there’s plenty of acoustics to go around accompanied by lovely flute passages and complex drum patterns.  There’s also some horns and orchestration courtesy of David Palmer (not yet a full member of the band).  Personal highlights:

  • “Salamander”, a folksy number with intricate acoustics.
  • The harmonica riffing of “Taxi Grab”, reminiscent of an earlier bluesier Jethro Tull.  The guitar soloing (both electric and acoustic) is also divine.
  • “Big Dipper”, a playful yet complex number with plenty of flute and a fun chorus.
  • The masterpiece title track (obviously), lush with ochestration.
  • “Pied Piper”, one of the most obviously catchy songs on the whole album, albeit still complex with multiple parts and section.
  • The final track of the album, a slow but dramatic grandiose number called “The Chequered Flag (Dead or Alive)”.

 

Too old to rock ‘n’ roll?  Never.  Buy this for the grandpa on your lists.

4/5 stars

#459.5: 2015 Year-End Lists, part 5 – site stats!

2015

GETTING MORE TALE #459.5:
2015 Year-End Lists, part 5 – site stats!

In the annual tradition, let us have a look at the mikeladano.com site stat highlights for 2015!

 

I was really hoping that one of those legendary Joey Tempest Conspiracy (™) posts would have made the Top 5 posts of the year by hits. Sadly, none did — but one did make it to #6!  So close!

Even though they did not come in with the #1 spot, 2015 was clearly the year of Van Halen.

Top 5 posts of 2015

REVIEW: Trailer Park Boys – Season 8 (Netflix) 1 3,414
GUEST REVIEW: Van Halen – Tokyo Dome Live in Concert (2015) 2 3,397
REVIEW: Van Halen – Zero (1976) 3 3,078
REVIEW: KISS – Greatest Live Hits (2015) 4 2,361
REVIEW: Van Halen – Tokyo Dome Live in Concert (2015 – LeBrain’s review) 5 1,576
GUEST REVIEW: Europe – War of Kings (2015) by Jesse A. Jones 6 1,293


2015 kiss

 

In 2015, there were 370 new posts, growing the total archive of this blog to 1,707 posts!  Despite my pledge to slow down, that’s still a post a day on average.

The most commented-on post in 2015 was GUEST REVIEW: Europe – War of Kings (2015) by Jesse A. Jones, with 162 comments from a, err, variety of interesting and possibly unstable personalities!

Top 5 most active commenters of 2015

A big thanks to everybody who dropped even just one comment here!  Especially Joey Tempest…I think.  But seriously, thank you.  Thank you.  Thank you.  I don’t always have time to respond to every comment but I appreciate them all!

2015map

Top 5 personal highlights of 2015

  • It is always a pleasure to be asked to be a guest on the radio.  I love doing radio and this year my highlight was appearing twice with Rob Daniels on his program Visions in Sound, talking about Star Wars music.  I’m happy to announce that I’m booked to do it again this month for Rob’s anniversary show.
  • 23 of the biggest music fans on the web participated in the Top 15 on the 15th, a collection of top 15 music lists from around the world.  What a fun experiment that was!  (Thanks to Geoff Stephen & Aaron for coming up with it!)
  • A Holy Grail item was acquired at a reasonable price.  I have not discussed this publicly yet (two people know what it is), but there will be a review in 2016!
  • Sausagefest 2015 was another successful raging boner of rock.
  • Every year, you can count on the Mike and Aaron go to Toronto expeditions.  This year was probably my most fun yet.  I say that every year!  But I think it’s true.

Final words

I predict that 2016 will be a simply destructive year!  #gnr2016

REVIEW: The Darkness – Last of Our Kind (Christmas deluxe edition)

NEW RELEASE

Last review before Christmas!


 

Scan_20151221THE DARKNESS – Last of Our Kind (2015 Canary Dwarf deluxe holiday edition)

If there is one thing we collectors hate, it’s buying a rare collectible version of an album, only to see it reissued later with more tracks!  I waited ages to get the Japanese printing of the brand-new Darkness album Last of Our Kind, featuring two bonus tracks.  Now, just in time for Christmas, the Darkness have released a seasonal deluxe edition, with four bonus tracks this time, and special packaging that looks like Darkness wrapping paper being torn open to reveal the CD inside.  Even so, I had to order this CD in from Europe.

This counts as your annual seasonal content here at mikeladano.com, and it’s my only seasonal content this year!  Humbug.  Unusually for a seasonal post, this one is 100% rock!

Buying the album twice hurt a little bit less because it’s really, really good.  The Darkness have quality standards, and they have not dropped between albums.  They also had a new member, the talented drummer Emily Dolan Davies, who sadly couldn’t stick around and has since been replaced by Rufus Tiger Taylor, son of Queen sticksman Roger Taylor.  Emily plays on all tracks herein, and she does so seamlessly.  On first spin it would be hard to tell that original drummer Eddie Graham wasn’t around anymore.

Laden with the screams of flighting Vikings, “Barbarian” opens the album heavier than expected.  “Barbarian” storms the gates, leaving trails of blood behind it, but fear not!  “Open Fire” is fast n’ catchy hard rock n’ roll, the way the Darkness has always done it.  The high vocals are toned down, with Justin Hawkins singing in his normal voice for most of it.  His throat has acquired a little bit of grit to it (light sandpaper only) which he uses effectively on “Open Fire”, which would have been a hit had it come out 10 years ago.

The very best track on the album is #3, the title track, boasting one of those Darkness choruses that has become their trademark and strength.  “Last of Our Kind” rings down as the highlight album and indeed one of the best songs to come out in 2015.  Just like he did in the days of yore, Justin lets his voice rip, while laying down Lizzy-like guitar harmonies with his brother Dan.  If singles were a still a thing, this would be the one.  You’ll notice how Davies accents the song on drums the way Ed Graham used to.  She doesn’t overplay, but she punctuates it where it has to be.

Rather than having used up all their ammunition on these first three great tracks, The Darkness have plenty more shells in the belt.  “Roaring Waters” is a mid-tempo groove, and almost lacklustre except for that slippery Hawkins riff.   Then you need a ballad, so you get a ballad: “Wheels of the Machine”.  It’s not as pompous as “Love is Only a Feeling”, but still has the golden Justin voice that makes their ballads either unique or unpalatable, depending on your tastes.  I say, turn it up.  You’ll especially want it loud on “Mighty Wings”, which has a neat spacey 80’s sci-fi keyboard intro.  Don’t be mistaken, for “Mighty Wings” rocks with a groove so chunky that neck strain is a real danger.

“This ain’t no double entendre.  This ain’t no euphemism.  This is real life.”  Well hey, a mudslide is a weird subject for a song, but that’s what “Mudslide” appears to be about!  “It’s a fuckin’ mudslide!” says Justin, to reiterate his point, after lamenting the loss of his “dear beloved gazebo” in the natural disaster.  Fortunately, this song kicks lots and lots of ass.  I wonder how many song lyrics reference a gazebo?  “Sarah O’Sarah” has a vaguely celtic feel due to the mandolin.  It’s an album highlight, sounding much like the Darkness’ second LP, One Way Ticket.  Davies proves her mettle on the chorus section, a gallop of percussion that frankly Eddie Graham didn’t seem to have the chops to do.  “Hammer & Tongs” shares its pop-chorus bent, but has some juicy slide guitar backing it up.  There is even a slight Stones vibe in the gee-tars.  The proper album ends on “Conquerors”, a ballad that serves as the dramatic pompous outro, featuring Dan Hawkins taking the lead vocals.

This deluxe CD continues on, with four bonus tracks, the first two of which are also on the pricier Japanese import version.  “Messenger” and “Always Had the Blues” are fine as bonus tracks, with “Messenger” being album quality (and then some).  Lush vocals from the back create swirls of melody that stick in your ear like gum in your hair!  The real gem among the bonus tracks is the newbie “Million Dollar Strong”, which has a sweet 80’s riff (think Dokken) and a horn section for added oomph!  The fourth track is their second Christmas single, “I Am Santa”.  With an obvious “Do They Know It’s Christmas” bassline and beat, plenty of folks will find a nostalgic glow on this one.  I especially like the line referencing “Ferrero Rocher”, a candy I always look forward to every Christmas.  Like the chocolates, “I Am Santa” is sweet and delightful.

My only disappointment:  2013’s non-album single “The Horn” was not included as a bonus track.  That leaves it frustratingly unreleased on a physical format.

4.5/5 stars

Japanese version:

Merry Christmas, and stay safe!

REVIEW: Poison – Look What the Cat Dragged In (remaster)

POISON – Look What the Cat Dragged In (1986, 2006 Capitol remaster)

I remember seeing this album in the racks of our local Zellers store.  I didn’t know the band.  I thought CC Deville was pretty cute.

Taking the gender-bending makeup of the mid-80’s to its logical end point, Poison stormed out of Hollywood and onto the charts.  They did this with a handful of great singles, including “Talk Dirty to Me”, “Cry Tough”, and “I Won’t Forget You”.  Also huge, but barely tolerable as a song, was the singalong “I Want Action”.

Bass "rapin'?" Good god!

Bass “rapin’?” Good god!

Armed with just $23,000, Poison recorded Look What the Cat Dragged In with producer Ric Browde (Ted Nugent, W.A.S.P.) in less than two weeks.  What they emerged with was a fun, raunchy and terrible sounding album with some big hits and plenty of filler.

“Cry Tough” was a tight little opener, a hot and bright rocker about going out and givin’ er.  “You gotta cry tough, out on the streets, to make your dreams happen!” sings Bret Michaels in full-on cheerleader mode.  Unfortunately the sonics of the album leave much to be desired.  The guitar, drum and vocal sounds are demo quality at best, but that’s what you get for $23,000 and Ric Browde.

The other singles were all huge.  “Talk Dirty to Me” is now minor staple, and “I Want Action” (annoying as it is) is another.  The ballad “I Won’t Forget You” is an album highlight, well before Bret & co. had mastered the art of writing hit ballads.  Low key, basic and electric, “I Won’t Forget You” is very different from “Every Rose” and some of the later broken-hearted Poison love songs. Paul Stanley has a cameo in the road-ready music video, which didn’t hurt.

That leaves a hell of a lot of room for filler, and Look What the Cat Dragged In has plenty.  Of the album tracks, the decent ones include the saucy glam-slam rawking title track, and another song called “Want Some, Need Some”.  Both tunes could have used some last-minute tightening up, but neither are as bad as the dreck on the tail end of the album:  “#1 Bad Boy”, “Blame it on You” and the horrid “Mama Let Me Go to the Show” all suck absolutely.  “Play Dirty” on side one is also pretty awful.

Even with the quality issues in sound and songwriting, Look What the Cat Dragged In sold over 3,000,000 copies.  20 years later, it was given a fresh remastering and three bonus tracks.  The remastering could not fix the audio issues, but the bonus tracks are pretty good.  Single remixes of “I Want Action” and “I Won’t Forget You” are marginally better than the original album tracks.  Somebody realized that they were sonically deficient, and the remixes help a teeny tiny bit.  Then Jim Croce’s “You Don’t Mess Around With Jim” is added to the end, a song that got more exposure on the covers album Poison’d!  The bonus tracks go a long way towards making the album a little more listenable from start to end.

2/5
stars

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#453: What is Your Front-Person Style?

GETTING MORE TALE #453: What is Your Front-Person Style?

There are two types of people in this world:  those that can make music, and those that cannot.

After many years of trying, I have to admit it, that I fall into the latter category.  I can’t make music.  I tried.  I can make some noise and scream, but you wouldn’t pay money to see me in concert.  Instead I’ve focused my energy on two things:  writing about music, and playing air-music.

Air guitar (and to a lesser degree, air bass) is timeless, and I’ll wager that anyone with arms has done it.

Harder to fake, but much more rewarding due to the physical exertion, is a good air drum session.  It’s easy to fake an air guitar mistake, but it’s harder to cover up when you’re on air drums.

THERES ONLY ONE WAY TO ROCK_0001

It’s arguable that even more popular than these activities is lip-syncing to your tunes.  But why stop there?  After all, singing the song is only part of a vocalist’s job.  The other part is entertaining the crowd, otherwise known as fronting the band.  Think about it:  Is Ozzy Osbourne successful because of his singing, or is it the fact that he is generally listed as one of the top most entertaining frontmen in rock?  Same with W. Axl Rose.  Part of the allure of Guns N’ Roses is seeing what kind of mood Axl will be in that night.  What will he say?  What will he do?

I’ll admit that when I’m alone in the house, blasting the tunes, it’s fun to play frontman and pretend I’m in charge of the best air band of all time.  It’s even more fun to do this in the back yard; that’s just an “FYI” for those brave enough.  While I’ve never consciously set out to copy a singer, I’ve noticed that my personal style as “air frontman” has been influenced by many of the greats, Mr. Rose included.

Once Guns N’ Roses hit the big time for real, they were touring massive stadiums, indoor and out.  Their stage was phenomenally huge, and Axl would run from one side all the way to the other, usually while trying to sing!  Duff, he’d just walk it.  Not Axl.  Many of these stage runs would end with him jumping off a riser.  Not to be outdone in this regard is Brian Vollmer from Helix.  Starting from their club daze, he used to somersault from the stage onto tables.  When I saw him in Kitchener in ’87, during one song he climbed up onto the mezzanines, ran across the entire balcony, and then climbed back down the other side of the stage.  I’ve seen Helix a hella-lot, and Vollmer still has no problem jumping on tables.  He’s an awesome machine of a frontman, and he taught me that there are no boundaries between audience and band.  Looking up to guys like these, when I have the space, as air frontman I like to run and jump too!  I can’t do it like I used to in my teens, but I still do it.

Another frontman that heavily influenced my personal style was Paul Stanley of Kiss.  Sometimes, depending on the song, it just feels right to play air rhythm guitar too.  When performing to a song that felt this way, Paul Stanley became my model.  Nobody can dance with a guitar like Paul.  Much like Axl, Paul (especially in the 80’s when he wasn’t wearing platforms) was known to run and jump all over the stage.  I will sometimes catch myself doing a specific spin that I saw Paul do in the “Thrills in the Night” video.

When not wielding my air-axe, I tend to need something to do with my hands!  Who was the master of fronting a band with his hands and voice alone?  Why, that would have to be Ronnie James Dio himself.  I don’t tend to go for clichés like the devil horns; I make up my own gestures.  However there is no denying that Ronnie James Dio is my number one air frontman inspiration when it comes to my hands.  There are none better than Dio.  There never will be.

These four guys undoubtedly had the most impact on me as an air frontman, but there is one more who cannot be ignored, and that is Mike Patton.  My buddy Peter recorded a Faith No More performance from Saturday Night Live, and Patton was climbing up the scaffolding.  I’d never seen a weirder performer in a rock band.  What a bizarre, yet cool, image.  So, if the song called for it, I’d throw in some Patton weirdness.  Lurching across the stage, or flailing wildly, or even just standing stock-still, Mike Patton taught me a few extra bonus moves for my bag of tricks.

I don’t know how to dance.  I have no dance moves whatsoever.  I’m the Seth Rogen of dancing.  All I have is the “dice thing”; that’s all I got.  But when it comes to rocking the house as the best damn air singer around, I’ll take on all comers!

#449: Paris

PARIS

Paris

The world in general, but Paris specifically, was shaken again by heinous terror on Friday November 13, 2015.  In the misguided name of religion, an apocalyptic cult that we call ISIS or ISIL have attacked the good people of France once more.  But they were surprised by the resilience of the French populace, and by the love of the entire world.

Still shaking, we all still struggle to make sense of these attacks.  The loss of innocent lives, the radical cult with the twisted concept of good and evil and the desire to bring about the “final battle with Rome”, and the fear of what may come next.  We have all spent time thinking about such things.

For some like myself, this attack has crossed a blurry line.  For the first time ever, our precious music was a target.  Josh Homme’s Eagles of Death Metal were playing to a crowd of 1500 people at the Bataclan concert hall.  Little did Homme, or the gleeful concert goers realize, but ISIS had declared their gathering to be one of “pagans”:

“The targets included the Bataclan theatre for exhibitions, where hundreds of pagans gathered for a concert of prostitution and vice.” – official statement from ISIS.

Then, gunmen broke into the venue and executed 89 music fans, including some in wheelchairs.  In the eyes of the terrorists, rock fans are all evil unbelievers, beyond redemption.  To the rest of the sane world, they were simply 1500 people in the wrong place at the wrong time, punished for nothing, lives ended for nothing.  It makes no sense.

Then, we all woke up the next morning.  Bombs fell on Raqqa in Syria, in the name of Paris.  For some, life goes on.  For others, they must now carry on without their loved ones.

Without taking any focus away from where it should be (the innocent), this terror attack feels different than any other in memory.  Rock music used to be a place we could go to escape.   While gun violence (Dimebag) and mass tragedy (the Station House fire) are sadly nothing new at a rock concert, this is the first time rock fans have been specifically targeted by terrorists for the music we like — apparently “prostitution and vice”.  We were already probably all targets anyway, for being the wrong religion, or sexual orientation, or just for holding the wrong beliefs.  Now, 89 of us have been slaughtered, including Nick Alexander, a well-liked merchandise manager for the Eagles of Death Metal, for being at a rock concert.  My friend Mike, who does the same job with Steve Earle, left Paris only hours before the attacks.

Sure, millionaires like Bono have always been trying to get music involved in world affairs.  Music has raised money for the poor and starving, it has raised awareness for a multitude of issues, but ultimately it was really just an escape from the world.  People do not attend a U2 concert to learn how to change the planet.  You can learn that much more affordably by buying a book.  People go to see U2 to witness the light show, the music, and ultimately escape from the outside world for two or three hours.  That’s all it is in the long run, and now that sanctuary has been shattered for some.

Music will still be an escape for most of us.  Most will not let this one attack change our lives, but it feels like a new battle line has been drawn.  Now even we the rock fans, usually under society’s radar, have been attacked and killed.  Expect this to draw us together, not tear us apart.  Unlike the merciless fiends who did this, those hurt will draw strength from the love of the entire world.

Cut us, do we not bleed?  Yes, we do.  We will not stop resisting evil in this world, but now that rock fans are among the specifically calculated dead, it feels different to me.  This time, it feels personal.  ISIS have killed again, but they have also failed again.  The world is stronger than they are.  Love defeats hate.

REVIEW: Queensrÿche – Condition Hüman (2015 Japanese edition)

NEW RELEASE

QUEENSRŸCHE – Condition Hüman (2015 Century Media Japanese edition)

As if it was not abundantly clear on their last album (2013’s self-titled), Queensryche seem to have no intentions of abandoning their heavy metal roots again.  Furthermore when you have a significant lineup change, such as a new lead singer, you can’t just stand still.  You have to keep progressing forward.  The ‘Ryche used their last album to re-ground their sound, but for a followup you need more than that.  Condition Hüman pushes the boundaries out once more, but not without keeping the metal intact.

Indeed, “Arrow of Time” sounds as if the quintet had been ingesting nothing but classic Iron Maiden for breakfast.  Swift and viscous, “Arrow of Time” gets the job done in the requisite four minutes but not without exploring the exotic side of metal riffing.  Imagine an alternate reality where Queensryche did not go in the highly technological direction of 1986’s Rage for Order album.  Envision instead a timeline in which they followed The Warning (1984) with an album that continued to progress, but also go heavier at the same time.  That album would have been Condition Hüman.  “Hellfire” demonstrates this as well; the song would have fit on a heavier version of Rage.

“Guardian” demonstrates this even more clearly.  With the vintage-style screams and vocalizations (Todd La Torre for MVP), metal riffing, but also Mindcrime-like progressive rock, Queensryche have hit upon a satisfying balance.  Songwriting credits are various combinations of all five band members; all but “Eye 9”, written solely by bassist Eddie Jackson (a first, I think).  The album has a cohesive sound, like five guys all pulling in the same direction.  The production, by Zeuss, is punchy.   Queensryche have always employed elements such as sound effects and programming, and Condition Hüman has these fixtures as well.  

Moving on, “Toxic Remedy” is Mindcrime-like, but denser and massive sounding.  Pay attention to the way Todd La Torre layers his vocals on “Toxic Remedy”.  He has arranged the vocals in his own way; this is not a carbon copy of something else.  “Selfish Lives” is the same.  Yes, there are hooks and melodies that sound very Queensryche, but Todd is showing off his own personality more than before.   And he’s not taking the easy way out on any of it!  Sounds like he is really pushing his own limits, especially on “Selfish Lives”.  It’s quite remarkable how lucky Queensryche were to find a compatible guy like Todd, who is also able to stretch it out.

Another album highlight is the rhythmic “Eye 9”, the aforementioned Jackson composition.  This Queensryche-meets-Queens of the Stone Age track blows the doors wide open in terms of direction by putting the rhythm first.  It sounds like Queensryche, yet nothing like any prior Queensryche, simultaneously.  “Bulletproof” puts a new slant on the Queensryche power ballad, keeping the emphasis on the power.   La Torre makes it his own — listen to the last note he sings.  Sends chills up the spine.  Speaking of chills, crossing the acoustics with the heavy chunky riffing on “The Hourglass” did exactly that.  There are Pink Floyd influences coming up to breathe from time to time on Condition Hüman. This is most obvious on “Just Us”, which is also very much like the slightly psychedelic acoustic side of Led Zeppelin. Queensryche have never done anything like “Just Us” before.  “Silent Lucidity” this is not.  The soulful singing at the close of the song is also unlike anything on a prior Queensryche song.

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For fans of the technical, fast side of Queensryche, “All There Was” will scratch that itch.  With that pulsing technological rhythm and “Needle Lies” tempo, you are in for a ride.  Don’t forget the blazing guitar histrionics.  The final album track is “Condition Hüman” itself, 7:48 of dramatic progressive metallic rock.  Check out the “Astronomy Domine” section after the fifth minute, just before it goes into that deliberate Mindcrime riff.  If I had to pigeonhole the sound of this album, it would be “progressive metallic rock”, but pigeonholes are lazy.  Still, as Commander Pavel Chekov once said, “If shoe fits…”

Holding out for the Japanese edition of the album, the bonus track “Espiritu Muerto” is the bonus track worth waiting for.  Going sludgy for 3:40, but topped with a soaring chorus, the bonus track is in the mold of the album but different just the same.  It’s a long album though, and adding more material (even if good) can sometimes push a CD just a bit too far in terms of attention span.  “Espiritu Muerto” is close to this line, but because it has enough personality of its own, it’s worth staying around for.

If any of these songs sound intriguing to you, check out Condition Hüman.  Fans who wonder where Queensryche could have gone had they adhered to heavier roads will find much to enjoy.  They have never taken the easy way with any of their albums, but it is hard to imagine a fan of early ‘Ryche who won’t find something here to love.

4/5 stars

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REVIEW: Glueleg – Heroic Doses (1994)


GLUELEG – Heroic Doses
(1994 Page Publications)

Any band that can handle an instrument as beastly as the Chapman Stick is worth listening to at least once. Glueleg, from Toronto Ontario, were once such band. They boasted not only the Stick but also a horn section with sax and trumpet. If that wasn’t enough to garner them some local praise, a few people turned their heads when they hooked up with James Stewart (cousin of The Cult’s Jamie Stewart) to produce their first CD, Heroic Doses. Prior Glueleg releases were cassettes…CD was the big time.

The title track was the first single/video, and entered rotation on MuchMusic and several rave reviews. Guitar player Ruben Huizenga sings this immediately infectious track. The hypnotic vocals, the punchy horns, the Stick, that low-as-fuck rib-busting riff…this track is perfect in every way. “Heroic Doses” nails it completely and there is no wonder that it garnered some serious attention. The end result of this was a record deal with EMI, but nobody can accuse Glueleg of being commercial on “Heroic Doses” even so.

“Pollo” (“Chicken”) is rapped and sung by Stick player Carlos Alonzo. He has an interesting voice, able to do a rap in a Beastie-like style but with his own spin. He can also sing quite well. He also sings “Mister Pink”, another manic groove. The horns deliver consistent punctuation, and that Stick just thumps. “Lilies” has a droney riff/groove combo that stoner rock bands today love to utilize. “Spiderman” is an original, an instrumental, but it certainly recalls the classic cartoon theme. Glueleg songs don’t tend to adhere to convention song structures. They have more in common with Mr. Bungle than the Chili Peppers, but much more accessible. Their songs have the complexity and chops of Bungle, but are direct. There are also grunge elements, a-la Alice in Chains.

The sonics of this album are really quite good even today. The Stick has a snap to it, and the horns have depth. Having two singers enabled them to play different styles of songs even within the confines of what Glueleg were doing. “Dust” is a dirge, for example. Then the next track “Pampa De Chooch” is completely different, at times almost sounding like Kyuss with horns. “Park Alien” might be Zappa-esque progressive jazz. “I Saw You Joja” is then something else again. Perhaps there’s a lack of focus, or maybe it’s just that Glueleg were so bursting full of ideas, but some songs come off as scattershot.

Biggest surprise of the album: the closing track “Red”, the King Crimson instrumental. What a drum tour de force performance this is, by Christian Simpson. Simpson is no slouch; he later went on to play with Saga for several years, as well as David Usher and Edwin.

I like all of it. Heroic Doses is one of those discs that are indicative of their times, and has nostalgia value, but also plenty of musical chops to keep you busy. If the songs had been tightened up a bit more I think you’d have a serious classic here. Unfortunately there are some songs that are just not quite there.

3.25/5 stars