rock music

REVIEW: Marillion – Sounds Live (2012)

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MARILLION – Sounds Live (2012 Racket Records/Abbey Road LiveHereNow/EMI)

This is one of those “Instant Live” type discs.  While the discs have art pre-printed on them, they are CDRs.  There is no track list on the case, probably because the setlist wasn’t set in stone!  (I have a Slash “Instant Live” style disc with the setlist printed on the back, which was completely wrong, as the singer had a sore throat and they had to change up the set!)  The label is Racket Records/Abbey Road LiveHereNow, licensed to EMI, but even though Racket has their name on it, you can’t buy it from them.  You can buy it from Abbey Road Live, however.

The show was recorded on 16 September 2012 at the Forum in London, on the Sounds that Can’t Be Made tour.  The sound quality is excellent!

Marillion bravely opened the show with “Gaza”, the powerful, swirling, 17 minute new song from Sounds that Can’t Be Made.  I don’t know how many new fans were in the audience that night, but if there were any, they must have been in utter confusion and shock.  Hogarth delivers the song with all the passion he can muster.

Not letting up for a moment, Marillion follow this monster with another 10 minute epic:  “This Town/100 Nights”.  Incredible.  And once again, H imbues the song with so much emotion it literally leaks out of the speakers.

“This next song is a strange song,” says H, regarding track 3.  “‘Cause everybody claps along at the beginning and by verse one, they think ‘Shit, you can’t clap to this, it’s far too sad and tragic!”  And that is how H introduces the Marbles top ten (#7!) single, “You’re Gone”.  An upbeat pop-prog track with a drum program accompanying Ian Mosely, this was probably a good selection to follow two epics in a row!

My favourite of the new songs follows:  the title track from Sounds that Can’t Be Made, a simply great catchy Marillion track.  My only beef here is that I can hear pre-recorded Hogarth backing vocals.

And then…another 10 minute track?  The incredible “Neverland” from Marbles is up next, a personal favourite, and seemingly a crowd favourite too.  This one defines the word “epic” as far as I’m concerned.  Powerful, too.

From the 2007 Somewhere Else album comes “A Voice From the Past”, not one of my personal favourites (also not one of my favourite albums).  This is followed by “Power” from the new album.  “Power” is one of the better songs from an album I just haven’t wrapped my head around yet.  In live form, the chorus soars.

Disc 2 begins with yet another Marbles classic:  the soft and uplifting “Fantastic Place”, a personal favourite.  Steve Rothery’s solo is sublime.  Another personal favourite follows, the incredible “Real Tears For Sale” from the very dense Happiness is the Road album.  It’s an album I’ve never fully absorbed, but this song is incredibly powerful and at times is even reminiscent of older works like Brave or even Script in parts (listen to the flute-like keys).

Another new song, “The Sky Above the Rain”, is one that is really starting to grow on me.  This is the last of the new songs played at the London gig.  It’s 11 minute long, and it begins lullaby-like before H’s passionate, melodic vocals begin.  There’s a sadness, but also a brightness to the music; truly the blue sky above the rain.

It’s into the classics now!  “The Great Escape” is an undeniable fan favourite, and I never tire of hearing it.  What did surprise me was the resurrection of the lengthy “A Few Words for the Dead” from the underappreciated Radiation album.  I’ve always been fond of Radiation (it was the first Hogarth-era album I heard)  but this track is absolutely a challenge.  Over 10 minutes long, it builds very, very slowly.  As the closing track on a challenging album, it was perfect.  As an encore at a Marillion concert, it’s extremely brave and mind-blowing.  This is one of the best live versions I’ve heard.

The only Fish-era song played is “Sugar Mice”, but it is one that H seems comfortable with.  I will never tire of this classic, even though H lets the audience sing the first half of the song for him!  Rothery’s anthemic solo is the centerpiece of the affair.

The final surprise is that the show closes with the morose “Estonia”, from This Strange Engine.  H dedicates the song to the family of Neil Armstrong.  I’ve never been particularly fond of this dour song, although it has been played in concert many, many times over the last 15 years.  Obviously, many fans “get it” and love it.  I’m not one of them, so for me, Sounds Live ends with a thump rather than a celebration.  I would have preferred something like “Garden Party” or “Easter”, but I’m not complaining.

Speaking of “Easter”:  Conspicuous by its absence is any music at all from Seasons End.  You can’t fit ’em all in, and tour after tour, Marillion have always changed up their setlists.  You will never see the same Marillion concert two tours in a row.

While Marillion have dozens of live albums (especially when you include the 43 Front Row Club releases), this one is a valuable inclusion in the canon as the first physical live release of Sounds that Can’t Be Made songs.   I don’t know how frequently I will return to it, given the amount of live stuff I have, but I did enjoy it.

4/5 stars

Disc 1:

  1. “Gaza”
  2. “This Town/100 Nights”
  3. “You’re Gone”
  4. “Sounds that Can’t Be Made”
  5. “Neverland”
  6. “A Voice From the Past”
  7. “Power”

Disc 2:

  1. “Fantastic Place”
  2. “Real Tears For Sale”
  3. “The Sky Above the Rain”
  4. “The Great Escape”
  5. “A Few Words For the Dead”
  6. “Sugar Mice”
  7. “Estonia”

REVIEW: Black Sabbath – The Eternal Idol (deluxe edition)

I’m addicted to buying these deluxe editions.  I think this is the last of my Black Sabbath deluxes. Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – The Eternal Idol (2010 deluxe edition)

The years of chaos were seemingly coming to an end as Black Sabbath stabilized into a solid core of Tony Iommi, Geoff Nicholls, and new lead singer Tony Martin. The drum and bass positions would continue to swirl for another year, right up until the Headless Cross tour. Getting to this point was not without struggle, and this new Deluxe Edition illustrates this beautifully.

I’m going to sidestep the issue of “Does The Eternal Idol really deserve the Deluxe Edition treatment?” and just be glad it’s out. There are, after all, two B-sides here that were ridiculously expensive to acquire on 12″ vinyl. Those songs, “Some Kind of Woman” and the original version of “Black Moon” (which would later be re-recorded on Headless Cross) finally complete the Eternal Idol picture. And they’re not bad songs either, particularly “Black Moon”. “Strange Kind of Woman” I haven’t wrapped my head around yet. It’s this uptempo boogie rocker, and aside from “Blue Suede Shoes” I don’t think I’ve ever heard Black Sabbath boogie before. But it’s not bad, Tony’s playing is awesome, but maybe…ill advised is the term I’m looking for?

The bonus disc is the entire album’s original recording with former vocalist Ray Gillen (their seventh singer) before he was replaced by Martin (their eigth). This had been mostly available on a very common bootleg called The Ray Gillen Years, but missing a couple tracks. Now, the entire album as recorded by Gillen can be heard, and in much better sound quality.  Gillen was a very different type of singer, bluesier, very Coverdale-esque.  He later reappeared with his Sabbath-mate Eric Singer in Jake E. Lee’s Badlands.

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I can still remember keeping up with the Sabbath story via their music videos on MuchMusic. I was surprised when I saw that the “new” singer, the bearded Glenn Hughes, had been replaced by the much cooler looking Tony Martin. Skeptical, I watched the video for the first and only single “The Shining”. Lo and behold, the song was awesome! The riff (which goes back to an old unreleased Sabbath song from 1984 called “No Way Out”, featuring a lineup of Iommi, Geezer Butler, Bill Ward and David “Donut” Donato) was powerful and epic.  As good as any riffs Sabbath had done with Ronnie James Dio. The new chorus shimmers with intensity. This new singer rocked! Unfortunately, Martin would spend his entire career with a “mini-Dio” or “Dio-clone” tag. The similarities are that Martin has a similar range and equal amount of power, but not the grit, and a different character. Fortunately for him, Martin would stick around for 5 albums, but never shook the “replacement singer” tag.

Aside from “The Shining”, I find The Eternal Album to lack lustre. “Glory Ride” is the only other song that was single-worthy, a great romp that reminds me heavily of “Strange Wings” by Savatage (a song that featured Ray Gillen on backing vocals, coincidentally!) The rest of the songs…well, they ain’t bad, I guess. They’re just unremarkable, which is not good for a band that has seldom been anything but.  “Born To Lose” is fast and furious, as is “Lost Forever”. “Scarlet Pimpernel” is one of those atmospheric Sab instrumentals that they were known for in the early days, and its inclusion was very wise. However, the songs so tend to meld into one another, with only “The Shining” and “Glory Ride” making my personal Sabbath road tapes.

I mentioned the creation of this album was chaotic. Aside from the replacement of the lead singer position mid-album, there were also two drummers: Eric Singer departed to be replaced by ex-Sabbath drummer Bev Bevan! But by the tour, Bevan would be replaced by ex-The Clash drummer (Dr.) Terry Chimes. Dave (brother of Dan) Spitz partially recorded the bass to be replaced by ex-Rainbow and Ozzy bassist Bob Daisley. Daisley was gone before the video for “The Shining” was filmed, to be replaced by a mystery man who nobody bothered to catch the name of. You can see him in the video. The story goes, they needed a bassist for the video and pulled this guy off the street. For the tour, Jo Burt filled the bassist slot. Neither Chimes nor Burt would stick around to the next album, Headless Cross.

Did you get all that?

The Eternal Idol was a crucial step towards solidifying Black Sabbath once again, after the chaos of the previous years, but it would be the next album, Headless Cross, that was a resounding return. A much more solid album, Headless featured the new nucleus of the two Tonys and the legendary Cozy Powell on drums. Session bassist Lawrence Cottle (a great fretless player) was replaced for the while by Cozy’s longtime rhythm partner, Neil Murray. That lineup of Powell, Murray, Iommi and Martin (always with Geoff Nicholls on keys) would prove to be one of the most stable in the band’s history and the one that I saw when I first saw Sabbath live in 1995 on the Forbidden tour.

Anyway, I’m going off on a tangent. My point was to show that this album was really not the “comeback” that it could have been, but merely a step towards rebuilding Black Sabbath. You have to admire Tony Iommi for not giving up. The Eternal Idol is not for those fans who just like Ozzy, or just like Dio. Eternal Idol is for the metal maven who wants to know every chapter in the band’s history. Otherwise, I can’t recommend it, except for the two songs “The Shining” and “Glory Ride”. Purchase accordingly.

3/5 stars

Part 169: Open Door Piss

RECORD STORE TALES Part 169:  Open Door Piss

I used to work with this guy, Joe.   People who know where I worked, they know Joe.  And they know Joe is a very, shall we say, unique person.  Funny as hell, but there is nobody like Joe.  Straight from my journal, here’s the proof.  I call this one the Open Door Piss.

Date: 2005/11/26 23:52

So I’m with Joe at work, talking about work or something. The conversation is as follows:

Me – (babbles on about work or something)
Joe – Hey, keep talking, follow me though.
Me – Where are we going?
Joe – Just follow me.
Me – OK, ummm, into the bathroom?
Joe – No, just stand outside, keep talking though.
(I hear him upzip his pants)
Me – Are you peeing?
Joe – Yeah man! It’s the open door piss! So what was I saying before? Oh yeah…(continues conversation).

Joe’s a pretty interesting guy.

A couple years later, I was having a Rock Band party at my house, during which Uncle Meat also did the Open Door Piss.  Must be a Record Store Guy thing?

REVIEW: Black Sabbath – Paranoid (deluxe edition with Quad mix)

I’m addicted to buying these deluxe editions.  And I have more Sabbath coming soon, too! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Paranoid (2009 deluxe edition, 3 discs)

Wow, how many times have I bought Paranoid now? I would guess that this might be my sixth purchase of this album.  I mean…it’s Paranoid.

And what is Paranoid?  Only one of the most important rock albums of all time.  Regardless of the genre it helped spawn, this album is more important than just being a heavy metal album.  This is an important rock album.  I highly doubt any died-in-the-wool metal fan has not heard this album, but in case you’re young/been living on the moon, I’m happy to discuss these incredible tracks.

First up to bat is the unmistakable sludge of “War Pigs”.  “Generals gathered in their masses…just like witches at black masses…”  Bonus point to lyricist Geezer Butler for rhyming “masses” with “masses”! Joking aside, this is simply an incredible song, one which history has proven (as great as Dio was) that only Ozzy Osbourne can sing correctly.  Then, the brief punk rock explosion of “Paranoid”.  This was the first and only song I learned to play on guitar, simple are the chords.  But it is no less powerful for its simplicity!

The haunting “Planet Caravan” is a perfect example of Sabbath at their softest and darkest.  Ozzy’s distorted vocals send chills up the spine, while Geezer’s bass carries the melodic side.  I didn’t like this song as a kid (I hated the soft ones) but I sure grew to appreciate it since.  Iommi’s jazzy solo proves what an incredible player the man was and is.  In case you were falling asleep, Black Sabbath wake you up with the next track, “Iron Man”.  Everyone knows “Iron Man”, a monolithic slab of prototypical heavy metal!

“Electric Funeral” opens with Iommi’s Gibson puking wah-wah and distortion from the speakers, but like many Sabbath songs of the period, the track takes a careening turn into a fast section, before returning to its sludgy roots.  Bill Ward, one of the most underrated drummers ever, plays creatively throughout, his use of cymbals and fills endlessly interesting.

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“Hand Of Doom” is another one with different sections and tempos, and more of Ward’s jaw-dropping creativity on the tubs.  Ozzy howls like a banshee, the band behind him providing a heavy, frightening backdrop.

“Rat Salad” is a personal favourite, the album instrumental, and really a Bill Ward showcase.  You want to hear what Bill Ward could do?  This is the track to listen to, although Iommi is not to be underestimated.  His howling Gibson sends shivers up the spine.

“Fairies Wear Boots” closes the CD, the perfect mixture of riffage and melody.  All the while, Geezer and Ward continue to provide a rhythm section as interesting as the guitars and vocals.  Once again, Sabbath show their compositional prowess by creating a catchy, riffy heavy metal song with interesting sections and changes.  It is another perfect track, on an album of nothing but.

Liner notes and photos: A+. Awesome job. Lots of cool photos, facts, and figures that I was not previously aware of.

Packaging: C-. I have a 2CD/1DVD Clash set from this series where all three discs are packaged with a plastic tray to hold them in. Not so with Paranoid! Cost cutting may be the reason, but disc 3 slides into a cardboard sleeve while the other two discs have plastic trays.

Remastering: A+. My understanding is that this is a brand new remastering. That would be remastering #3 for Paranoid. (1996 Castle remasters, Black Box remasters.) Like the Black Box version, this sounds great, very clear, very powerful, very authentic. Can you tell the difference between this version and the Black Box version? Not really!

Bonus material: B+. Maybe it’s not anybody’s fault, but the bonus material is somewhat disappointing  Most are alternate takes with different lyrics or no lyrics at all. I guess that’s all that was available. Still, it’s not something I will listen to often. Including the DVD, keep in mind you’re going to be hearing these songs three times each! The alternate lyrics are interesting to say the least, but when you’re so used to hearing these songs a certain way, it is a little jarring.

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The DVD is an A. On this DVD, you get the original 1974 quad mix. Collectors rejoice, and people who are hoping for a 5.1 remix are going to have to keep waiting. I love the fact that we’re finally getting reissues of classic 1970’s quad mixes. Deep Purple have been releasing some as well. Personally I hope to hear some of the old Alice Cooper quad mixes some day, too.

Not a perfect reissue, but it is what it is. The packaging is the one thing that could have been improved easily. The extra material, well, if this is all Sabbath have in the vaults, then so be it!

(Note:  For completists, there’s still an early version of “War Pigs”,  ( then titled “Walpurgis”) with different lyrics, from BBC Radio 1, 4/26/70, but you can get it on Ozzy’s The Ozzman Cometh  CD.)

5/5 stars.

REVIEW: Black Sabbath – Mob Rules (deluxe edition)

I’m addicted to buying these deluxe editions, and I’ll be doing more Sabbath in the coming days! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Mob Rules (2010 deluxe edition)

The entire Dio-era catalogue of Sabbath has now been reissued so many bloody times! First there was the original CD issues, then the Castle remasters in 1996, then the Dio years boxed set (The Rules of Hell), and now these deluxe editions. I’m feeling lightly pillaged. But buying these is optional…unless you’re a die-hard like me. If you’re not, stick to the Dio box. If you are a die-hard, plunge forward.

The big reason to buy this set is the Live at Hammersmith Odeon bonus disc. Folks, when Rhino announced this live album in 2007, I jumped on it immediately. The CD sold out immediately, only 5000 copies were ever made.  Limited and numbered (I got #3723), even if it sucked it was bound to be worth a fortune in the future right? Well not necessarily. Now it’s been included as a bonus disc. (It’s also seen a vinyl reissue.)  So, for me this sucks — my Rhino issue is no longer as desirable to collectors. For you, it’s awesome. Now you can have this blistering live album, way better than Live Evil!

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All the other expected perks are here, including bonus tracks:  the soundtrack version of the title track, and a B-side (“Die Young”, live) from a 12″ single.  It also has extensive liner notes that cover the recording, the tour, and the Hammersmith disc. Throw in some photos and a great remastering job, and you have (hopefully!) the last copy of Mob Rules that you will ever need to buy.

Mob Rules itself is very much a brother record to Heaven and Hell. You have that big dramatic epic (“The Sign of the Southern Cross”), the speedy opener (“Turn Up The Night”) and everything else in between (“Voodoo”). It’s not quite up to the lofty standards of H&H, although it does follow the blueprint quite closely. I find the closer (“Over & Over”) to be the weak link in an otherwise pretty damn strong chain.

I think the title track, “The Mob Rules”, is probably one of the greatest heavy metal songs ever written.  Furiously paced, with Dio’s pipes in fine form, it an energized trip.  “The Sign of the Southern Cross” is, as far as I’m concerned, pretty much an equal track to “Heaven and Hell”.  Its riff is simply earth-shattering.  Once again, Dio’s pipes are unequaled.

Even something like “Country Girl”, a lesser known track, blows me away.  Iommi pulls another memorably powerful riff out of his bag of tricks, while Ronnie wails away…about what, I’m not sure.  But it sure is fun to sing along.  “Slipping Away” is another personal favourite due to Geezer’s fluidic bass solos.  “Falling Off the Edge of the World” smokes, another fast Iommi riff that bores its way into the brain.  You’ll be exhausted by the end of it.  Really, the only mis-step is the album closer, “Over and Over”, which I find a bit too dull and slow for an album as great as Mob Rules.

Pick it up to help complete your Sabbath collection, and to hear the awesome Live At Hammersmith Odeon.

5/5 stars

REVIEW: Black Sabbath – Black Sabbath (deluxe edition)

I’m addicted to buying these deluxe editions, and I’ll be doing more Sabbath in the coming days! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Black Sabbath (2009 deluxe edition)

I have been a little slow reviewing all my Sabbath deluxe editions. I got this one for Christmas, 2010. Bad LeBrain!

What can I say? The most iconic metal album of all time has been given the deluxe edition treatment, and deservedly so.

First of all, before I talk about the music, this edition just looks beautiful in its digipack. The scariest most haunting album cover of all time is printed crisply on cardboard and it looks amazing. Open it up to find photos of a hippy-dippy looking Black Sabbath, just a bunch of kids. The booklet inside has truly great liner notes and more photos of the young foursome. There is one photo of Oz playing keyboards in the studio — strange, none of his keys show up on this album. I’d love to know the story behind that photo.

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Musically, of course this album is incredible. Simple, sparse, raw, and haunting. This is the kind of music that can only be made by four guys psychically locked-in with each other, knowing what notes are coming next, anticipating them and reacting to them. Bill Ward’s drumming is thrifty and wonderful, perfectly off-time and magically working with Geezer Butler’s fluidic basslines. Geezer’s bass, in turn, is locked in with Iommi’s guitar, providing melodic accents while Tony plays the rock solid demonic riffs from hell. Meanwhile, Ozzy is on top of it all, a man possessed, his words ringing loud and powerfully along within the spaces of the songs. This is the kind of album that can only be created by four guys playing live in a room together. Modern “rock” (quotes intended) bands cannot do this kind of album.

Every song is, of course, a classic, from the opening thunder of “Black Sabbath” to the wallowing solos of “Warning” and the haunting “Sleeping Village”. “N.I.B.” has one of the catchiest bass intros of all time, amp hum buzzing away in the background as you can hear Geezer’s fingers pluck away. Truly, a classic album, all killer no filler.

And no wonder. The band was tight, playing these songs night after night after night until they had them down pat. I once read that Sabbath were doing 8 sets, 45 minutes each, in the bars each gig. That makes you a tight band, and the bonus disc proves this. Alternate takes of key tracks on the second disc prove that the band had these songs down to a fine science. Casual fans won’t even be able to pick up on the differences, they are so tight. The biggest difference is in the alternate take of “Evil Woman”. Flutes? Methinks Tony still had a bit too much Jethro Tull in his system!

There are also some instrumentals with the vocal tracks stripped off. These are interesting from an analytical point of view. The title track really allows you to hear the instruments playing against each other, Tony’s guitar puking mounds of distortion all over the tapes.

Lastly you get both “Wicked World” and “Evil Woman”. Depending on where you lived, one track was subbed for the other on the original album and the first CD issues. All later remasters of this album contained both songs, including this one.

Interestingly, the demos that Ozzy released on his own Ozzman Cometh compilation are not included here. Pick that album up as well for some very rough early versions of some of these tracks, with different lyrics as well.

5/5 stars. Every metal fan in the world needs this album, absolutely no excuses.

Part 168: The Constipated Ritchie Blackmore

RECORD STORE TALES Part 168: The Constipated Ritchie Blackmore

The date:  Before Christmas 2005 (my final Christmas at the store)

The place:  My store

The characters:  Myself, and “Box Set Man”

I had this one great customer, and dammit, I cannot remember his name.  We called him “Box Set Man” because he bought and sold a lot of box sets.  In fact, I have a Japanese Deep Purple Purple Chronicle 25th anniversary box set from his collection, complete with obi strip.

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Box Set Man also collected rock photographs, original photographs from private collections, unpublished anywhere.  He bought them at record shows, by networking (he was once a concert promoter) and from eBay.  He would trade photos in his collection for more desirable ones as well.

Just before Christmas 2005, Box Set Man came in with a gift for me.  He handed me a plain yellow envelope.  Inscribed on the envelope was this:

Merry Xmas Mike

This photo is from a private collection from Germany “Blackmore”.

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Inside the envelope was an original Ritchie Blackmore photo.

Ritchie is obviously digging deep into a guitar solo in this photo.  Stratocaster raised, eyes closed, Ritchie is givin’ it all he’s got.  But the overall effect is one of Ritchie looking like he has to go to the bathroom.

Christmas 2005 was my final Christmas at the store, but Box Set Man didn’t know that.  I don’t remember why, but head office had asked me to keep my departure under wraps.  The announcement wasn’t made until my final day at the store (Jan 4, 2006) and as it turns out, that was the day I told Box Set Man as well.

So, without further delay, I present to you this original photograph that I have dubbed “The Constipated Ritchie Blackmore”!

NOTE:  After posting this, my former co-worker Pat reminded me that Box Set Man’s name was Dan!

MOVIE REVIEW: The Big Lebowski (1998)

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THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)

10th Anniversary Limited “Bowling Ball” Edition

Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.

Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you?  Well, I’m gonna tell you about this movie.  First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection.  And that’s the killer soundtrack.  From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes.  There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea!  (Yes, that Flea.)

Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.

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FOR DUDES:

The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.

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FOR UN-DUDES:

One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.

The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.

An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.

Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.

I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?

5/5 stars

CONCERT REVIEW: Queensryche / Type O Negative – Toronto Ontario, July 27, 1995, Molson Amphitheatre

I’m a pack rat.  I keep everything.  I just dug up this vintage concert review.  I wrote this the day after the concert, so memories were fresh!  I’ve made some minor cleanups, but otherwise this is completely as-is, warts-and-all, somewhat embarrassing and a bit too long winded.  For what it’s worth, enjoy!  You might never find a more detailed write-up of the Promised Land tour!

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QUEENSRYCHE / TYPE O NEGATIVE – Toronto Ontario, July 27, 1995, Molson Amphitheatre

(written by Mike Ladano, on July 28 1995, never published)

On July 27 1995, Queensryche, possibly the only great progressive rock band that is still progressing, conquered the Molson Amphitheatre in triumph.  The road has been long and hard for these boys, they put out their first vinyl in 1983.  Despite all the changes in rock today, Queensryche came out and put on one high-tech wonder of a show that rocked and stimulated.

The band opened with the taped intro of “9:28 am”, the opening track of the Promised Land CD.  Their stage was bare, except for two platforms, a keyboard and a drum kit.  The drum kit was encased in plexiglass, which seemed unusual at the time.  [I know now that this was to keep the drums from bleeding into other microphones on stage.]  One could pick out dozens of lasers, lights and effects just waiting to be used.  Behind the stage were two monstrous projection screens, much like the band used on the Empire tour.

After the intro, Chris DeGarmo, Michael Wilton, Eddie Jackson and Scott Rockenfield roared onto the stage with “I Am I” which was accompanied by a video of Geoff Tate wandering though a desert encountering all sorts of strange mirages based on the lies of the American Dream.  Then the Tatemeister himself appeared on stage, wearing suit and tie, and being hounded by a half dozen journalists harassing him all over the stage.  It was, of course, all part of the show.

The band segued from there straight into “Damaged”, just as they do on record.  The press ripped off Tate’s suit, leaving him in a pair of bicycle shorts.  The band continued to rage through this song, complete with distorted vocal effects from the album.

The band took a breather there, playing their acoustic hit single “Bridge”, a “Cats In the Cradle” story about Chris DeGarmo’s father.  Again, this came with constant bombardment of images on the backing screens.  It was extremely difficult to stay focused on any one thing on stage, however, Geoff Tate is a very animated frontman; moving and contorting about, acting out his words, while he and the video screens fight for attention.

From here, the band took a trip down memory lane that I’ll not soon forget.  Upon entering, I said I wanted to hear old obscure Queensryche.  I wanted to hear “Neue Regel” and “NM 156”.  The band went right into those songs, as well as “Screaming In Digital” from Rage For Order.   For these songs (which used distorted computerized vocals before Trent Reznor had even envisioned such a thing), Tate sang like a computer or a Dalek from Dr. Who.  Then, when a burst of power was needed, the distortion would come off, and Tate would rip his lungs out with vocals from hell.

Geoff Tate’s voice was stronger here than the way I remembered it from the video footage of the Empire tour, which was nice to see.  He did falter, especially on those incredible highs, but this was also refreshing:  It meant he was not relying on backing tapes.  The entire band played well, never straying too far from their recorded album parts, but just enough for there to be an audible difference.

“My Global Mind”, a song about the information superhighway and the artificial ties it makes between nations, contained some disturbing film footage:  Saddam Hussein, and children starving in Africa.

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I always said Scott Rockenfield was Queensryche’s version of Rush’s Neil Peart, and last night he proved this.  With his hair shorn, and receding hairline revealed, he now not only sounds like Peart but looks like Peart!  Encased behind the plexiglass, he played with precision and power, even more so than on the album.  Chris DeGarmo had also cut his hair short(er) which was disappointing.  He used to have Godlike hair!

The band kicked into overdrive, playing tunes from the landmark Operation: Mindcrime album.  Their heaviest material came on even heavier live, with more power in the bass, drums and vocals.  From that album, they played in sequence:  “I Remember Now” (a taped intro with the same cartoon video footage that they used on the last tour), “Anarchy-X”, “Revolution Calling”, “Operation: Mindcrime”, “Spreading the Disease” (Geoff Tate sticks microphone in his pants and makes interesting movements), “The Mission”, and to close off the Mindcrime portion, “Eyes of a Stranger”.  For this conceptual section, Tate came out dressed as the album’s protagonist Nikki, in leather pants and jacket, shedding the shorts.

“Empire”, which came across as brutally heavy live, was accompanied by the drug-dealing video footage from their MTV video, but with added stuff as well, which made it more fun to watch.

Queensryche played the entire Promised Land album from start to finish [but not in sequence] which came as a surprise to everyone.  What came as even more of a surprise was how well this densely layered recording came off, live.

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The title track, “Promised Land”, was most interesting.  As a film played of Tate and his family buying a home (and of course not being able to afford it), the roadies ripped apart the stage and set up something else in darkness.  Then, the lights came on.  On stage was now a bar, a few tables with a ton of patrons (roadies and the drummer [Johnny Kelly] from Type O Negative), and a tiny little stage off to the side, where a second drum kit now sat.

The band walked through the bar dressed in matching suits, just like any lounge act.  They played some piano-based barroom jazz number until, now assembled on that tiny postage stamp sized stage, they rumbled into “Promised Land”.  Tate sat at the bar, wearing pink shirt and beige pants (matching his get-up from the video footage), singing this song of disillusion.  This was also the first live appearance of his saxophone.  Just like on the album, he would play sax breaks in between verses.

Although this is one of the most serious songs you would ever want to hear, this was the last show of the tour, and it was time for the road crew to cut loose with some comedy.  One of the bar patrons slow-danced center stage with a blow-up doll through the entire 8 minute song!

The videos came back on as the bar set was torn down, and again replaced with the plastic-encased drum kit.  The band rumbled into “Disconnected”, with more saxophone.

Before “Out of Mind”, Tate began with a speech about people who might be viewed as different.  “You…your hair’s not the right length.  And your hair’s just…not the right colour.  What would you do if one day, those men in white coats came knocking on your door?”

From behind, a butt-ugly roadie dressed as a nurse in a yellow wig put Tate into a wheelchair.  (Normally, an actress plays the nurse, but like I said, this was closing night!)  Tate sang the song from the chair, using a mirror as a prop.  He would sing into the mirror while a hidden camera filmed his reflection, and projected it onto the big screens.

The band closed their set with a predictable final tune.  Of course, it had to be “Silent Lucidity”.  For this song, five large transparent curtains came down on stage, concealing the drums and Chris DeGarmo.  Suddenly, laser projectors came on, and presented amazing dream-like images onto those curtains, giving the illusion that they were suspended in air.

The crowd, as expected, went absolutely bonkers for this song, singing along to every word.  Bowing, Queensryche left the stage in triumph….

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…And returned with their early classic, “Take Hold Of the Flame” from their very first full-length album, The Warning.  Of course, this went over amazingly.  There were some diehard fans in this audience who knew the words to even the most obscure music that Queensryche could throw at them.

Queensryche ended their encore with perhaps the greatest song they have ever written:  “Someone Else?”  Chris DeGarmo played piano, Michael Wilton played some quiet backing guitar, and Scott Rockenfield added some cymbals.  It was hard not to be blown away by Tate’s extremely emotional voice during this piece.  If anything, Tate is even more emotional live than on record.

And that was the end, the band finally leaving in triumph, for real this time.

According to some in the audience, Queensryche’s stage show topped Pink Floyd.  Believe it.  This was, by far, the greatest rock show I have ever seen.  I can’t imagine anyone, even Queensryche themselves, topping this.  This was not heavy metal:  This was theatre, and it was so fucking refreshing to see in this back-to-basics era of grunge blockheads like Pearl Jam and Nirvana.

All hail the mighty Queen of the Reich.

We missed the first few tracks from openers Type O Negative, but we could hear them just fine while eating.  They opened with “Blood and Fire” from their new album, Bloody Kisses.  We caught them halfway into the second tune, the incredible “Christian Woman”.  They then played an older tune about suicide [title long forgotten].  Said vocalist Peter Steele:  “This is a song about suicide, which we fully recommend.  I know when I get old and my body is no longer useful to society, I am going to throw myself off a building, and hopefully land on someone I hate.”  Gotta love them Type O Guys.  [Sadly, Peter Steele never had the chance to get old.]

They played only two more songs, “Too Late: Frozen” and of course “Black No. 1 (Little Miss Scare-All)”.  Speaking of scary, these guys were not all that pleasant to look at.  Josh Silver, the keyboard player, has got to be the ugliest son of a bitch on the face of the Earth.  Peter Steele looks like he sleeps in a coffin.  Musically however, these guys were better live than on album.  On record, they come across somewhat wimpy.  Live, they are heavier and more energized.

5/5 stars

More Queensryche:

Mike Ladano: Exclusive EDDIE JACKSON interview, part I

Mike Ladano: Exclusive EDDIE JACKSON interview, part II

Mike Ladano: Exclusive EDDIE JACKSON interview, part III

Mike Ladano: Exclusive EDDIE JACKSON interview, part IV

REVIEW: Geoff Tate – GT EPK (2012)

What can you say about a guy who’s already had two lineup changes before his new “Queensryche” has even played a single gig?  As usual, I’ll let Geoff say it all…

GEOFF TATE – GT EPK (2012)

EPK:  “Electronic Press Kit”, something an artist releases to the media to promote themselves. See above.

Although this has been out for months, it was only recently that Uncle Meat brought it to my attention.    While he was over recording our most recent video, he said to me, “LeBrain, you have to see the Tate video.  This thing is ridiculous.”

So I watched.  And I laughed.

Cheesey?  Check.

“Oh yeah.  I love my job.”

Pretentious?  Check.

“I guess I’m an experience junkie.”

Trying to look cool?  Check.

“I usually take a couple of motorcycles on tour with me…ride between cities.”

Stuff nobody cares about?  Check.

“Oh there’s my beautiful wife, Susan.”

Nothing in here about spitting at drummers, getting in fights, or carrying bladed weapons though!  Do you want to see something really funny?  Skip ahead in the video to 2:38.

“Oh, wait, watch this.”

And then he does this lame “jump”.  I mean, if he was David Lee Roth and did that cool spiral kick thing, that would something worth waiting and watching for.  Not…whatever that was at 2:38.

Don’t take it from me though!  Here’s some quotes from my esteemed Sausagefest colleagues.

Grant:  “Got about three minutes in before vomiting all over my keyboard. The ‘Two Girls One Cup’ of personal biographies.”

Scottie:  “WTF was that…”

Iron Tom Sharpe:  “Imagine what that cock seepage would be like if he was still good (and relevant) and they hadn’t sucked for the last 15 years…Nothing is sadder than seeing your heroes as they really are…”

Dave:  “He was always a cheeseball. The guys around him simply obscured that.”

Meat:  “Music’s latest train wreck.  So awful you just can’t look away.”

That’s all.  That’s all I can stomach.

0/5 stars

TATERYCHE